Power Rangers<\/em>, a live-action series.\u201d<\/p>\nDumont continued, \u201cOur slate covers the full spectrum of demographics and genders, always with a strong commercial angle to them. We\u2019re looking to develop properties with significant licensing and merchandising potential.\u201d<\/p>\n
Hasbro completed its acquisition of eOne in 2019. \u201cThe eOne team brings extensive expertise on the content-creation and brand-management sides,\u201d said Dumont of the integration. \u201cThat was combined with Hasbro\u2019s strong consumer products, toy and game expertise. So it gives the combined organization a true advantage in the marketplace. Our teams share many of the same values and that deep desire to be a brand-led business as perthe brand blueprint strategy, which was crafted by Brian Goldner and the Hasbro senior leadership team prior to the integration. That blueprint strategy is 100 percent aligned with the brand-led business strategy eOne has been implementing over the past 15 years. A good chunk of the last two years has been spent on turning that brand-led vision into reality for the combined portfolio.\u201d<\/p>\n
On navigating the landscape today, Dumont noted, \u201cIt\u2019s super hard to break through, so it\u2019s critical to have brands with content rolling out on as many platforms as possible, in order to register with the target demographic. This means creating more short-form and interactive content to complement the traditional content produced for linear and VOD. That\u2019s the piece that is probably more difficult for smaller companies. Having deeper pockets [helps] when it comes to marketing these brands, to make sure you\u2019re directing consumers to these different platforms.\u201d<\/p>\n
The target demo of a brand will inform the strategy, Dumont said. In preschool, having exposure on multiple different platforms is crucial. For example, Peppa Pig<\/em> has been \u201cvery strong on linear, on various SVOD platforms and YouTube. That boosts the awareness for the brand and allows it to remain relevant commercially despite the masses of preschool shows constantly launching.\u201d<\/p>\nDumont has a long history with Peppa Pig<\/em>, starting his work on the brand when it was a hit U.K. property but had yet to conquer other shores. At the time, he set out to understand \u201cwhat it was about the strategy that had been implemented in the U.K. to reproduce it in as many markets as possible. That\u2019s what we did.\u201d That included making sure the show had the right home and scheduling back-to-back episodes. \u201cIt\u2019s taken a long time to have Peppa<\/em> be successful in that many markets. We were building it in every single one of these markets individually.\u201d<\/p>\nEpisodes are still being produced for the beloved series. \u201cThe beauty of Peppa<\/em> is that because it\u2019s about daily life, it can be about anything. Like Seinfeld <\/em>for preschoolers! You can tackle so many subject matters relevant to kids\u2019 daily lives. The number of themes you can tackle is so vast it has allowed Astley Baker Davies to continue making episodes. We\u2019re going to be making the new seasons with Karrot Animation.\u201d<\/p>\nThe company is also working on new content for Transformers<\/em>: the comedy series Transformers:<\/em> BotBots<\/em> for Netflix and a show for Nickelodeon that \u201cbrings humans into the Transformers<\/em> world. There will be equal parts comedy and action. It\u2019s going to bring a lot more kids, including girls, into the universe of the series.\u201d<\/p>\nAddressing the use of data analytics in making programming decisions, Dumont said, \u201cWe use it a lot more directly in our digital slate. We\u2019re creating all sorts of short-form animated content in all sorts of techniques\u2014CGI, 2D, stop-frame. It\u2019s a quicker turnaround, so we\u2019re using the trends that we see coming through on YouTube. More than data, it\u2019s insights from focus-group testing and more traditional ways of qualitative and not just quantitative research to inform the types of themes and the development process on our longer-form series. We use a lot of research in developing these shows.\u201d<\/p>\n
The digital team is developing short-form extensions to existing long-form IP, Dumont said. \u201cIf it\u2019s animated, we\u2019ll create in-real-life content, as we did with PJ Masks<\/em>, and that\u2019s massively successful. Kids love putting on their costumes. We\u2019re creating live-action segments with real kids. We\u2019re doing that on Power Rangers<\/em>, too; we have a show called Power Rangers: Kids Force<\/em> with younger kids who transform into Power Rangers. We\u2019re rolling that out on YouTube. We\u2019re doing a lot of stop-frame content on each of our different brands.\u201d<\/p>\nNew shows will be launched with an array of different content extensions, Dumont added, allowing \u201ckids to interact in many different ways with those characters.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
TV Kids Festival continued this afternoon with Olivier Dumont, president of eOne Family Brands, discussing the unit\u2019s approach to developing new IP and managing known franchises from the extensive Hasbro portfolio.<\/p>\n","protected":false},"author":290,"featured_media":22384,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[2678,5723],"class_list":["post-22383","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-olivier-dumont","tag-tv-kids-festival","pmpro-has-access"],"yoast_head":"\n
Olivier Dumont Talks Franchise Management - TVKIDS<\/title>\n \n \n \n \n \n \n \n \n \n \n\t \n\t \n\t \n \n \n \n\t \n\t \n\t \n