Localisation of content is a key to tasting success in kids’ entertainment

The animation industry globally is going through a renaissance period, wherein we get to see many success stories from not just the larger well known studios like Walt Disney, DHX Media and DreamWorks Animation, but also smaller mushrooming studios who believe in creating content that is true to the roots of the country of their origin, but still hold great promise in the global front.
In this session at MIPJUNIOR 2015, this was precisely what was closely looked at. Titled – ‘How to make it in the global market’ the session saw a mix of content creators who are involved in not only creating original content but also taking the IP ahead into various out touch points and giving their IPs a 360 degree presence.
The most pertinent question today is How do you evolve from a local independent producer into a highly-influential studio developing global-appeal animation brands across multiple platforms? This aspirational and practical workshop attempted in providing actionable takeaways for some of the successful producers.
Moderating the panel was Christophe Erbes, a consultant for kids media, and he was accompanied by the panelists Henry Becket from Ideas at Work, a studio out of UK, with Victor Migel from Anima Kichent and Nazl? Güney Uysal from Dusyeri Animation Studio.
Henry had a few interesting stats to share to kick off proceedings, when he stated that 1 of 100 concepts actually make it to the pilot stage, 1 of those then go onto become a series and further on 1 of those 100 series gets a multi-season deal and 1 of the popular children’s property then gains the status of a brand.
Nazli on the other hand shared the journey of her studio, which in the last 7 years has grown to become a 90 man strong team, which provides 360 degree solutions for not just their own properties but for their clients as well.
“We began with the idea of creating original content to fill the void which was present in the Turkish broadcast space and that is precisely what we achieved through our stories and characters,” Nazli said. On the question of overcoming resistance from kids’ broadcasters for local content, she added: “We did face a tough time initially, but when the public broadcaster was looking to promote locally created content, we grabbed the opportunity with both hands and what followed is other kids’ broadcasters lining up to license our content for their channels.”
This is precisely what the Indian kids’ entertainment space needs to take inspiration from as currently with a publishing house, licensing arm and two animation studios, Dusyeri Animation Studio is enjoying revenue flows to the tune of a few million dollars annually.