Miptv 2023

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MIPTV 2023: Alliances time and newest trends

The spring of the content market is held in France. Series Mania took place in March 21-23 in Lille, while MIPTV is developed in Cannes in April 17-19. The two events have been organized for the first time with a full format after the pandemic, and taking care of a business that changes at every quarter. What is the main new thing? There is less production by exclusive requests, all rights, as it was the dominant model so far. We see more collaborations, productions hubs, pools, especially co-productions. This is an alliances time.

Spring 2023: ups & downs of content business

Less production by exclusive requests… … more collaborations, co-productions, productions hubs, etc.

Less traditional production models… … more twists: digital synergies, 360 developments, etc.

Less traditional producers and distributors… … more ‘studios’, with di erent models per project

To produce is more and more expensive, while broadcasters and streamers have less budgets, so creative ‘twists’ are required. Recently, the streamers were the ‘customers’ that most required exclusive original productions, but now even they, need to be open to sharing formulas to afford production. This is already touchable in various European territories, especially the big ones.

The ‘studios’ model appears as a good response for this scenario: they are the evolution of production houses to service centers, very flexible with different business models and partners per project. They can create a chain of partners and screens, depending on

Streamers: newest trends

• From SVOD to AVOD/FAST systems

• Less big projects, more episodes of medium ones

• More open to share rights, screens

• Original content keeps on top

• Investment funds, the new players

• Convergence opportunities: pay TV operators, ISPs

their main customer needs. Even many international broadcaster distributors are moving to ‘studios’, below the concept that they produce not only for their traditional screens, but also for third parties. In Spain especially, we see a strong pole of this type of companies: The Mediapro Studio, Buendia Studios, Secuoya Studios, etc. They are emerging and taking relevance through the screenings, events, parties of the conventions.

At the same time, the different tips of ‘twists’ are more and more significant in the content arenas: 360 developments, YouTube and other social media synergies, eSports and gaming, licensing, branded content, podcasts, NFTs, Live shows, toys, etc. All are good to share costs and expand revenues. It is not casual that now many of the main new kids & teen properties, are based on Youtube channels, songs.

What more can be said about streamers? The main recent trend has been the move from SVOD to AVOD/FAST systems, as another search for better monetization. The core business is moving from subscribers to advertisement, again as in the old times. The big titans —Netflix, etc.— are launching AVOD systems, but above all most of the new platforms that enter the market, prefer AVOD or FAST models.

Main

• 360 developments

• YOUTUBE & social media synergies

• eSports and gaming

• Licensing, Live Shows, etc.

• Branded content

• Podcasts

• NFTs and new digital tools

The steamers also are reducing many of their content projects, especially the high-budget fictions, compensating with more episodes of the mid-range ones. When they are interviewed, they stress there is no fall but consolidation, that original content is more important than ever. But their providers are not calmed with these strategies. The alliances keep more projects.

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AV production incentives: A global trend with great impact

Audiovisual co-productions and the incentives to carry them out continue to play a valuable role in the global content industry. With a general rate around 25-30% of eligible spending (although higher rates and other benefits are offered), they can provide developers with the cornerstone of a financing plan for their project and an instrumental role in locating funds. the productions.

The reason for the importance of these continues to grow, due to the additional costs related to the pandemic that seek to guarantee security during filming.

By December 2021, more than 100 incentive programs for film

and television production were being implemented in more than 40 countries.

Emerging markets such as MEA and Latin America have so far attracted significant foreign investment. In 2020, according to the Kearney consultancy, MEA attracted approximately US$3 million and LATAM US$6 million.

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Series Mania: a festival that turned into a good market

SERIES MANIA FORUM 2023 provided three days of very good activities and panels with many iconic players: Netflix, Disney+, Amazon Prime, HBO Max, Paramount+, TF1, France Televisions, Mediawan, Sky, etc. Conclusions?

Mainly five, that make trends.

First, all the opinions PRENSARIO took from participants were very positive. Everybody was pleased at SeriesMania: sellers, buyers,

Explore French TV programmes in all their diversity during MIPTV

Come meet over 40 French TV content distributors at the Unifrance stand: P-1.M4

producers, creatives. Second, many of the required people were at the market for the first time, or second. It was full of new attendees. There is a trend about attending new markets for fresh contacts.

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The heads of Series Mania with Unifrance: Francesco Capurro, director of Series Mania Forum; Sarah Hemar, Director of Audiovisual at Unifrance; Jérémie Kessler, Director of European and international affairs at CNC; and Laurence Herszberg, founder and CEO of Series Mania

Streaming: The return of the secondary content market

In the 1990’s, the annual NATPE (National Association of Television Programming Executives) conventions became famous in the United States as a mandatory meeting point for television executives from the world that could acquire the most successful TV shows and series broadcast by the ABC, CBS, NBC and Fox networks.

In the past:

Sellers: US studios, independent distributors

Buyers: regional networks, independent free TV stations

In the near future:

Sellers: Producers, Independents, studios of big streamers product Buyers: free and low cost AVOD/FAST Systems, free TV, Cable operators, ISPs, multi-aggregators

Key data

Just 15 to 30% of total streaming releases have met Producer viewership expectations

In those days, in the States there were regional networks and hundreds of independent stations in need of programming. This represented a secondary market, known as “syndication television”. It also offered the international buyers – just like the studios’ “Screenings” in Los Angeles, later in May –the chance to acquire, within a single trip and in a single place, the programming for their season at different parts of the world. This scenario is coming back in 2023.

OTT trends to watch in 2023

But, this time the sellers will start to be the producers of the series and movies that have been released on streaming, in addition to the film studios and hundreds of independent producers who have invested in content for online consumption, to later discover that the income —even if it covered the production costs— did not meet their expectations.

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According to Mediastream, the OTT segment is expected to reach USD 1.039 billion by 2027, attesting to a segment that will continue to grow as technology advances. On the other hand, Digital TV Research also ensures that the global revenues of these services will reach USD 243,000 million in 2028 and only in 2023.... around USD 17,000 million will be added. This same report also indicates that by 2027, 1.690 million subscriptions will be added, and only six of them (Disney+, Netflix, Amazon, Paramount+, HBO and Apple TV) will concentrate 989 million connections.

The secondary content market, in the past and to come

Source: Parrot Associates

APAC: Global SVODs are facing competition and opportunities for pan-regional platforms

The increase in viewership (6% QoQ) and premium video subscriptions was driven by strong demand from platforms such as Netflix, Disney+ Hotstar and Viu (particularly in Indonesia and the Philippines); Meanwhile, Amazon Prime Video enjoyed a big boost in Southeast Asia after launching local versions of its service; and Vidio positioned itself positively in the sports segment after broadcasting the 2022 FIFA World Cup.

Digging deeper, Netflix led online video viewership with 42%, across all Southeast Asian markets, due to a strong marketing push in the Philippines, accompanied by a price cut, in addition to the vast library of content offered by the platform.

With a population of over 676 million, rapidly growing mobile broadband penetration, and fewer regulatory barriers than other markets, Southeast Asia remains an emerging market for streaming services. Valuates Report estimates that the global OTT market will register more than USD 1,039.03 billion by 2027. But in the case of Southeast Asia, the success rate may be low.

With several pan-regional platforms on the rise and large streamers reaching this market, Media Partners Asia reported that in Southeast Asia, during 2022, there was an increase of 11.8 million new customers, reaching 43.5 million total paid subscriptions. This number was recorded in Indonesia, Malaysia, the Philippines, Singapore, and Thailand.

MENA: A region of opportunities for the SVOD segment

The African OTT market is one that has been growing substantially for some years now. Digital TV Research forecasts that the continent will have 15.57 million paying SVOD subscriptions by 2028, up from 6.15 million at end-2022.

Content consumption is constantly changing. But that change can sometimes mean back to basics. In this report, Prensario analyzes the trends to take into account in the FAST channel segment, and what’s the new opportunities that bring to the industry.

A very simple definition of FAST platforms or channels is that on the one hand,...

Gaming: a global industry that while grows, converges with content

The gaming segment continues to see good results after the Coronavirus pandemic in 2020. After two years of growth driven by confinement, the global market for this industry in 2022 was ‘corrective’ according to Newzoon: ‘Revenues in 2020 and 2021 were much higher than anticipated at the time, and in 2022, the sector accounted for $184.4 billion, fueled by around 3 billion players worldwide.

The consultancy also ensures that this industry could reach 200 billion dollars, and until 2024 the market could grow with a compound annual growth rate of 8.7%, reaching 218.7 billion dollars.

In addition to Newzoo, Mordor Intelligence believes that the number of global players will continue to grow around the world. The firm dedicated to the video game industry says that the market

Global advertising: A slower-than-expected forecast

Last year, the advertising segment had an upgrade but due to global economic uncertainty and the problems affecting advertising formats, since its second semester, the growth of advertising spending has slowed significantly. Macroeconomic conditions continue deteriorating and advertisers analyze their budgets while they reduce the spending on some channels more than others.

will register a CAGR of 8.94% during the current period and 2028.

Thanks to the expansion of technology, new tools, the considerable increase in the quality of content, the professionalization of e-Sports, streaming services and niche platforms, it also estimates that by 2027, the global industry of gaming could reach 340,000 million dollars.

Netflix: ‘We continue to focus on entertaining subscribers’

On the huge investments in creative content in specific markets, and positioning himself against the tax on big technologies, a measure that the European Commission intends to impose, the coCEO of Netflix, Greg Peters, participated in the recent edition of the World Mobile Congress, on a keynote where he offered recent details and figures of the streaming giant.

The streamer’s presentation began with the executive’s refusal regarding the tax that the European Commission intends to apply to large technologies for the use of telecommunication networks. Peters assured that such an application would have an ‘adverse effect’ for content creators.

‘Netflix is a company that is currently built on partnerships with creators, Internet service providers, device manufacturers and more. Many of whom are represented in this room, at this event. Without those associations, we would have no entertainment for our members and would not exist as a

Greg Peters, co-CEO

company. I believe there is a clear and direct symbiotic relationship between a thriving creative industry and a thriving internet ecosystem. Because? Because consumers want great movies, TV series and games, and they are willing to pay for highquality Internet to enjoy the content they love,’ said the co-CEO.

The executive also referred to the fact that the Telcos and streamers have held many meetings in the past and “have verified” that the growing use of the Internet is ‘a great opportunity’ for them and that this is due to ‘the growing demand for services that we all provide’.

The executive also referred to the ‘immense’ efforts and investments that the streamer has made in favor of turning the wheel equally for everyone: ‘Netflix has invested more than $60 billion in content alone over the last five years.

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Mediawan: more partners, more international

With a solid strategy focused on alliances with leading companies in the content production sector in France and other European countries, Mediawan continues to consolidate its position as one of the most important media groups in Europe, not only in the segment of broadcasters but as a content developer.

Pierre-Antoine Capton, CEO of Mediawan, announced two recent major announcements:

the high-profile acquisition of Plan B, Brad Pitt’s production company, and the investment agreement with Entourage Ventures, a well-known film production finance company. With the first, the executive announced that they are already in the development of joint productions, and with the second, they signed an agreement whereby both companies would invest in series of ‘global reach’.

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The Gray Man was the first film which use the technology Volume Capture, developed with Scanline, the acclaimed VFX studio acquired recently by Netflix

Pierre-Antoine Capton, CEO of Mediawan

ZDF and BBC Studios: together for more high-quality content

It was just before the pandemic, in 2019, when the two broadcasters strengthened their first partnership, whereby they joined forces to develop and produce non-scripted historical fact content with the quality that identifies them.

The first of these was One Planet: Seven Words, from BBC unit Natural Studios, the highly acclaimed 7-part documentary series that audiences of both networks were able to enjoy in their respective countries.

Other works followed: Death in Paradise, Frozen Planet II, A Perfect Planet and The Green Planet; in addition, the first scripted co-production between the two companies, The Chelsea Detective, received critical acclaim across Europe and in Germany, reaching an audience of 2.4 million, 2% above ZDF’s average market share.

In that sense, both companies once again join creative forces to extend this fruitful alliance.

‘The impact of the strategic partnership between BBC Studios and ZDF in recent years has been remarkable, with award-winning titles like Frozen Planet II and new scripted commissions like The Chelsea Detective only made possible with that initial backing’, comments Nick Percy, President of Global Markets at BBC Studios.

RTVE Play+ from inside: how RTVE VOD is growing

Following the transformation from linear to digital offer, RTVE had already been working on its streaming proposal under the name A La Carta, but it was more than two years ago when the broadcaster renewed its strategy and branding of its OTT, presenting RTVE Play, its autonomous platform, to which users can also access Premium content, the SVOD level named RTVE Play+.

In an interview with Prensario, Javier González Núñez, head of RTVE Play+, spoke about the current moment of the OTT, the improvements it has had, and the good performance of the last year.

Although the broadcaster had been a pioneer with a proposal such as A La Carta, the industry and changes in user consumption made it rethink its strategy in the field of streaming: ‘When we started, more than two years ago, we had only series and movies, for what we have done is to improve the content, without neglecting the quality,’ explained González Núñez.

Meanwhile, the content director of ZDF, Nadine Bilke, specifies that the renewal of this alliance follows the company’s strategy of opening up to co-production with key players in the field of broadcasters. ‘Since 2019 we have been working together on extraordinary, high-quality productions that enrich the ZDF programming and inspire viewers. We are delighted to be able to continue and further expand this cooperation with BBC Studios’.

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Nick Percy, President of Global Markets at BBC Studios Nadine Bilke, content director at ZDF

Javier González Núñez, head of RTVE Play+

HIT is one of the most watched titles in the OTT

Samsung TV Plus: strong growth in Europe

Samsung TV Plus continues promoting its FAST business in new markets, with great emphasis in Europe, among which its presence in Spain stands out, where after recent agreements, AVOD reached 100 channels in this territory. In a interview for Prensario, Ana Izquierdo, country lead and business Development for Samsung TV Plus Spain & Portugal, spoke of the great moment that the service that is included in South Korean televisions is experiencing, its recent alliances and what its movements will be for the following years.

‘We are not only growing in volume of content for our users, but also in quality. With recently added channels of international brands, including from the BBC as “Top Gear”, also Runtime film channels, among others. We have also brought in great local brands such as El País, El Confidencial and a channel dedicated to the Pocoyo franchise,’ said Izquierdo.

The executive specified that they are investing in strategic alliances with content providers to give a premium aspect to the AVOD offer: ‘We are going to offer more premium content in the Sports area hand in hand with strategic partners with very relevant content.

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Merzigo: A 360 technology business

Merzigo is a technology-based video monetization and digital distribution company for content rights owners, production houses and broadcasters. With almost 40% of the market in Turkey, the company is expanding quickly all over the MENA and APAC markets while it targets other international markets.

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CINDIE: Curated indie cinema and different distribution models

CINDIE was one of the firts players that acquired the licensed for Parasite film across Latin America

With a great focus on independent cinema, CINDIE offers an extensive catalog of more than 200 titles in more than a dozen territories in Latin America, a market that Jorge Hernandez Barba, Content Delivery Manager, defines as ‘a potential market to be exploited’.

SLL, Korea: from APAC to be a global provider

A subsidiary of JTBC, the generalist Korean pay-TV channel, and one of the country’s leading production houses, SLL is currently the front runner of Korea’s drama/movie production scene, with the nation’s most vibrant and productive studio in the market , according, Joon-suh Park, production director.

In an interview with Prensario, the executive talked about the current moment of the JTBC studio unit, its content strategy and the next steps.

Richard Jakeman, European Head of Business Development Smart TV, Mobile & Gaming, at Samsung

With the addition of DANZ content to Samsung TV Plus offer, the AVOD is seeking fill the gap for sport content

Yigit Dogan Celik, Chairman

Jorge Hernandez Barba, Content Delivery Manager

Maurice van Sabben, Chief Content Officer de DMD

Ana Izquierdo, country lead and business Development for Samsung TV Plus Spain & Portugal

TBS Television: An ‘edge’ strategy for this 2023

TBS Television, the subsidiary of TBS Holdings and one of the largest commercial channels in Japan, outlined its action plans for this year, which focus on non-scripted formats, and development of global projects with strategic alliances.

Mayu Sunaga, director of the global business department, recently commented that they are seeing seasonal markets as great opportunities to boost their current strategy: ‘We want to strengthen relationships with leading overseas partners of new brands’.

Among the current projects the company is working on, the reboot Takeshi’s Castle stands out, an original game show for Amazon Prime Video, which is scheduled to premiere this year.

Also the company’s franchise, Sasuke (known internationally as Ninja Warrior), is in a new version that will have the support of the UIPM

Shahid: upper figures in users and subscribers

(Union Internationale de Pentathlon Moderne). ‘In line with this, I also anticipate that new theme parks based on Ninja Warrior are being prepared, which will be added to those already open in 17 locations in the UK and USA’, added Sunaga.

Being the streaming platform of the  MBC Group conglomerate,  Shahid VIP continues to lead the streaming market in the Arabic region: in 2022 the service it had more than 3 million subscribers, making it one of the top OTTs in MENA, along with Netflix and Starzplay, according to recent reports by company.

Dataxis and  Digital TV Research already place it in the top of the most used services in the region, due to its content, which mixes original content,  MBC’s premiere TV shows, and live channels from the different  MBC affiliates, as well as from allied

Likewise, the company has already released Let’s Get Divorced, the first series in alliance with Netflix, after an agreement with the streamer last year, which included a development agreement with The Seven, its new production label. ‘With a bulget of 2.2 bn euros, The Seven is working with Akira Morii producer of the global Netflix hit Alice in Borderlands, to create content of international value’, commented the executive.

Mayu Sunaga, director of the global business department

Takeshi’s Castle reboot is one of the global profile titles that the company is promoting in partnership with major streamers

Sam Barnett, MBC Group CEO

BUYERS –

What do buyers and commissioners want?

For this MIPTV edition, Prensario International reviews a special survey made by RX France into the mindset of top Iinternational content buyers and commissioners and what they are looking at the markets.

• What is your editorial strategy?

• What type of projects/programs are you looking for?

• Acquisitions coverage?

Alex Piel, Deputy head of drama, ARTE (France)

• VRT is the national public-service broadcaster for the Flemish Region and community of Belgium.

• Stories with a strong narrative in all factual genres, fit for public televisión for a broader audience. Among them, documentaries.

• Belgium, Denmark, France, Germany, Netherlands, Sweden, UK and North America.

John Godfrey, Head of unscripted, SBS (Australia)

• SBS is an Australian public broadcaster with a Charter that is committed to cultural diversity. Everything that SBS commissions has to reflect and explore some facet of cultural diversity.

• See above. Documental and formats.

• UK

• Public broadcaster.

• All kind of documentaries, talk shows, concerts.

• Austria, Czech Republic, Denmark, Finland, France, Germany, Iceland, Netherlands, Norway, Russia, Spain, Sweden, Switzerland, UK, and North America.

• Franco-German channel ARTE has earned itself a strong reputation in Europe’s media landscape with its high-quality content and open view of the world. Its mission is to strengthen understanding and ties amongst people in Europe with culture and inspiring, innovative programs.

• Drama: Personal dilemmas, period dramas, social comedy, political thrillers: all genres have a home here. Any topic too, however sensitive, as long as the tone is right and the story powerful.

• From all Europe.

Alena

Blahosova, Head of acquisitions, Czech Television (Czech Republic)

• Czech Television /CT/ is the national public broadcaster of the Czech Republic, providing a balanced range of programmes targeting every demographic. CT operates six channels: CT1, CT2, CT24 - 24-hour news channel, CT4 - sports channel, CT:D - kids channel, CT Art.

• We are aware of high-quality scripted production /series and feature films - European and non European production/ and at the same time nonscripted content - documentaries - main topics: history, ancient history, engineering, nature, travel, lifestyle, art, culture, concerts, operas, all kinds of programmes for kids - feature films, animation, live action series, edutainment, documentaries, game shows.

• Europe

Tom Bleyaert, Buyer factual and documentaries, VRT (Belgium)

Mira Vocinkic, Head of Foreign Acquisitions, HRT (Croatia)

Villanueva

• TVUNAM is the cultural tv cannel of the National University of Mexico. Is one of the youngest cultural tv stations in the country and gathers in it’s programming grid an attractive high quality own production with an extraordinary sample of the best cultural and scientific programs of the world.

• We basically look for historical, scientific, arts and culture documentaries, as well as classical films.

• China, Japan, South Korea, Austria, Belgium, France, Germany, Italy, Netherlands, Spain, UK, and North America

Dermont Horan, Director of acquisitions and co-productions, RTE (Ireland)

• Public Service Media organisation which commissions and acquires across all key genres - drama, comedy, documentaries, natural history and children’s programming.

• Drama, comedy, feature films, children’s animation and live action, natural history. Both to acquire and co-produce.

• Belgium, Denmark, France, Germany, Ireland, Netherlands Norway, UK. Australia, New Zealand, and North America

• Operating an integrated multi-channel and multi-platform system in Italy, Mediaset offers TV contents through linear (with 13 Freeto-Air TV channels on DTT) and nonlinear models (through both AVOD and SVOD platforms).

• In the scripted space, we acquire content both for Prime Time and Daytime programming. In Prime Time, we look for broad, mainstream, marketable stories: key genres are period drama, female thriller, action, crime procedural. Limited event series, especially from pre-existing well known IPs, are also a strong area of interest.

• Italy

Sebastian Debertin, Head of international content acquisitions & co-productions, ARD / ZDF KINDERKANAL (KIKA) (Germany)

• KiKA is the number 1 Kids content provider in German speaking Europe with its linear TV channel as well as its various online offerings with programming that ranges from shows for preschoolers to kids from 6 to 9 years up and preteens, so no wonder the channel as well as its shareholders, the 9 affiliates of ARD as well as strong 50%-partner ZDF are all looking for high quality content, locally in Germany, Europe and of course worldwide.

• KiKA looks for premieres of live action series, animated series, feature films and also for animated specials for bank holidays. Also interesting non-fictions offerings and documentaries, aiming at kids age 6+ and also for the age group 10+.

• Worldwide, but must be accessible for kids in Europe.

• The biggest Nation private TV platform in Albania and the most watched TV in the country. The aim is to be the first channel with the best local productions and acquisition programs.

• TV series

• Europe and LatAm: Brazil, Colombia, Mexico, Peru and Venezuela

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Albert Dumami, Head of programming & acquisition, TV Klan (Albania)

Giacomo Poletti, Deputy head of acquisitions, Mediaset Distribution RTI (Italy)

Manuel

, Programming director, TV UNAM (Mexico)

Caracol TV: music at the center of the narrative

Calinos: Adela and Twisted Lives, the highlights of Calinos at MIPTV

Turkish company arrives once again at MIPTV this year with the mission of ‘spreading joy to global audiences, to make them enjoy the drama’, according to Asli Serim, Head of International Sales.

RTVE: The Argonaus, first original live action series for Clan

With a renewed slate, RTVE arrives at MIPTV to show its novelties, such as the children’s fiction The Argonauts, coproduced with Portocabo for the Clan channel, this being the first children’s series created in-house for the channel.

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Caracol Televisión returns to MIPTV to present its new additions: the music series Ventino and the music format The Download Lisette Osorio, VP of International Business at Caracol Televisión, commented: ‘We started the year betting on a new space to bring the industry together, where we will receive our customers with risky content, news and the love of always.

Cineflix: Good Morning

Chuck and a complete factual line-up

As one of the largest independent UK TV distributors, Cineflix attends to Cannes for MIPTV 2023, where the company highlights the dramedy Good Morning Chuck

The Kitchen: back to business in Cannes

Being one of the key events in The Kitchen’s business agenda, at MIPTV the company will attend with delegates from all its studios around the globe.

GoQuest Media presents Erinyes

The leading, independent global distributor of entertainment content, based in Mumbai (India), presents new crime and revenge dramas to MIPTV 2023.

Globo: Telenovelas and premium series

Strengthening its presence in Europe, Globo is attending MIPTV, where the company is bringing soap-operas as Never Give Up and All the Flowers, series as ROTA 66: The Killer Unit and the second season of We Are Five and documentaries like Flordelis: Doubt or Worship

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ABS-CBN ramps up deals to expand content viewership worldwide

An Inconvenient Love was among the most-streamed non-English film worldwide during its premiere week The Philippines leading content provider, ...

RCN: inhouse productions for the world

Leandro and the remake of Coffe with Scent of a Woman are the two titles that Canal RCN bets on in the international market. The first one is based on the life of Leandro Diaz, a national symbol in Colombian music.

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OGM: Miracle of Love debuts internationally

OGM Universe, the distribution arm of production company OGM Pictures (Turkey), arrives in Cannes for a new edition of MIPTV, where it is pushing the recently acquired drama Miracle of Love, which debuted on Star TV last March.

NHK: strong pack of at MIPTV

The development and distribution unit of Japanese broadcaster comes to MIPTV to promote its latest productions. Highlights include the documentary Issey Miyake: The Human Inside the Clothes and the art and culture documentary Not Yet There

TV Azteca: Dramas and succesful formats

With fiction shows and successful formats, TV Azteca comes to MIPTV 2023 to highlights its catalog. Among its formats, The Academy is one of the shows that are pushing in the market.

Mediapro promotes its co-pro Las Pelotaris 1926

The distribution unit of The Mediapro Studio comes to MIPTV to highlight three titles that are part of its seasonal catalog: Las Pelotaris 1926, the musical comedy Upa Next, and the second season of the successful The Head.

Megamedia: New shows and formats with proven success

Based in Chile, Megamedia attends MIPTV to highlight its news. The company has been in full production activity, and recently announced that they have begun filming for a new season of the Sony format, Married with Children.

Kanal D: That Girl and Love & Hate

Kanal D International, the commercial arm of Kanal D, presents its season international slate at MIPTV 2023. Highlights That Girl and Love & Hate.

The first of the titles that Kanal D is presenting is That Girl, which tells the story of Zeynep, a young woman who dreams of being an influencer on social media to escape her poor life. As she tries to achieve her dream,...

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GlowStar Media consolidates its co-production and distribution business

Being commercial agents that support audiovisual producers and creators in all stages of a project, Glowstar Media (Argentina) is going through an excellent moment,...

Selim Türkmen, director of sales

Raya Group: The Sultan & Khan the main title on its line-up

Filmax introduces Selftape, original TV series

The Spanish Joana and Mireia Vilapuig created and directed Selftape, their first TV series produced by Filmax, which will premiere on OTT Filmin next April.

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TelevisaUnivision: A new international line-up and focus on Montecristo

After new additions to the international team of TelevisaUnivision, Guillermo Borensztein, Senior VP of International Content Licensing, highlighted the good moment that the company is experiencing in sync with ViX and its development unit.

Highlighting the period drama, The Sultan & Khan, which after its successful first season already has its second part, Raya Group Distribution participates in MIPTV 2023 to highlight its list of novelties.

The company set commercial records in 2022, Özge Tınaz, sales manager, commented to the Press: ‘We sold more than 2,300 hours of content last year and we want to exceed that figure this 2023’.

Blue Ant Int’l: +350 new hours at MIPTV

Blue Ant International announced more than 450 hours of premium content with thrilling new titles and engrossing new seasons of long-running favourites for international buyers at MIPTV.

Olympusat: focus on the FAST segment

Olympusat arrives in Cannes with news in its business verticals: The company presents a package of FAST channels in English in the European market. With curated content, the channels i’ts focused on feature film genres of drama, fiction, family, horror and more.

ITVX and Rai to broadcast kids adventure fantasy Tara Duncan

Princess Sam Entertainment Group has announced that its hit kids’ adventurecomedy-fantasy Tara Duncan has been sold to major terrestrial broadcaster ITV of the UK and Italy’s national...

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ZDF Studios’ summer highlight: The Swarm

ZDF Studios presents a stellar lineup of scripted and unscripted content along with a range of junior titles at MIPTV 2023. From thrillers to crime and suspense, several new dramas will be launched including the epic eco-thriller...

David Michel from Cottonwood Media presents Spellbound

The executive director and co-founder of the subsidiary company of Federation Studios, talked with Prensario about his new teen series, their current moment and future plans.

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Özge Tınaz, sales manager

All3media reveals the secrets of The Kardashian crew

As one of the titles in its current international catalogue, All3media is highlighting MIPTV the two-part documentary based on the most famous clan in social media television,

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Inter Medya and the sucess of its miniseries

Inter Medya launched its line of MiniSeries a couple of years ago, which opened a new path for Turkish series, moving away from traditional paradigms to make way for a new generation of Turkish narrative.

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Centauro, a full service localization studio

ORF Enterprise (Austria) is expanding its acquisition team, while offering outstanding content internationally in collaboration with Austria’s creative industries. Now the company covers from the development of original content to worldwide distribution, everything on one source.

Merzigo and

complete a monetization deal

The Technology-based video monetization and digital distribution company, Merzigo, complete a new deal with Medyapim for monetizing their content globally.

Since 2020, Centauro has seen a very attractive demand for dubbing Global content in English, Spanish and Portuguese. The company have also increased their pool of Asian languages, to enrich their services and make it revlevant in the market.

Federation Studios launches a digital hub business

Federation Studios (Pascal Breton, Lionel Uzan) is consolidating its digital marketing strategy with the creation of Federation Digital, a cutting-edge hub dedicated to driving new business, which takes the group’s (and its brands) ...

French audiovisual

After an outstanding participation in Kidscreen Summit and Series Mania, Unifrance, the institute that covers French audiovisuals, returns to MIPTV with a large umbrella stand welcoming no less than 45 of its member saler companies.

Daniela Elstner, Executive Director of Unifrance, talked with Prensario, where the executive explained the first months of the year for the organization: ‘In 2023, the Unifrance Rendez-

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Red Arrow Studios: A catalog full of fictions, factuals and formats

Red Arrow Studios International heads into Miptv 2023 with a varied slate of new titles from award-winning creators across fiction-based, factual and format-based entertainment programming.

Unifrance: The great moment of

Daniela Elstner, Executive Director of Unifrance

Regional Spanish broadcasters: Oriol Sala-Patau, executive producer, and Cristina Muñoz, board member, TV3, Catalunya; José Luis Blanco, programming director, eitb, País Vasco; Carlos Blanch, head of acquisitions, TV3; and Aritz Galarza, head of programming and acquisitions, eitb

CJ ENM, South Korea, acquisitions & programming team: Anni Chang, Seung Hoonham, Myeung Hin Lee, Un Ji Sung, and Elaine Blinth

Roku Inc., global: Vicki Liao, senior manager, Content Acquisitions, Victoria Salvadore, content acquisitions manager, Rob Holmes, lead content programming strategy, Jennifer Vaux, Senior Director, Content Acquisitions, and Pablo Corona, consultor for Latin America

Stan, leading Australian OTT: Les Samsung, programming, Chap Leonard, executive director, Worldwide TV & Digital Distribution, Lionsgate, Martin Kugeler, CEO, Caila Scobie, Chief Content Officer and Alex Trippas, content acquisition lead

Latin America: VIX+ (Televisa Univision, Mexico/USA) and Globoplay (Globo, Brazil): Pierluigi Gazzolo, EVP, CFO (Televisa Univision) Marcela Parise, Head of Marketing, Angela Colla, head of sales, both at Globo, Rodrigo Mazon, EVP & GM VIX+, and Raphael Correa, head of business unit at Globo (Brazil)

Germany: Werner, CEO Mainstream Media, ZDF, Oliver Bachert, Beta Film, Jasmin Maeda, Originals Content Development, and Sebastian Flohr, content development, both from ZDF, all from Germany

Prima (Malaysia): Andrea Lok, head of content, Nini Yusof, Deputy CEO, and Amir Johari, COO

Atresmedia TV (Spain) programming and acquisitions team: Sonia Vesperinas Riuz, acquisition executive, Javier Iriarte, programming deputy director, and Juan Ignacio Jiménez Gargantilla, director of acquisitions

Nathalie Woodfield, general manager & COO, Green Pixel

RTBF: Francois Jaddulle, responsible of content development, Roubi Beatrice, coproduction responsible coordinator and acquisitions, Vincent Godfroid, responsible of programmes acquisitions, with Damien Porte, from Can’t Stop Media (France)

OTT/AVOD: Sam Harowitz, content acquisitions and partnerships, and Adam Lewinson, CEO, both at Tubi, with Jasmine Rezai, VP, Content Distribution & Partnerships, and Tom

Productions, with Star Greece: Koralia Georgakopoulou, program director, and Karolos Alkalai, general manager

YLE, Finland: Johana Salmela, acquisitions manager, Kaisa Herlevi, acquisitions

TF1, France: Gregorie Delarue, programming and acquisitions, and Xavier Gandon, head of acquisitions (borders) with Philippe Renouard, Paramount

Asian OTT buyers: Taehoon Park, CEO and co-founder, Watcha (South Corea); Camelia Somers and Kara Mckinney, from Lionsgate; Michelle Jo, business development, and Sol Kim, head of business development, Watcha

TVI (Portugal): Piethein Bakker, director general, Plural Portugal; José Eduardo Moniz, general manager, Margarida Pereira, head of acquisitions and international programming, and Gabriela Sobral, content director

Paramount in Cannes: Consuelo Silva, programming deputy manager, Chilevision (Chile), Rosario Cosentino, format senior content manager, Paramount Spain, and Mercedes Feü, acquisitions senior director, South American Cone – Telefe/Chilevision (Argentina)

Buyers from broadcaster Media

Belgian broadcaster

Mohler, CEO, both at Olympusat (USA)

China: Ying Ling, DY Shangai; Liqiang Zhao, global acquisitions, Huawei; Peng Zhang, acquisitions, Central Cooperation

Phil Gurin, Co-Chairman of FRAPA, Joanne Wallace, sr. commissioning editor, BBC TV (UK), Jessica Schmiedchen, director of development unscripted content, CBC (Canada), Brian Tannenbaun, head of alternative originals, Roku (UK), Hannes Hiller, SVP Development ProSiebenSat1 (Germany), and Julien Degroote, EVP, head of development and international, TF1 (France)

German SevenOne acquisitions team: Christine Flickenschild, group content acquisitions, Nicole Konrader, VP Content, Anna-Katharina Neumann, acquisitions, and Thomas Lasarzik, EVP content acquisitions

Buyers from Mediaset Italy: Samuele FIORI, Programming Supervisor, Paola Ruggeri, International acquisitions, Paolo Carnevale, head of acquisitions, and Angela Ramaccioni, Head of Productions

Jamie Phillips, Lionsgate, with Berengere Terouanne, acquisitions manager, and Sidone Garrett, head of acquisitions, both from M6, France

Oceania and Europe: Tessa Kearins, Head of Content Planning, Disney+ (Australia), David McCawe, Lionsgate Asia, Adrian Wills, General Manager, Drama and Lifestyle, and Emma Azech, Channel Director, both from UK TV (BBC)

Hungary: Andrea Zaras, head of acquisitions, Gabor Fischer, programming director, all from TV2, with Gabriella Vidus, CEO, Peter Kolosi, Deputy CEO, Bianca Balazs, head of acquisitions, and Szabo Balazs, programming director, all from RTL

Belgium: Nico Nulens, head of broadcast operations, DPG, Valerie Daems, acquisitions, Stream2, Stefanie Segers, acquisition manager, SBS, Luc Janssens, head of acquisitions, DPG

Nordic broadcasters: Henriette Hammershoj, acquisitions researcher, Marianne Bjorn, acquisition executive, both from TV2 Denmark, Louse Eberhardt, acquisitions executive at SVT Sweden, and Mette Kuhnell Petersen, acquisition executive at TV2 Denmark

Movistar+ International (Spain): Jorge Ortiz de Landazury, Channel Manager, and Sonia Salas Gutierrez, VOD programming responsible, both from Movistar+, Sergio Lizarraga and Itziar Baztarrica, Secuoya Studios, and Cristina Beltran Gomez Hortiguela, content delegate, Movistar+

Nova TV (Croatia) outside The Palais: George Makris, program director, Nina Mikola, head of acquisitions, Zrinka Jankov, editor, and Aljosa Kokan, programme editor. There were 3100 buyers this week in Cannes

The Baltic TV3 Group: Kart Kunnapas, Acquisition Manager, and Piret Jurman, content producer, Latvia (borders) with Daiva Andrade Gonzalez, senior acquisitions manager, Lithuania

Marie-Laure Hebrard, acquisitions at Film and Pictures, France, Sarah Hemar, executive director, and Hervé Michel, Vice-president, both at Unifrance, Charlotte Tachet, acquisitions, ZED, Nathalie Mayotte, head of content acquisitions, and Virginie Langlois, acquisitions content grand public, both from TeleQuebec (Canada)

Dragan Petrovic, CEO, Visitionary Thinking (Serbia), and Tatjiana Saudet, CEO, Saudet Media (France)

Legenday and Hulu Japan: Asako Kamiya, manager content acquisitions, Kyoko Sekine, Vice Director, content acquisitions, Kazufumi Nagasawa, chief content officer, all from Hulu, with Anne Thomopoulos, partner, and Sam Kozhaya, EVP, Operations &amp, Legendary, and Nozomi Okawa, marketing publicity manager, Hulu

Isabelle Graziadey, acquisitions, Bertrand Lossignol, both Terranova France, with Nippon TV Europe: Chieko Otsuka, content acquisitions, Yuki Sunada, production director.

TV Joj, Slovakia: Peter Adamik, programming manager, Erika Tothova, head of acquisitions, Eva Dzurovcinova, acquisitions

Pilar de las Casas, VP Cinema and Documentary Channels, y Manuel Balsera, director general, Southern Europe, AMC Networks Iberia; Jacques Roldan, VP Client Relations, Iberia and Middle East, Paramount; Ricardo Deben, EVP y Director General, y José Badini, VP Programación y Adquisiciones, ambos de AMC Networks Latin America

AVOD Merzigo (Turkey): Kerem Ersoy, Co-founder, executive board member, Enes Usta, CEO, Yigit Dogan Celik, chairman, and Debkumar Dasgupta, VP, Content Acquisitions & Syndication, at the company’s big stand on the beach

Kanal 7, Turkey: Mehmet Yazjiharman, news manager, Maria Jesus Perez, international commercial director, RTVE (Spain), Yesim Sezdirmez, deputy general manager, and Merve Akman, acquisitions assistant specialist, both from Kanal 7

Dragan Jelicic, Programming Manager, RTV Pink (Serbia), Gordan Bobinac, president, KIP (Croatia),

Stephanie Ebro, head of marketing, StudioCanal, Françoise Guyonnet, head of TV series, StudioCanal, and Alix Lebrat, SVP TV Series, Studiocanal (all France) with Marco Chimenz, Cattleya (Italy)

Programming & Acquisitions from Kanal 2, Estonia: Krispel Volver, Karl Kruuda, Juri Pihel, Risto Rosimannus, Kai Gahler

New Zeland & Australia: TVNZ, NZ: Josh Wolfe, business afairs, Cate Slater, content director, Dan Monaghan, Network Ten, Australia, Ben Quinn, head of programming, TVNZ