{"id":17661,"date":"2019-11-22T09:00:35","date_gmt":"2019-11-22T14:00:35","guid":{"rendered":"https:\/\/dev2.worldscreen.com\/tvkids\/worldscreen.com\/"},"modified":"2019-11-26T13:26:16","modified_gmt":"2019-11-26T18:26:16","slug":"play-time","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvkids\/play-time\/","title":{"rendered":"Play Time!"},"content":{"rendered":"

\"\"<\/a>Leading distributors weigh in on kids\u2019 content acquisition trends across Asia. <\/em><\/p>\n

The consensus among leading kids\u2019 content executives heading to the Asia TV Forum is that streaming players have dramatically altered the landscape in the region. It\u2019s no surprise, given how much Netflix, Amazon and others have reshaped the children\u2019s media business everywhere else. But the speed with which it has happened in AsiaPac was somewhat unexpected, and it\u2019s not even the global giants making the loudest noise. Indeed, it\u2019s the Chinese players that have made the most headlines in the kids\u2019 business lately. Of note, this past MIPCOM, Alibaba announced it was co-producing Genius Brands International\u2019s Stan Lee\u2019s Superhero Kindergarten<\/em>, and its streaming platform Youku landed the rights to 100-plus hours of CBeebies preschool content.<\/p>\n

\u201cThe most important change we are seeing is that the nonlinear business is growing dramatically at the territory level, with new platforms increasing at quite an impressive pace,\u201d observes Dorian B\u00fchr, the head of global distribution at Studio 100 Media.<\/p>\n

Raphaelle Mathieu, senior VP of sales, acquisitions and new media at Cyber Group Studios, reflects a similar sentiment, noting: \u201cIn all the countries in Asia, digital is becoming stronger than ever and we have to adapt to this new broadcasting structure.\u201d<\/p>\n

Nuno I, sales director for the Asia Pacific at Hasbro\u2019s Allspark, says the company has positioned itself as a key supplier to new digital services eager for \u201cwell-known iconic shows to bolster their kids\u2019 offering. We have some of the biggest names in our catalog, which puts Hasbro content in high demand.\u201d<\/p>\n

While digital is becoming an increasingly lucrative part of the value chain for distributors, \u201cpay and free TV continue to play a major part in our 360-degree strategy as we work with them to distribute franchise and new programming,\u201d Nuno I notes.<\/p>\n

Indeed, \u201ctelevision remains our main focus for the first window,\u201d reports Studio 100\u2019s B\u00fchr. \u201cIt continues to be the most important medium for creating a high level of awareness of a property and thus remains crucial, especially for our merchandising and licensing partners.\u201d<\/p>\n

Federico Vargas, VP of distribution at 9 Story Media Group, echoes Nuno I\u2019s perspective when he says that working with digital platforms requires \u201ccareful attention to brand management and a tactical approach to building recognized IP through our distribution and merchandising and licensing divisions. We are keen to take advantage of the ability to work across digital platforms, like YouTube, as well as territory-specific platforms. Traditional partners and linear channels, too, still play a crucial role and are important to us as they evolve with the new media landscape. With a property like our Emmy-winning Daniel Tiger\u2019s Neighborhood<\/em>, for example, we are finding that a multiplatform approach is an optimal way to build a brand, ensuring linear TV, YouTube and territory-specific digital platforms play a crucial role.\u201d<\/p>\n

B\u00fchr adds, \u201cWe are more cautious when selling a new show, especially with regard to \u2018free\u2019 VOD content. However, depending on the region, AVOD can coexist with television at the beginning of [a show\u2019s] life cycle without jeopardizing each other.\u201d<\/p>\n

RIGHTS AWARE<\/strong>
\nCyber Group\u2019s Mathieu observes that working with traditional linear broadcasters in their requests for more digital rights is an additional complication. \u201cWe are, of course, ready to take this turn and are open to new business models, but these new partnerships need to be fruitful for both [sides] and we need to work to structure new models. Working only on revenue share, as many OTT players are suggesting, is not the best option for an independent production-and-distribution company like we are, and probably not the most sustainable business model.\u201d<\/p>\n

From linear to digital, there\u2019s a broad range of kids\u2019 genres in demand across AsiaPac.<\/p>\n

\u201cEach territory in Asia has its own taste and particularity,\u201d reports Mathieu. \u201cEven though we can see that comedy-driven shows and CGI productions are performing well, we also notice that some broadcasters are looking for more arty and educational content. This is what makes this market so interesting and dynamic: a plurality of genres and diversity of needs.\u201d<\/p>\n

Vargas at 9 Story agrees: \u201cDespite the ever-changing media landscape, audiences across AsiaPac have always responded positively to excellence in animation in all genres, whether it\u2019s preschool, 4-to-9 or 6-to-12. This is extremely beneficial for us because of our extensive library of over 4,100 half-hours of distribution content.\u201d<\/p>\n

With a slate at ATF that includes the new preschool series Book Hungry Bears<\/em>, Vargas adds, \u201cShows with large IP and pedigree, like Clifford<\/em> and Moon and Me<\/em>, are also particularly standout performers in Asia and seem to get the most considerable traction. At the end of the day, universal storylines resonate with children all over the world. This is true of Daniel Tiger<\/em>, which has been sold to over 180 territories and performs particularly well in AsiaPac.\u201d<\/p>\n

Ania Rozenszprung-Clinton, the head of sales and acquisitions at Monster Entertainment, highlights \u201cpreschool big edutainment brands,\u201d such as the company\u2019s own The Day Henry Met…?<\/em>, shows based on a STEM curriculum, like Earth to Luna!<\/em>, and non-dialogue properties such as Jungle Beat<\/em>.<\/p>\n

For Allspark, key drivers have been the boy-targeted Transformers: Cyberverse<\/em> and the more girl-skewing My Little Pony: Friendship Is Magic<\/em>, which Nuno I says features \u201crelatable storylines.\u201d<\/p>\n

At Studio 100, B\u00fchr cites the strong demand for \u201ccurriculum-based content for preschool children, always in combination with fun and comedy elements. Buyers are looking for shows that have a central character, friends, positive role models and a sense of humor. For preschool and kindergarten, it is also always good to offer elements such as enchantment, adventure and action that appeal to girls and boys alike. In addition, and above all, every story must contain positive values such as friendship, loyalty and honesty.\u201d<\/p>\n

HOT MARKETS<\/strong>
\nAs for where business has been most active, B\u00fchr mentions China, Korea, India, Indonesia, Japan and Thailand. \u201cHowever, it\u2019s our policy to target all territories across the region,\u201d he adds. \u201cWe put a lot of effort into dealing with broadcasters from smaller Asian countries, and we have noticed an increase in demand from Southeast Asia.\u201d<\/p>\n

China, meanwhile, has become increasingly vital for Studio 100, B\u00fchr continues. \u201cFor example, UYoung is our partner for licensing and merchandising for our brand Mia and me<\/em>. We are very pleased with our successful collaboration with UYoung and its ongoing efforts in bringing Mia and me<\/em> to China\u2019s state-owned broadcaster, CCTV. It licensed Mia and me\u00a0<\/em>for its children\u2019s channel CCTV-14, which reaches over a billion viewers.\u201d<\/p>\n

China has also emerged as a significant territory for 9 Story, Vargas reports, \u201cand continues to be an important market despite current challenges. We are seeing tremendous growth and proliferation with OTT outlets.\u201d<\/p>\n

Peppa Pig<\/em> has been key to cementing Entertainment One Family & Brands\u2019 positioning in China. \u201cThis year a bespoke Chinese New Year campaign saw the brand\u2019s first nationwide cinema release in China and exclusive merchandise to celebrate the Year of the Pig,\u201d notes Monica Candiani, executive VP of content sales. The beloved Peppa<\/em> is also building strong momentum in India and recently landed a volume deal in Korea with EBS.<\/p>\n

China has also been a key focus for Monster Entertainment, Rozenszprung-Clinton observes, and the company has an eye on growing its business in Malaysia, Thailand and Indonesia.<\/p>\n

Allspark\u2019s Nuno I is also focused on expanding the company\u2019s business in Southeast Asia, notably Indonesia and the Philippines, while building on its brisk trade in China, India and Korea.<\/p>\n

\u201cTaiwan, Singapore, Korea and India are markets we have strong relationships with and we want our collaboration to continue,\u201d says Cyber Group\u2019s Mathieu. \u201cWe have also been very pleased to start strong partnerships with Myanmar, which is a territory open to acquiring international animation. For the year to come, we have the ambition to build new partnerships with Indonesia and Malaysia, and, of course, Japan is a key market for us; we are working to strengthen our relationship with the different actors.\u201d<\/p>\n

LOCAL TALENT<\/strong>
\nWhile tapping into opportunities with new buyers, several distributors are also looking to AsiaPac as a hub of talent. \u201cOver the past 12 months, we\u2019ve seen an explosion in original content production and local IP in the kids\u2019 space across the AsiaPac region as audiences mature and reach for more and more new content,\u201d says Allspark\u2019s Nuno I.<\/p>\n

Of note, 9 Story Media Group acquired PT Bali Animation Studio and PT Bali Animasi Solusi Ekakarsa (collectively known as BASE), a full-service CGI animation studio located in Indonesia. \u201cNow rebranded as Brown Bag Films Bali, the studio bolsters our production pipeline and cements our commitment to the AsiaPac territory,\u201d Vargas says. \u201cIndonesia is a key area of focus for us after establishing Brown Bag Films Bali, which demonstrates our wholehearted dedication to growth in Indonesia as well as all of AsiaPac.\u201d<\/p>\n

Co-producing with Asian animation houses is another potential avenue of growth for some leading kids\u2019 distributors. \u201cOur animation studios Flying Bark Productions in Sydney and Studio 100 Animation in Paris have been very active and have been co-producing in the region for years,\u201d says B\u00fchr. \u201cA large portion of our hit shows are born out of co-productions with partners across the Asia Pacific.\u201d<\/p>\n

B\u00fchr highlights Doctor Space<\/em>, a collaboration between Fantawild Animation in China and Studio 100\u2019s Little Airplane Productions. \u201cWe plan to co-invest in the production of this brand-new TV series and IP initiated by Little Airplane,\u201d he says.<\/p>\n

\u201cWe are open to co-production with Asian players,\u201d notes Cyber Group\u2019s Mathieu. \u201cWe know this market has a lot of skills and expertise in the animation field. Aside from co-production, we would also be glad to partner on a distribution model with Asian producers.\u201d Cyber Group already represents a number of series that involve animation houses in Asia, among them Purple Turtle<\/em>.<\/p>\n

IT TAKES TWO<\/strong>
\nMany other distributors have been looking to Asia for IP to take to the global market. Monster Entertainment, for example, arrives at ATF with the South Korean animated series Wow! Wow! Rolling Friends<\/em>.<\/p>\n

\u201cIPs we currently distribute do have partners from AsiaPac as cornerstones of the productions,\u201d says Vargas at 9 Story. \u201cFor example, our new distribution property, Book Hungry Bears<\/em>, is a co-production between New Zealand\u2019s Pukeko Pictures, Canada\u2019s Breakthrough Entertainment and China\u2019s Hengxin Shambala Kids. [Our] Chinese-based property Luo Bao Bei\u00a0<\/em>is a co-production between China and Wales that was nominated for an International Emmy Kids Award.\u201d<\/p>\n

Vargas adds that with the creation of Brown Bag Films Bali, the company will explore \u201cpotential co-productions down the road. We look forward to the opportunities that the studio will open up.\u201d<\/p>\n

On the company\u2019s overall expectations for its AsiaPac business, Vargas adds, \u201cWe expect to continue building as a brand-management company and expanding regional awareness of our core IP through distribution and merchandising operations. We also expect growth among pedigree IPs and series, like Daniel Tiger<\/em>, Clifford<\/em> and Moon and Me<\/em>, as we know those resonate within the territory.\u201d<\/p>\n

WHAT\u2019S NEXT?<\/strong>
\nCyber Group\u2019s Mathieu is also feeling upbeat about prospects for the company\u2019s business across the region. \u201cThis last year has been very lively in the Asia-Pacific region. Year after year, we have to adapt to the market evolution. While historical partners have shut down or are reshaping their kids\u2019 dedicated channels, we were happy to notice other partners are coming to the market with a stronger and bigger [approach] oriented to kids.\u201d<\/p>\n

Mathieu adds, \u201cIt is also essential to pay close attention to the diversity of players in Asia. This past year we got the chance to meet new partners with whom we want to establish long-term partnerships. Asia is a keystone market for us, and we are more than glad to bring high-end productions to it and see the strong interest of the broadcasters growing.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

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