Content Producers/Sellers

Here at Zuku we aim to make affordable, high quality home entertainment available to a rapidly growing, choice conscious and underserved East African middle class. We have numerous of channels like Zuku Entertainment, Zuku Life, Zuku Movies Max, Zuku Sports just to mention but a few which bring you programs like Statehouse, Groove Theory, Mentality, Hyped East Africa, Afro Fuse, Tales from the bush ladder. The prorgams range from cooking shows to dramas to movies to sports etc.

If you are a producer/film maker out there trying to get your content on local television and have failed, how about trying Zuku. We are looking for content to serve our many channels.

Here is what we are looking for in the kind of content that you have to submit to us and the approach and processes involved in a nutshell:

PROGRAM REQUIREMENTS

  • Concept originality
  • Regional (Universal) appeal
  • Resonance with targeted audience
  • Exportability to other buyers
  • Long shelf life
  • High production values
  • Program appeal to channel profile
  • Unique buying and selling points

SOURCING APPROACH

We have three main approaches when it comes to sourcing for content:

  1. Licensing
  2. Commissioning
  3. Co-production

Licensing

  • Involves paying an agreed fee for an already produced and ready to air program
  • It is determined by their program requirements, territory, history and demand
  • Producer undertakes all costs and aims to recover the cost from distribution
  • We buy limited runs for a period of time, for a specified territory
  • Allows producer to redistribute the program to other buyers after the expiry of their agreement
  • Intellectual copyright remains with the producer 

Licensing process

  1. Producer/content owner approaches Zuku with a copy of a ready-to-air program and proposal
  2. We review the submissions in line with the above requirements, and accept or decline
    ***If declined We inform the producer why the program has been declined via email, phone or face-to-face
  3. If the program meets at least 80% of the requirements, We propose changes to be made
  4. If the producer is in agreement with the proposed changes, We issue an offer
  5. Negotiations around license fee, number of runs, territories, etc begins
  6. A contract is then issued 

 Commissioning

  • We issue a brief to the industry with the objective of developing their own content
  • Alternatively, producer can sell their concept to them for consideration to develop the content
  • Cost of production is fully funded by us
  • We own the Intellectual Property rights

Commissioning process

  1. We issue a brief to the industry that states the specific requirements for commissioning
  2. Proposals are submitted by the producers as per the proposed deadline
    ***Proposals submitted after the deadline are disqualified
  3. We review the submissions and shortlist proposals based on their eligibility and viability
  4. Producers are then invited via email or phone to a pitching session in front of a selected panel
    ***Rejected proposals are informed
  5. Producer (s) of the selected proposal are informed and discussions begin around development of the program
    ***Rejected proposals are also informed
  6. A contract is then issued

Co-production (in exceptional cases) 

  • Involves where a producer has a concept and is seeking partial funding for production
  • Partial funding could be a 50-50 share for the production cost or could be higher/lower for us
  • Producer should be willing to meet at least 50% of the proposed production costs
  • Background Intellectual Property rights remain with the producer, i.e. concept, trademark, etc
  • We jointly share the foreground IP rights, i.e. distribution rights, sponsorship and/or advertising costs as agreed by both parties

      Co-production process

  1. Producer submits a concept and proposal to them with their terms of requirements
  2. We review the proposal and in line with their requirements, We accept or decline
    ***If declined We inform the producer why the program has been declined via email, phone or face-to-face
  3. If the program meets the requirements, We discuss terms of engagement, i.e. concept, budget, distribution, sponsorships, etc
  4. If We reach an agreement on the above terms, We draw up a contract
  5. Joint development process begins as per the agreed terms

 We also aggregates and distribute content, mainly East African content, African content. We mainly distribute to regional and international broadcasters with african broadcasters being the largest consumers.

 DISTRIBUTION APPROACH

  • Involves sourcing for already produced programs and ready-to-air from independent producers and/or broadcasting stations
  • Discuss with content owners on terms of distribution, e.g. open territories, distribution fee (60% owner; 40% distributor)
  • Producers undertake the cost to deliver the content in the required format as per the buyers specifications, i.e. DVD, Mini DV
  • Delivery and/shipping costs to the buyer are undertaken by ZUKU at no additional charge to the content owner
  • We monitor usage of the distributed content

 DISTRIBUTION PROCESS

  1. Producer/content owner approaches ZUKU with a copy of a ready-to-air program for distribution
    ***We also seek out producers and approach them for distribution of their content
  2. We review the content in line with their requirements, and accept or decline the content
    ***If declined We inform the producer why the program has been declined via email, phone or face-to-face
  3. If the program meets the requirements, We issue an offer for distribution. If the program meets at least 80% of the requirements, We propose changes to be made
  4. If the producer is in agreement with the proposed changes, We discuss terms of distribution and delivery
  5. A contract is then issued (if there was none yet)

TARGETED MARKETS

Africa: The largest consumer of locally produced content from Africa. West Africa has expressed much interest for East African content, e.g. My TV, TV4Africa, Viasat 1

Europe: African content has drawn quite a huge interest from European broadcasters and online distributors, e.g. Viasat, CFI, UK Black channel

America: Due to the high influx of Africans in the Diaspora, demand for African content is steadily growing through online distribution.

 CONTENT BUYERS AND SELLERS

  • Buyer and Seller Markets: Markets such as DISCOP, MIPCOM have a high level of available content
  • Festivals: Coast Film Festival, ZIFF are good places to engage directly with producers/content owners
  • Broadcasters: Established relationships with regional and international broadcasters for direct sales 
  • Producer Forums: Hosting industry forums so as to engage producers and content owners
  • Direct Approach: Content owners that may have programs that we would like to distribute

OVERALL BENEFITS

The benefits to the producer are much aligned with the program requirements presented, e.g.

  1. Regional (universal) appeal provides a wide range of distribution possibilities
  2. Long Shelf Life means the program can be distributed for a long period of time
  3. Concept originality means the format/concept can be sold to interested buyers, e.g. Bush Larder
  4. Unique buying and selling points means that the program can be distributed in different formats, e.g. webisodes, linear, etc
    ***All the above with a view to give the producer a return on investment and exposure in different territories