SVODs: The Producer’s Perspective

Posted on: Friday 12 June 2020 6:39pm

Fayon Dixon welcomed the participants and introduced two perspectives on how the SVoD platforms are conducting their kids’ business and their relationship with the young audience.

 

Ampere Analysis

Richard Cooper of Ampere Analysis began the session with a look at the recent data regarding the main UK SVOD providers and their catalogues of kids’ content: Netflix 12%, Amazon 11%, NowTV 16%. These established SVODs broadly maintain a consistent level of kids’ content with some slight growth in kids’ TV shows on Netflix and a slight decline on NowTV in favour of kids’ movies.

To maintain relevance, SVODs are having to refresh content. On all platforms, more content has been added than removed. This is especially evident since lockdown. The growth in the catalogues may have an impact on platform navigability and the visibility of shows. There is evidence of more dependence on indie producers and distributors for new content. The SVODs themselves are contributing very little original content, focusing more on licensing 3rd-party IP.

Gaps are emerging in kids’ content for SVODs and the data shows what genres are currently missing from programming (and therefore what might be more desirable to the SVODs). Netflix is commissioning more animation, which is part of its recent strategy. Signs are that demand for animation will continue to grow because it is more transferable to global audiences than live action. Education-tagged content on the 3 main SVOD platforms is limited because it is not core to their brand.

 

Kids Know Best

Jay Mills began with a key finding of the recent research (presented for the first time at this webinar), which is that 9/10 parents are influenced by their kids when deciding to retain SVOD services.

Netflix and Disney+ have emerged as clear kids’ favourite SVOD providers, with AppleTV and NowTV seeing more people leave than subscribe. YouTube is recognized as a key player, but it’s still behind Netflix and it lacks parental trust. The position of Disney+ in the UK marketplace is significant, given that it was launched so recently.

Viewing of VOD is up 48% overall since lockdown began. The top shows in the youngest demographic are those that have broad exposure across multiple channels (‘Peppa Pig’, ‘Paw Patrol’, for example). These are the shows that also have major merchandising. For kids 12+, the top shows are live action destination shows (e.g. ‘Stranger Things’) that they find on their own.

Key takeaways:

  • VOD is valuable because households are watching more during this time.
  • Mass exposure of shows is key to popularity.
  • Older kids do not need spoon-feeding; they’ll find their own content.

Pete Robinson then outlined some conclusions based on the findings:

  • Disney+ has not yet impacted the popularity of other SVOD providers.
  • Austerity may soon determine parents’ subscription decisions going forward (some SVODs will suffer), and parents are guided by the needs/interests of their children. Affordable bundles may be the future.
  • Movie releases may change, and we may see changes to how films are produced and packaged, inspired by the recent success of the ‘Trolls’
  • Parents are much more aware of their parenting choices since lockdown began and they are now more interested in “appropriate content”. Good news for dedicated kids’ media makers!

 

The recording of this session will be available on the CMC YouTube channel on Sunday June 14.

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