here<\/a>.<\/p>\nAsked about buyers\u2019 attitudes to exclusivity today, Barrett noted, \u201cThey always want exclusivity where they can get it. But there are two factors that are weighing in on this exclusivity piece. One is tightening budgets. The second is accessibility. The release approach needs to be a multiplatform strategy, and having your content on multiple platforms with tightening budgets tends to lend toward non-exclusivity. So, the attitudes are changing based on the complexity of the platform strategy.\u201d<\/p>\n
Goldsmith added, \u201cThe good thing about the downturn that\u2019s happened in the last year is that almost every platform in the world is open to different funding strategies. A platform that has traditionally, or at least in the last ten years, said, \u2018We need global rights,\u2019 has now said, \u2018It\u2019s OK if you bring in a partner in a couple of territories and we can give them a first window.\u2019 That allows us to bring in co-production partners and do a couple of presales.\u201d<\/p>\n
\u201cHoldbacks for FVOD and AVOD are changing,\u201d Prigent noted. \u201cBroadcasters are conscious of the fact that you need to build brand awareness. They are less worried about YouTube and the effect that it will have on their viewership because they understand that it actually benefits them. We used to have lots of holdbacks on these rights; now it\u2019s getting more flexible.\u201d<\/p>\n
Factoring L&M into a windowing strategy is key, Goldsmith explained. \u201cWhen we take something out that has toy value, we sit with the toy companies and ask what they want us to do. Traditionally in the U.S., you had to be on Disney, Nickelodeon or Cartoon Network, and that is still the main priority for some toy companies and retailers, but it\u2019s changing dramatically.\u201d<\/p>\n
Mittens & Pants<\/em>, for example, is using what Goldsmith referred to as \u201cthe CoComelon<\/em> model,\u201d with broad reach across multiple AVOD services. \u201cWe\u2019ve invested in building up our internal operations for YouTube and social media,\u201d he added. \u201cIt depends on the market, but ultimately, one thing we can\u2019t ignore is how important YouTube is to building any brand. No matter what platform you\u2019re on, you need to have a very significant YouTube plan as well.\u201d<\/p>\n\u201cThe dream plan is to have the free-to-air, and then the pay-TV, pan-regional come aboard, and then the SVOD,\u201d Prigent said. \u201cWhat\u2019s interesting is how you promote your content on YouTube. You can suggest to kids in the recommendations for them to go and watch another show of yours, for example, but you can also do cross-promotion with specific content. It\u2019s a whole ecosystem that you need to take into consideration.\u201d<\/p>\n
The \u201cone-size-fits-all\u201d approach to crafting a rollout strategy doesn\u2019t work, Barrett said. \u201cTo Richard\u2019s point, every market\u2019s different, but the one common denominator globally seems to be YouTube. A YouTube strategy is necessary for engagement.\u201d<\/p>\n
Barrett stressed that IP owners need to \u201chave a windowing strategy that makes sense. Particularly with new series, you don\u2019t want to be cutting and structuring deals on AVOD and FAST before the broadcast and SVOD deals just for the revenue that it\u2019s generating. Secondly, be in as many territories as possible. It sounds obvious, but it\u2019s a little more difficult.\u201d<\/p>\n
Finding other sources of revenue outside of content-sales income is crucial, the panelists noted, both to recoup investments on shows and to strengthen engagement.<\/p>\n
\u201cI\u2019m looking at investing in Roblox and mobile games,\u201d Goldsmith said. \u201cAll of that costs money. If you\u2019re going to properly distribute something, as a producer or a distributor, you need to have a pool of investment capital that you\u2019re able to spend. When you go on AVOD in the U.S., we might be on ten platforms, but we don\u2019t get a dime as an advance from any of these platforms; it\u2019s all on a rev share. The only way that we\u2019re able to do that is either with our own financing or to have achieved enough sales outside the U.S.\u201d<\/p>\n
The discussion then moved to the demand for library product. When it comes to established IPs, demand is high, Prigent said. FAST channels are providing an opportunity for older brands to find homes, but Goldsmith is of the perspective that it\u2019s a \u201cchallenging\u201d market for library content for kids.<\/p>\n
\u201cIt\u2019s 100 percent hit-driven now,\u201d he said. \u201cA hit show will always sell. But the evolution of these platforms over the last ten or 12 years is that they go from taking library content to then just doing originals. If you look at our catalog, which includes adult and kids\u2019 content, across the board, it\u2019s the well-known shows that are being sold day in and day out. And the other ones are not.\u201d<\/p>\n
\u201cThe really strong catalog titles are few and far between,\u201d Barrett added. \u201cBuyers do want that catalog title to squash risk aversion. By the same token, they want new, they want fresh. What\u2019s the current hit? So, it\u2019s a balancing act.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
HARI\u2019s Sophie \u201cKido\u201d Prigent, PBS Distribution\u2019s Joe Barrett and Thunderbird Entertainment\u2019s Richard Goldsmith took part in a panel discussion on approaches to windowing as day two of the TV Kids Summer Festival kicked off today.<\/p>\n","protected":false},"author":290,"featured_media":27692,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[21],"tags":[7209,8471,589,1691,6869,3079,9549],"class_list":["post-27691","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-top-stories","tag-hari","tag-joe-barrett","tag-pbs-distribution","tag-richard-goldsmith","tag-sophie-kido-prigent","tag-thunderbird-entertainment","tag-tv-kids-summer-festival-2024","pmpro-has-access"],"yoast_head":"\n
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