As the on-demand space continues to fill up with new kid-focused SVOD platforms competing for content and looking for closer relationships with consumers, it’s becoming increasingly important for new players to offer innovative points of differentiation.
Enter London-based start-up ScreenHits – a B2B online platform for the buying and selling of TV content globally that is set to provide direct-to-consumer elements starting this July.
“Five to 7 pilots of the first 50 (pilots) will probably be kid-focused animation.”
Launched in 2012, ScreenHits began as a cost-effective B2B online sharing platform that allows TV broadcasters to acquire high-end original programming (everything from The Walking Dead to Mad Men) from a select group of distributors. To help sell the shows, logged-in viewers provide feedback and ScreenHits then shares the data with its distribution partners.
“We’re very transparent with our data unlike other platforms like Netflix. We share all the data with our customers because we want them to make money and we want to make money too,” says ScreenHits CEO Rose Adkins.
While the site features a wide range of content, kids titles do factor prominently into the strategy. ScreenHits has already inked partnerships with Hasbro, Turner Broadcasting, eOne and Lionsgate to provide yet-to-be-announced content for its consumer launch.
“Our content covers everything from drama, to comedy, to reality and there is a section for kids. Five to seven pilots of the first 50 will probably be kid-focused animation,” says Adkins.
“We work with a lot of kids programming on our B2B site. It’s a huge part of our business and something we will continue to focus on.”
She’s also quick to distance ScreenHits from platforms that aggregate a large amount of kids content.
“We don’t want to be a Netflix. We want to be a site about quality, not quantity. We want to be more of a curated and programmed OTT platform versus an aggregator of back catalogue content,” Adkins says, noting the company’s excitement around giving kids pilots new life when a lot of quality kids content either gets lost on huge aggregator sites or doesn’t ever get completed.
“It’s expensive to produce animation and people are not completing full series, so it’s great to put something out there, test it with consumers, and ensure that quality content doesn’t get lost.”