Brands need to explore the potential of animation for branded content: Cosmos Maya’s Megha Tata

The animation studio Cosmos Maya recently collaborated with content production house Murty Media to bring to life author Sudha Murty's literary works in an animated series titled Story Time with Sudha Amma.  Streaming on Murty Media’s YouTube channel, the series is available in six languages – Hindi, English, Marathi, Kannada, Tamil, and Telugu, and showcases 52 stories.

In an interview with afaqs!, Megha Tata, CEO, Cosmos Maya, says the show is rooted in Indian culture and addresses a prevalent gap in the children’s content where much children’s literature has been predominantly Western-centric. 

Speaking about the potential of animation, she says more brands should use it for content integration. 

Edited Excerpts:

How did the partnership between Cosmos Maya and Murty Media come about and what does it bring for Cosmos Maya?

Cosmos Maya Animation Studios has over 27 years of experience in creating animated content for various TV platforms. It was a matter of pride to collaborate with Murty Media. The opportunity emerged through Aparna Krishnan, the daughter-in-law of Sudha Murty and the head of Murty Media. The prospect of bringing Murty's books to life through animation was a dream come true for our team.

Our journey with Murty Media commenced with the identification of 52 stories from Murty's extensive repertoire. These stories have been skillfully crafted into an animated show titled Story Time with Sudha Amma, which will be featured on Murty Media's YouTube channel. This collaboration epitomises a harmonious partnership between like-minded individuals dedicated to creating beautiful, engaging content for children. 

Cosmos Maya has a host of successful shows on television. What are the reasons for choosing YouTube for this show and not television?

The choice of YouTube as the platform for the show aligns with the evolving landscape of children's content consumption. The paradigm shift from traditional TV to digital platforms, especially for kids, is evident. While many have transitioned to digital, TV still holds its ground, creating a dual existence rather than an exclusive shift. Reaching the entire audience requires a dual presence. 

This strategic choice ensures that our content, tailored explicitly for kids and families, reaches its intended audience effectively.

Murty saw a dearth of stories for children rooted in their own heritage. Rooted in Indian culture, it addresses that gap in content. In a world where much children’s literature has been Western-centric, our show aims to provide relatable narratives for our young audience.

Murty's vision for stories embedded with moral values comes to life in this uncomplicated storytelling approach. The targeted age group appreciates the simplicity, making it an ideal platform for both entertainment and imparting moral lessons. YouTube emerges as the perfect medium for a show that encapsulates the essence of Indian culture in a straightforward and meaningful manner.

What are some of the changing trends in kids' content and consumption patterns?

Platform consumption has shifted from traditional TV to digital, with YouTube being an important medium. Within the kids’ category, we need to cater to various age groups, such as preschoolers (2-4), young children (5-8), pre-teens (9-10), and teenagers (10-14 and 14+), as they have distinct content preferences. The abundance of options poses a challenge in strategically placing content for optimal reach. 

Balancing presence across platforms is crucial, and the type of content must align with the specific target audience to effectively navigate the varied landscape of audience preferences.

We are currently seeing a rising trend of regional language content. This show also has been launched in six languages-Hindi, English, Marathi, Tamil, Telugu, and Kannada. Are we seeing this trend in kids' content also?

Hindi and English remain popular, but regional languages are gaining traction. We've launched our show in six languages, leveraging the language-agnostic nature of animation. Unlike live-action, dubbing suffices, making the content accessible in diverse languages. 

While content consumption in multiple languages is evident, there's occasional duplication. For instance, English content may be consumed even in southern India. To address this, offering the show in various languages ensures a broader audience reach, acknowledging the fluidity in language preferences and consumption patterns.

In today’s era, with strict guidelines, brands are facing a challenge in advertising to kids. Are brands considering in-content integrations for kids' content?

More integration between animation and brands should happen. While a few shows have explored this avenue, the examples are limited. Considering my experience in both TV and production, I strongly believe in the potential of branded content with animation. In live-action, advertiser-funded programs and brand solutions have thrived, and a similar approach could unlock untapped opportunities in the animation space, a domain where such integration is not as common.

Unfortunately, the perception, globally, tends to associate animation primarily with kids' content. However, animation is a versatile medium suitable for various audiences, including adults and youth. Shifting this historical perspective opens up opportunities for discussions and exploration of new ideas and possibilities in the realm of adult and youth-oriented animated content. We can collaborate with marketers to produce animated content for their brands. We can create animated series, for example, like TVF’s live-action brand integrations.

According to you, why have brands not explored animation yet? Is it the cost factor?

Maybe because no one's really put their mind to it. While animation is a complex and potentially costly process, someone needs to believe and take that chance. I strongly believe that it is an opportunity waiting to happen.

Are you reaching out to brands and urging them to associate with you more?

Yes. We require more individuals to consider these possibilities. While discussions are happening, implementing such ideas will take time. We possess the talent and capability to bring great ideas to life. It's essential for someone to grasp the potential and actualise it. Brands can derive significant value by considering these opportunities. It's a matter of waiting for that pioneering client to take the leap.

Speaking of producing content beyond children's shows, with the rise of OTT platforms, are you exploring content beyond traditional kids' television programs?

We're eager to collaborate with platforms that are open to the idea and contribute to the creation of animated content tailored for adults or youth. 

In recent interviews, you have spoken about looking for alternate ways to create new business models. What are some of the new options you are considering?

Unlike traditional partnerships with TV networks, the Murty Media opportunity showcases a novel approach. With a limited platform landscape and numerous players, diversifying our strategy becomes crucial. This collaboration exemplifies the potential for innovative partnerships in a challenging market. Additionally, our strong presence on YouTube, particularly with the ‘Wow Kids’ brand, boasting 35 channels and over 100 million subscribers, provides another avenue for optimising our content delivery.