{"id":10949,"date":"2016-10-06T14:41:53","date_gmt":"2016-10-06T18:41:53","guid":{"rendered":"http:\/\/worldscreen.com\/tvkids\/digital-delights\/"},"modified":"2016-10-16T09:02:23","modified_gmt":"2016-10-16T13:02:23","slug":"digital-delights","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/digital-delights\/","title":{"rendered":"Digital Delights"},"content":{"rendered":"

\"7-Apps-Games\"From apps to e-books, digital extensions of kids\u2019 properties have become a top priority for brand owners.<\/em><\/p>\n

One factor above all others is driving broadcasters and producers to invest more of their time, energy and money into digital extensions of children\u2019s TV brands: it\u2019s what the kids want. When children become fans of a show, they expect to be able to engage with it on all platforms, from apps on smartphones and tablets to online and other digital expressions of their favorite content. In fact, a digital extension might be a viewer\u2019s first\u2014and potentially only\u2014engagement with a TV brand. So the onus is on the producer to make sure it\u2019s a good experience.<\/p>\n

It\u2019s a skill set that Rick Glankler, the president and general manager at FremantleMedia Kids & Family, takes increasingly seriously. \u201cToday, kids are digital natives on all platforms,\u201d he says. \u201cThey want their content to be available when and where they want it\u2014which means we have to make sure it\u2019s available on all platforms.\u201d<\/p>\n

WHERE THE KIDS ARE<\/strong>
\nFinn Arnesen, the senior VP of global distribution and development at Hasbro Studios, agrees, noting, \u201cThere are many ways kids connect to a brand today, whether they discover them through linear TV, YouTube, SVOD platforms or a mobile game. Bringing Hasbro brands everywhere kids are is a challenge, but it\u2019s also an incredible opportunity to push the way we tell stories. It\u2019s not enough to take a clip from a TV series and place it on YouTube or another digital platform. Creative teams need to make each of those digital experiences authentic to the platform and tailored to its users. If correctly done it will lead to greater awareness and affinity for the brand.\u201d<\/p>\n

At Entertainment One (eOne) Family, the strategy has been to work with \u201ca wide range of creative studios specializing in different forms of digital development to create strong digital experiences,\u201d reports Olivier Dumont, the company\u2019s managing director.<\/p>\n

There\u2019s no question that kids\u2019 expectations have gone far beyond finding exclusive content online, although that remains a central digital proposition. For example, Kids Industries developed an immersive digital experience for eOne\u2019s preschool hit Peppa<\/em> Pig<\/em>, including a new website and two apps, Peppa\u2019s Paintbox<\/em> and Peppa\u2019s Activity Maker<\/em>.<\/p>\n

In the case of eOne\u2019s new show PJ Masks<\/em>, the comprehensive digital strategy included music videos, a variety of extra online content and free-to-download apps that allow the user to become a character in the show and engage in gameplay. The digital brand extensions allow children to continue to engage with the brand beyond the TV show by finding out more about the characters, playing games and watching clips.<\/p>\n

LET THE GAMES BEGIN<\/strong>
\nMeanwhile, the gaming and VR specialist Secret Location helped create a multi-layered gaming app to accompany eOne\u2019s new comedy animation Winston Steinburger & Sir Dudley Ding Dong<\/em>, produced by Sticky Pictures for TELETOON in Canada and ABC ME (formerly ABC3) in Australia.<\/p>\n

\u201cWe have created a fun multi-level gaming app aimed at 6- to 11-year-olds,\u201d Dumont says. \u201cThere are different ways in which we can use the Winston & the Distractor Beam<\/em> app, but we think it\u2019s best for broadcasters to pay for it and make it free to download to viewers. Broadcasters can attract viewers to the show by offering an on-screen code that will unlock further levels of the game, which can be played on smartphones or online. It\u2019s our most sophisticated gaming app yet and a neat way to make sure that audiences who engage with the digital gaming experience are motivated to return to the linear broadcast.\u201d<\/p>\n

Hasbro Studios has been working with several gaming partners, among them Backflip Studios, in which the toy giant holds a majority stake. \u201cBackflip is tasked with producing new and inventive mobile games based on our top franchise brands,\u201d says Arnesen. \u201cEarlier this year we celebrated the successful launch of a real-time combat strategy game titled Transformers: Earth Wars<\/em> and you can expect to see more from other Hasbro brands in the near future.\u201d<\/p>\n

Dumont says that eOne is planning increasingly ambitious digital versions of kids\u2019 brands, revealing that he is working with Secret Location on how virtual reality and augmented reality (VR and AR) could be combined with children\u2019s properties to create new immersive forms of digital entertainment.<\/p>\n

The phenomenal success of Pok\u00e9mon GO<\/em>, which is the fastest-growing app in history, has proven that AR can be a mass-market technology and many kids\u2019 content producers and tech companies are sitting up and taking notice, says Dumont.<\/p>\n

Early indications are that VR and AR are going to be most relevant to the 6-to-11 set and older, given their fondness for gaming apps. Preschoolers are, frankly, bamboozled by the concept of VR. Whatever the relevance of AR and VR to the kids\u2019 market, developing a successful digital brand extension involves coming up with an appropriate strategic plan, which can be outlined right at the outset of a show.<\/p>\n

\u201cWe build in original short-form digital episodes to our productions from the very beginning,\u201d Hasbro\u2019s Arnesen says. \u201cApproaching the creation process this way means we\u2019re not focused on digital extension as much as a seamless integration between linear television and various digital platforms. This process remains the same across all genres.\u201d<\/p>\n

\u201cWhatever your ambitions, [a show\u2019s] target age demographics and genre are important in shaping the digital plan,\u201d says Frank Saperstein, the executive VP of kids, family and animation at Tricon Films & Television. \u201cA live-action drama would need a different approach than a comedy animation aimed at 6- to 11-year-olds. With preschoolers, there are the added complications of a range of compliance issues to consider, as well as the parents\u2019 role as gatekeepers.\u201d<\/p>\n

BRIDGING THE AGE GAP<\/strong>
\nFremantleMedia\u2019s Glankler agrees that \u201cthere is a big division between preschoolers and 6-plus viewers when it comes to the digital experience\u2014they engage differently. Preschoolers are still primarily looking for lean-back type experiences when they watch content, and any interactive material is probably best to be more story-based. By the age of 6 and above, kids are more into the excitement of discovery of more content and getting involved in more active gameplay.\u201d<\/p>\n

For example, with FremantleMedia\u2019s Kate & Mim-Mim<\/em>, preschoolers can dip into a series of YouTube music videos, which can also be accessed via the Kate & Mim-Mim Facebook page. For a live-action kids\u2019 drama in the School of Rock <\/em>vein, a likely digital extension would be a backstage or after-show video exclusive, or a music video available to watch online or download. An animated comedy series like FremantleMedia\u2019s Danger Mouse<\/em>, meanwhile, would suit a gaming app. \u201cOur original online game for the first season was wildly successful, so now we are creating a version for the BBC offering gameplay for younger kids as a way to attract the next generation of viewers to the show,\u201d Glankler says.<\/p>\n

For live-action kids\u2019 properties, digital extensions have to be more meticulously pre-planned, advises Jonathan Laor, CEO of Applicaster, a leading developer of apps for broadcasters. That\u2019s because all digital content has to be planned and acquired at the same time as the TV show itself is recorded.<\/p>\n

\u201cAnimation is more forgiving\u2014you don\u2019t have to think about everything in advance, and you can go back and produce and dub more content as your digital strategy evolves,\u201d Laor adds.<\/p>\n

According to Laor, the majority of your energy and investment should be directed toward the development of apps on all devices\u2014particularly mobile and tablet, iOS and Android\u2014followed by TV platforms such as Apple TV and Google\u2019s Chromecast.<\/p>\n

BRAND BUILDING<\/strong>
\nThere\u2019s no doubt that digital development pays dividends, as Tricon\u2019s Saperstein underlines. \u201cDigital iterations of TV shows allow you to start marketing content and build a global audience before you hit the air. On Counterfeit Cat<\/em>, our animated comedy co-pro for Disney XD worldwide and TELETOON, in addition to the 52×11-minute show, we produced 11×2-minute shorts. We released the show on a linear platform in the U.K. in May but not until June in the U.S., and it won\u2019t be seen in Canada until December 2016. We have been using the two-minute digital shorts on YouTube. Kids in the U.K. were blogging about episodes, and kids in the rest of the world have been reading them. Easy, straightforward marketing play\u2014it was pretty successful.\u201d<\/p>\n

Saperstein adds that every couple of days, he and his team check YouTube to see how the shorts are performing\u2014and dig into where they have been pirated. \u201cWe discuss whether we need to take [the pirated versions] down.\u201d<\/p>\n

He continues, \u201cBeing able to use this global community is an advantage in publicizing and marketing your show. It allows you to paint outside the lines, by which I mean keeping shows and characters present in the minds of the audience even when the show isn\u2019t on the air.\u201d<\/p>\n

Applicaster\u2019s CrossMates second-screen solution is one way in which apps are being created by third parties as white-label solutions to offer fans 24\/7 digital engagement with entertainment brands beyond the broadcast window. It\u2019s designed to allow viewers to engage in a continuing conversation with their heroes in TV shows when the show is on and off the air. Viewers are rewarded for extended digital engagement on mobiles or tablets with tailored text messages from a character, exclusive information and prizes.<\/p>\n

\u201cIt amounts to a mobile extension of the TV show with synchronized second-screen activity,\u201d explains Laor. \u201cYou can integrate sponsored products into the conversations and provide followers with discounts and coupons. And remind them to tune in to the next show. This kind of digital engagement extends the life of shows for viewers beyond airtime and can work for reality TV, teen series and cartoons. As long the content has clear characters.\u201d<\/p>\n

PILOT POTENTIAL
\n<\/strong>Another advantage of digital development is it can act as a pilot, hothousing new linear content, says Tricon\u2019s Saperstein. The company is on board a series of 104 2-minute comedy shorts, Me, Myself & My Selfie<\/em>, a French\/Canadian co-pro created by Savoir FER and REAZ. The non-verbal concept features a character who tries to take the perfect selfie to attract friends but keeps messing up. \u201cWe developed it thinking it would work for Netflix or mobile downloads where the first one is free and the rest are pay,\u201d Saperstein says. \u201cBut we found that broadcasters were interested in it for digital and linear as interstitials.\u201d<\/p>\n

The lines between traditional media and digital are completely blurred, certainly for anybody under the age of 12, says Saperstein. \u201cAs many kids now watch media in a nonlinear time-shifted space as watch broadcast content\u2014something that broadcasters have to be increasingly aware of when analyzing who is watching.\u201d<\/p>\n

The other significant benefit of digital from a broadcaster and producer\u2019s point of view is the potential of creating new revenue streams. Time spent on online viewing can be commercialized, apps can be charged for and exclusive content can be pay per view.<\/p>\n

Glankler is excited about FremantleMedia Kids & Family\u2019s latest CBBC project, Bitz & Bob<\/em>. Set for a 2017 release, the CGI-animated com\u00ad\u00ad\u00adedy adventure from British animation company Jellyfish Pictures features an 8-year-old female inventor and her younger brother engaging with the principles of science, technology, engineering, arts and math to solve problems that crop up in their lives. In terms of digital, FremantleMedia has created a companion live-action show, Bitz & Bob Let\u2019s Make It<\/em>, which gives viewers a step-by-step guide to making what they saw in the episode for themselves\u2014from lean back to lean forward, and engaging directly with the brand on a personal level. Let\u2019s Make It<\/em> will offer kids (and parents) a pathway to retail too, with some of the ideas available in kit form in the shops. \u201cIt\u2019s offering the right form of content and a path to purchase,\u201d Glankler says. \u201cYou can watch it, make it and go out and buy it. It\u2019s going to be revolutionary for us.\u201d<\/p>\n

One of the key questions for creators is how to build e-commerce successfully into digital media. It can be a difficult trick to pull off, particularly with content aimed at children.<\/p>\n

\u201cIn the gaming world it has tended to be the add-ons to free downloadable games that generate the money, typically in a shooter game by buying more weapons or firepower,\u201d Tricon\u2019s Saperstein says. \u201cThat\u2019s more difficult to replicate in the kids\u2019 and family world because kids don\u2019t have access to the credit card and, unsurprisingly, parents don\u2019t want them to have that access.\u201d<\/p>\n

THE MONETIZATION QUESTION<\/strong>
\nLaura Tapias, General Manager of LATAM and Spain at Applicaster, advises that e-commerce in kids\u2019 TV can be a \u201cdelicate\u201d business, \u201cbut there are ways around it. For example, the food brand Danone has successfully offered free monthly subscription codes to kids\u2019 entertainment brands in family packs and paid for that privilege. You just have to be a bit more creative to make this work.\u201d<\/p>\n

Saperstein adds: \u201cIt\u2019s more about building an audience into a community and then finding a way to monetize that community, rather than direct monetization of the show.\u201d<\/p>\n

That\u2019s the direction Tricon is taking with the revamp of its \u201ctweenybopper\u201d talent-show format The Next Star<\/em>. \u201cWe need to bring it up to date with kids\u2019 fast-changing media consumption habits,\u201d declares Saperstein. \u201cThe touring audition show component of The Next Star<\/em> will need a website where kids can vote and post their submissions, which will be the focus of the show\u2019s digital community.\u201d<\/p>\n

Whatever the approach adopted, it\u2019s key that the digital offering finds a way of standing out from the crowd. And the digital world is certainly a crowded place. There are over 2 million apps each on the Apple App Store and Google Play, and research shows that on average an app has just three seconds to make an impact. Even if kids find you and download your app, you are not yet in the clear: the majority of apps are only opened once, destined to languish unloved on phones until deleted.<\/p>\n

Experts agree that to make apps stand out, developers should keep it simple and build games with a clear understanding of the play patterns of their target demographic.<\/p>\n

\u201cIf you have a very strong content brand but less well-produced digital destinations beyond the TV experience, then you might not have a continuous direct touchpoint with your audience,\u201d Applicaster\u2019s Laor says.<\/p>\n

The danger then is that your audience goes off to YouTube or other content-rich platforms where, Laor suggests, it is all too easy for them to get distracted. \u201cIt has no cost or complexity, which kids love. They use it all the time, and while YouTube serves brand discovery, it also serves brands [being forgotten].\u201d<\/p>\n

Another tip is to keep a close eye on what others are doing. Development moves fast in digital, so learning from imitating what works for others and avoiding what does not is a good way of moving forward. Getting something done and out there a month earlier is probably going to be better than waiting for something to be perfect. And don\u2019t be afraid to try something new.<\/p>\n

Ultimately, success in digital is based on the same fundamentals as success in TV\u2014it all comes down to strong storytelling, says Hasbro\u2019s Arnesen.<\/p>\n

\u201cMy Little Pony: Friendship is Magic <\/em>and Transformers: Robots in Disguise<\/em> both have strong digital engagement because they offer fans rich, exciting new stories, week in and week out. Extending those stories on digital platforms allows us to delve deeper than ever before into the show\u2019s characters and bring fans inside the brand with exclusive short-form content, games, apps, fan votes and everything in between.\u201d<\/p>\n

Pictured: FremantleMedia Kids & Family\u2019s<\/em> Bitz & Bob.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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