Channel focus > KIds channels
Digital TV Europe
April 2010
Shows like Bob the Builderare perceived as safe by parents.
that. VOD seems to add a little bit of audience immersion, but I don’t see anyone replacing linear channels because they are such a key part of how people relax. There’s so much more to a good channel than a VOD listing,” says Robinson.
Non-US entities
has become a champion for independent kids studios seeking a channel outlet – notably its shareholder Cookie Jar Entertainment. At the same time, it has distribution expertise in the guise of general manager Paul Robinson and two channel backers, NBC Universal and Corus Entertainment (which also happens to be the parent of Nelvana, thus providing another bank of content). Access to strong international franchises such as Paddington, The Wiggles and Dinosquad has made it possible for Robinson to get KidsCo into 85 countries via four inter- national channel feeds. By controlling the number of video feeds but expanding the number of language tracks to 18, Robinson says KidsCo has found a balance between localisation and financial viability. “The thing that platforms like about us is our high-quali- ty, non-violent content,” he says. “But they also realise that they can get KidsCo at a competi- tive price. It’s a big help, particularly against the backdrop of today’s economic climate.” After a barnstorming couple of years of building out distribution, Robinson says he’s looking to deepen the channel’s presence in markets including France, Germany and Spain. In some ways, this can be harder than tagging a new country to the list, since it implies doing a deal with a major platform player, so what is it that platform operators tend to look for aside from tent-pole shows and a decent financial deal? “Some kind of commitment to localisation is important,” says Robinson, “so we are spending more on regional co-productions. There’s also a grow- ing expectation among platforms that a VOD service will come as a standard accompani- ment to the linear channel.” As a channel provider, how does he feel about this added requirement? Is it an extra burden that, in the long run, could actually kill linear channels? “I don’t see any evidence of
All of the above channels are, at some level, US- backed. But there are a handful of non-US entities that have strayed beyond their domestic market. One high-profile entrant into the EMEA mar- ket is the BBC’s Cbeebies, which has done very well in a short space of time, according to Ian McDonough, vice-president, commercial development, EMEA, BBC Worldwide Channels. “CBeebies is now in 2.4 million homes in Poland and 1.8 million homes in South Africa,” he says. “It’s the number one international children’s channel on Poland’s
Cyfrowy Polsat with Harry and Toto, Mister Makerand Big Cook, Little Cookproving pop-
ular. In South Africa last year, we experienced a 114% leap in our audience share on DStv
with Little Robots, The Roly Moly Showand
connection between the audience and chan- nel. For example, there were events in South Africa this March to promote In the Night Garden books which were hosted by the licensee Penguin Books and supported by CBeebies. We have also arranged deals to pro- mote the channel across our children’s maga- zine licensees in Poland.” Not all of the major players are commercial- ly driven. A significant addition to the market in recent years has been Arabic-language Al Jazeera Children’s Channel (JCC) and its pre- school sister service Baraem. Backed by The Qatar Foundation, the free channels play a key role in delivering a service that has Arabic- speaking children in mind. Although its pri- mary focus is The Middle East, it reaches out to the Arabic diaspora across Europe, securing distribution on platforms including Sky Digital.
Interestingly for foreign content providers, JCC is dependent on international acquisi- tions because of the lack of original content available in its domestic market. However its choices are dictated by the channel’s ethos. Typical of its taste in shows is DQ Entertainment’s new CGI version of The Jungle Book, which it recently picked up. It has also commissioned Jamie Oliver’s Fresh One Productions to make Arabic-language
“We know that if we appeal to kids when they’re young we are able to build a long- term relationship with them.”
Steve Grieder, Nickelodeon
Charlie and Lolaour strongest performers.”
The BBC positions itself as safe, quality pro- gramming. But this needs to be linked to localisation, says McDonough: “The CBeebies schedule is designed with the local audience in mind. There are local presenters in South Africa and Poland to link shows. All programmes in Poland are also dubbed into local language. We conduct research and encourage feedback from viewers to ensure their preferences are incorporated into the channels. We plan to commission and pro- duce local programming in the future.” Echoing the other players, he also under- lines the importance of joined up thinking: “We work with licensees to create a deeper
kids’ show The Flying Saucer. Described as a cross between sci-fi and cooking, the new show fits in with the channel’s remit to deliv- er educative, non-violent content. What other trends are there besides this growth in alternative cultural voices? In the commercial space, Nick’s Grieder thinks channels needs to reflect on the way in which kids are “increasingly attracted to gaming properties that immerse them in a virtual world”. However there is some hesitance about 3D’s applicability in the TV channel space: “I can see the appeal of Avatarin 3D,” says KidsCo’s Robinson. “But I’m not con- vinced 3D is right for kids TV, other than as occasional one-off events.” ●
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