MIPCOM 2012 News 3

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DAY

Wednesday 10 October 2012

www.mipcom.com

03

ADRIANA CISNEROS

Cisneros Group’s Adriana Cisneros gives the Keynote speech at the first LatAm Global Dealmakers Networking Lunch See page 12

JASON KILAR

Hulu CEO Jason Kilar gives the Keynote speech Online TV And The Evil Plot To Destroy The World See page 6

JANE CAMPION

Writer and director Jane Campion shares insights on her new drama series Top Of The Lake See page 7

EMILIO AZCARRAGA JEAN

Emilio Azcarraga Jean is MIPCOM Personality Of The Year. He receives his award from Paul Zilk at a gala dinner tonight in Cannes See page 24

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LIFESTYLE | 6 x 30 mins | MIPCOM Stand RB1 Riviera Beach . Cannes www.fmescreenings.com

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For recipes that are designed to make fresh food ďŹ t around our lives

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Contents

did you kn oW?

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The official MIPCOM daily newspaper Wednesday 10 October 2012 Director of Publications Paul Zilk Director of Communications Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Clive Bull, Sarah Kovandzich Reporters Ben Cooper, Andy Fry, Emelia

MIPCO distribute M News : de at MIPC verywhere O more th M and in an in Cann 80 hotels e s a nd vicinity the

NEWS Keynote speeches; conferences; deals signed at MIPCOM

Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, Chris White Editorial Assistant Hannah Stephens Deputy Technical Editor in Chief

6 Harvey Weinstein In step with television

8 Dawn Ostroff It’s the story that counts

Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Marie Moinier, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Georges Auclaire, Olivier Houeix, Michel Johner, Yohann Mortier Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Coordinator Amrane Lamiri Production Assistant Eric Laurent MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Director of Market Development Ted Baracos Sales Director Frédéric Vaulpré Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager Javier Lopez Vice President Sales and Business Development Americas Robert

PEOPLE

Marking Sales Director Latin America JoséLuis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone,

12 Adriana Cisneros Telling the world to grab a piece of the LatAm action

41 Matthew Modine ... in new sci-fi adventure

Samira Haddi Sales Executives Liliane Dacruz, Cyril Szczerbakow Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam ADVERTISING CONTACT IN CANNES Christine Mendes 01 41 90 49 89 christine.mendes@reedmidem.com Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications, Publication registered 4th quarter 2012. Printer Riccobono Imprimeurs Le Muy (France) Printed on FSC certified paper

The MIPCOM News team is located in the Press & News Hub, Gare Maritime

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nce Confere me program P30-32

FEATURES 24 Personality Of The Year Emilio Azcarraga Jean, president and CEO of Mexico’s Grupo Televisa 47 Taking 3D to the next level Matching content with the technology

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neWs Kilar’s evil plot turns Weinstein set to dance all the way to the bank out to be good news

Hulu’s Jason Kilar: “We are active buyers of content from across the globe”

ASON Kilar, CEO of online TV service Hulu, used his Media Mastermind Keynote to tell MIPCOM delegates that his company has spent $500m on content this year.

In a session entitled Online TV And The Evil Plot To Destroy The World, he said: “We have licensed 46,000 hours of content from 400 partners. So my message to you is that we are active buyers of content from across the globe. We are buying for our US service, but also for Hulu Japan.”

According to Kilar, the US service now has 30 million users a month, with two million trading up to the company’s subscription platform Hulu+. In terms of revenues, he said: “We grew 59% to $418m in 2011 and, so far in 2012, we are experiencing faster growth. It’s growing unusually fast.”

Kilar provided case studies of foreign shows like the BBC’s Mis¿ts that have broken through in the US because of Hulu. He also described how the company

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is becoming involved earlier in production, an example being The Wrong Mans, which it is co-producing with the BBC. At the same time, he said Hulu is deepening its partnerships with major suppliers: “We are just announcing a deal with Viacom that will bring Nickelodeon content to Hulu for the ¿rst time.”

While his session title seemed to promise controversy, Kilar did not discuss how Hulu is affecting traditional broadcasters. Neither did he go off script in the way that caused him so much trouble with his shareholder bosses last year (when he said there were too many adverts on traditional TV).

Instead, he focused on the way in which the company is changing the relationship between Hulu users and advertisers. “We have put a lot of effort into making ads relevant to audiences — allowing them to choose ads or trade out of one brand in favour of another. We have applied for 90 patents since launch and a lot of those are focused on advertising technology.”

HARVEY Weinstein, one of the most inÀuential ¿lm producers of the modern era, used his Media Mastermind Keynote to unveil plans for a World Dance Awards — a live TV show he hopes will have a similar impact to the music industry’s Grammys.

Joining the co-chairman of The Weinstein Company (TWC) on the Grand Auditorium stage was ‘Lord of the Dance’ Michael Flatley, who conceived the idea and will work with Weinstein to make it a reality.

Pitching the show to delegates, Weinstein said: “When you put a live performance-oriented event together with results, then you have the potential for a ratings blockbuster that will be game-changer for the networks that buy this show.”

Weinstein is not new to TV, having produced award-winning series such as Project Runway and The No 1 Ladies Detective Agency. But right now he is ramping up both pro-

duction and distribution for the small screen: “TV is such an exciting area at the moment and movies are shrinking to some extent. So it’s the right time for us to get into TV in a big way.”

Aside from his World Dance Awards, Weinstein discussed reality series such as Supermarket Superstars, the epic drama Marco Polo (destined for HBO) and Seal Team Six, a documentary-style drama about the killing of Osama Bin Laden, which will air on National Geographic, then NetÀix. “We have got some great partnerships, including one with Ryan Seacrest on a detective series for cable network FX,” he added.

Wei nstei n, who recently launched his own international TV distribution business, is known as a tough negotiator.

He made it clear that he will be looking to secure decent rights deals from broadcasters for his shows. “I think the equation needs to be more equitable for independent producers,” he said.

Michael Flatley: World Dance Awards creator

TWC’s Harvey Weinstein: “TV is such an exciting area at the moment”

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Campion sets scene for first foray into television drama ELEBR ATED screenwr iter and director Jane Campion is in Cannes to promote her ¿rst TV drama series Top Of The Lake (6 x 60 mins), which stars Elisabeth Moss, Peter Mullan and Holly Hunter.

Set in the wilderness of New Zealand’s South Island, it’s the story of a 12-year-old girl who is found, pregnant, in the freezing waters of a lake. When she subsequently disappears, a detective, played by Moss, is called in to ¿nd her.

A camp for post-menopausal women, led by Hunter’s character, is central to the action. “I really wanted to explore that age group,” Campion told a MIPCOM Creative Talks session.

“No one else is doing so. I see women of that age as tired soldiers of love.”

Co-creator Gerard Lee made clear that the series was no ordinary police procedural. “We were trying to go against the CSI model,” he explained.

Campion brings her distinct visual signature to the show, and she revealed that her interest in making television was inspired by watching the series, Deadwood,

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Jane Campion

which showed her that modern TV drama permitted greater character development, and offered more freedoms than before.

The drama is a See-Saw Films

production in association with Screen Australia, Screen NSW and Fulcrum Media Finance for BBC, UKTV, The Sundance Channel and BBC Worldwide.

Social planning ‘vital to brand’ BROADCASTERS need to be careful about how they plan social media interaction with their programming “or risk damaging the brand”, FremantleMedia’s Claire Tavernier told a packed conference session on Tuesday.

Tavernier was joined on the podium by Fox Digital president David Wertheimer and Blue¿n Labs vice-president of marketing Tom Thai, to discuss the future of TV and changing consumer habits in the social media age.

“There’s been a lot of people do-

ing stuff for the sake of doing stuff,” she added. “We used to refer to it as ‘digital guilt’. But people need to ask themselves what exactly they are trying to do.

“There are so many things to do but social media needs to have a clear objective.”

Wertheimer echoed the need to be focused and selective about how social media is approached.

He said: “It’s easy to fall into a trap. People engage socially in different ways with different shows. The way they interact

with a drama is very different to the way they do with reality. You have to understand that difference and treat shows differently.”

He added that with 30% of 15- to17-year-olds tuning in because they had heard about a show from social media, Fox and other broadcasters were planning their content with social in mind. “We are now making programmes designed to be shared,” he said. We have to make sure people can ¿nd content; it’s going to get ¿ltered through the prism of their friends”.

GLASBERG GLAD TO BE A FREAK “I’M LIKE an eclectic freak, I guess,” said Gary Glasberg, executive producer of the hit American procedural drama, NCIS, at a Creative Talks masterclass on Tuesday. Glasberg was reflecting on his departure as a writer from hit kids’ shows to his immersion in the world of drama, working on the most successful TV series of the last decade.

Now in its 10th series, NCIS is about a fictional team of special agents from the Naval Criminal Investigative Service. Glasberg said that currently the show had a global reach of 23 million viewers and there were 16 million interacting fans on its Facebook page.

“I actually don’t like to think of NCIS as procedural,” he said. “It’s not simply about crime and forensics. We’ve had an interesting evolution in our storytelling where we now place more emphasis on character and what is happening to an individual rather than the crime story.”

“Part of the reason for me to come to Cannes was because of the show’s international popularity,” Glasberg said. “In the writers’ room it is very easy for us to lose perspective and so it’s wonderful to come to MIPCOM and learn more about how we are touching people.”

Gary Glasberg, executive producer, NCIS

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neWs RELEASE MODEL GETS A RETHINK

New challenges for content as TV consumers shift their behaviour Wade Oosterman of Bell Canada: “more and more complex”

Gale Anne Hurd: “terrific opportunity”

THE POWER of the internet and the globalisation of television is changing the way series are released around the world. This was the subject of yesterday’s Creative Talks session, The Walking Dead: Changing The Way TV Is Launched Globally. The session focused on AMC/ FIC’s pioneering day-anddate release model for the global zombie sensation, the third season of which is launching into more than 120 territories next week.

According to FIC’s Sharon Tal Yguado, A-list US television content is increasingly a global phenomenon. Added to that, the internet has opened up a new set of expectations, along with a far greater risk of piracy.

“So there is an urgency to bring viewers closer to the US TX date,” she said.

Executive producer Gale Anne Hurd, whose movie credentials include The Terminator, Aliens and Armageddon and who was last week honoured with a star on the Hollywood Walk of Fame, said that the decision to go with AMC/FIC was easily made: “They offered us something that no one in their right minds would have offered — the chance to bypass the trauma of a pilot and go straight to launch. It was a terrific opportunity.”

ELL Canada’s Wade Ooster ma n has de scribed a “shift from content-centric to activity-centric behaviour” in modern television consumers.

He was speaking about current trends in television audience habits and media technology at his Media Master mind

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keynote speech yesterday.

Oosterman, who heads up Bell Mobility and Bell Residential Services, and is chief brand of¿cer for Bell Canada, said that “all of this activity is now driven by convenience”. He continued: “There are relatively few activities that are core to driving this behaviour, such as messaging

and sharing. Users don’t really care how it’s done, they just want to deliver something, send a message, watch content and share with the person on the other end.”

The trends in technology, particularly in television and online content, are, he said, changing the way media is distributed rapidly and throwing up new challenges all the time.

“Dist r ibution is becoming more and more complex,” he said. “The material needs to be thought through very carefully.

The complexity is at its highest ever point.”

When asked which companies Bell most emulates in the current market during a post-presentation interview by CMPA president and CEO Michael Hennessy, Oosterman said: “We emulate anyone that puts it all together. The challenge of doing that is getting more and more complex.”

CNE says you can’t beat a good story FUTURE digital platforms will boost content CNE is Conde Nast’s mission to exploit the highcreators’ business the way cable networks did dec- pro¿le stories told in its magazine articles for other ades ago by overturning the broadcast-TV models media, including movies and TV series.

The Oscar-winning Brokewith great storytelling, deback Mountain originated as clared Dawn Ostroff, president a short story in Conde Nast’s of Conde Nast Entertainment New Yorker; the Julia Roberts (CNE), multiplatform content ¿lm Eat Pray Love started as a arm of the US magazine pubstory in Allure; Ben AfÀeck’s lishing giant. new thriller Argo is based on a She was speaking at her Media Wired magazine article; while Mastermind keynote — It’s Not another Oscar-winner A BeauJust Platform, It’s Storyline: tiful Mind was inspired by a Compelling Entertainment For book extract in Vanity Fair.

The Digital Age. Those achievements will also “Digital today reminds me of influence CNE’s future stratcable’s early days in the 1980s. egy. “The lines are blurring.

Who would have thought US It is going to be hard to differcable would have a larger share entiate where magazines start of viewers than broadcasters? and video content ends because The new environment is one CNE’s Dawn Ostroff: “digital is new frontier” we’re going to get videos on the big creative sea and, to make waves, you need great storytelling,” she said. “For tablets of our magazines.” all the attention we pay to new technology, what She added: “Cable forced the broadcast networks matters the most isn’t the platform but the content.” to raise their game; digital is also the new frontier Although a company steeped in print publishing, for new shows.”

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neWs TV industry resurgent following Arab Spring I DDLE Ea ster n producers and broadcasters are putting a positive spin on changes in Arabic media since the Arab Spring. But at MIPCOM this week they also warned that there is still uncertainty in the region over fundamentalist threats to freedom of expression among artists and creatives.

These observations and many more came up during two backto-back sessions, The Arab Spring: New Beginnings and The Middle East Broadcasters’ Conversation.

Nabil Kazan, CEO of K & Partners TV Services, started the debate by saying 154 new Arabic stations have been launched in the last 18 months, the result of the relaxed environment in the region post-Arab Spring. He also cited a 35% increase in ad expenditure and a 100% increase in the production of Arab drama series between 2010 and 2012.

Ahmad Abdalatief, director of content at Egypt’s AL-Nahar TV Network, con¿rmed Kazan’s

analysis and added that there is a fresh approach to Arabic drama: “Young writers and actors are being inspired by true-life events.

They are dealing with controversial contemporary events... female characters are more positive... and there’s a move towards longer series.”

Leading producer Sadek Sabbah, chairman of Cedars Art Production, is bene¿ting from increased expenditure on drama. But the UAE-based executive said there is a structural problem in the region because “70% of ad spend occurs in the month of Ramadan, which means producers are all competing for the slots in that month. What we really need is for broadcasters to create a new year-long primetime.”

Bassam Hajjawi, CEO of Jordan’s International Distribution Agency, said there is a fresher feel about drama “because it is moving out of the studio to realistic locations. But aside from the issue with Ramadan, there are concerns about the attacks on artists and creative freedom of expression.”

Sadek Sabbah, chairman of Cedars Art Production

Ahmad Abdalatief, director of content at AL-Nahar TV Network

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Turkish dramas engage Middle East audiences Kanal D’s Pelin Distas Yasaroglu

ACCORDING to Fadi Ismail, general manager at O3 Productions, group director of services of MBC Group, “the best thing that happened to Arabic drama is Turkish drama”.

In MIPCOM session Turkish Drama: The New Delight?, Ismail joined Global Agency’s CEO Izzet Pinto, Kanal D’s editor-in-chief Pelin Distas Yasaroglu and Ay Yapim’s vice-president and producer Kerem Catay, to discuss the increasing success of Turkish drama across Central Eastern Europe and the MENA region.

“In 2007 I was in Istanbul looking to buy some drama and I couldn’t even understand the promotional leaflets — I just took a leap of faith,” Ismail said. “It was perfect timing as Arabic drama had reached a plateau; there was no innovation and so many restrictions.”

Turkish drama was able to break through the wall of conservatism in the Arab

world and Arabic audiences quickly responded. First dubbed in classical Arabic and more recently in Syrian Arabic (apparently the Syrian dialect helps bridge the language barrier), producers have been cleverly manipulating the shows to better appeal to Arab audiences. What survives in the translation is a style of life.

“I am still surprised that so many people can identify with our stories,” Yasaroglu said. “However, what I do know is that Turkish dramas tell the truth. We are still a modernising country and all our storylines of coups and ethnic warfare continue to happen in real life.”

According to Pinto, Turkish production quality is ever improving and foreign sales are on the rise. He even proved the point with a clip of 40,000 screaming Slovakian fans who had Àocked to a local festival after hearing Turkish actors from a renowned drama were making a guest appearance.

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people

Cisneros tells world to grab a piece of the LatAm action ISN EROS G roup vice-chairman and director of strategy Adriana Cisneros has come to Cannes with a message to the world not to miss out on the burgeoning Latin American market.

Speaking at yesterday’s inaugural LatAm Global Dealmakers Networking Lunch at the Carlton hotel, which was sponsored

by Telemundo Internacional and TVN Chile, she made it clear that the region’s time had come.

“With 27 million people becoming middle class in Latin America each year, and all of them digital natives many of whom have smart phones, it’s an incredibly dynamic market that everyone should be involved in. The fact that the numbers of delegates from the region attending MIPCOM this year is up by 36% shows how fast media infrastructure and content production are growing there.”

She used the recent Venezuelan election as an example of how far Venevision had come in a very short time. “The channel was broadcasting election coverage 24 hours per day,” she said. “And we also had 20 hours of coverage on a live YouTube channel. Basically we were able to work in a format that has never been seen before in

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Venezuela and that has raised the bar for other broadcasters in the region,” she said.

As for being a woman helming a multinational media organisation, Cisneros comes from an egalitarian environment: “On one level Latin American culture is dominated by women,” she said. “But from a personal point of view, my father expected all of us to do well. Plus my mum is a very strong woman who supported my father (former MIPCOM Personality Of The Year Gustavo Cisneros) brilliantly all through his career. And from a Venezuelan perspective, when I was growing up the country had the highest percentage of female chief executive of¿cers in Latin America.”

The ¿rst series to be launched featuring Cisneros’ digital strategy was Eva Luna: “It was our ¿ rst multi-screen show, but it was also the ¿rst ever telenovela with characters who have digital personalities, and that made it attractive to young people. I think it’s not unreasonable to say that it’s the new global standard.”

The group’s acquisition of Hispanic advertising agencies Red Mass and Contextua is another successful aspect of Cisneros’ strategy: “The Hispanic advertising business is worth $4bn a year and the fact that we are about to acquire a third agency will make us the biggest force in that rapidly growing world.”

Cisneros Group’s Adriana Cisneros

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neWs “Any content creators out there (like me) who can’t be in Cannes, should follow @_mip_ for great stuff and keynote videos like Mark Burnett”

http://pinterest.com/mipmarkets Instagram photo by @ jukkadudeson (jukka hilden) | Statigram

Adrian Carty

FOR THE first time seven major Japanese broadcasters and two Japanese Government Ministries came together to promote new TV format ideas at the Treasure Box Japan New Formats Dinner, held on Sunday at the Carlton, attended by over 100 international TV format executives as well as the Japanese broadcasters.

Japan has for decades inspired some of the world’s best known formats, and by presenting their formats directly to the executives attending MIPCOM, the broadcasters hope to drive the business further. Present at the dinner were representatives from Japan Broadcasting Corporation (NHK), Nippon Television Network Corporation (NTV), TV Asahi Corporation (TV Asahi), Tokyo Broadcasting System Television (TBS), TV Tokyo Corporation (TV Tokyo), Fuji Television Network, (Fuji TV) and Asahi Broadcasting Corporation (ABC), together with the Japanese Ministry of Internal Affairs and Communications and the Ministry of Economy, Trade and Industry.

AT THE Martinez hotel on Monday night, Fuji Television Network was presented with the MIPCOM Buyers Award for Japanese Drama for The Locked Room Murders.

Celebrating here are Fuji TV’s Satoshi Kubota (left); Reed MIDEM’s Ted Baracos; Fuji TV’s Masahiro Kosugi; and Mathieu Bejot of TV France International. This was the fourth annual award, which is produced in partnership with the International Drama Festival in Tokyo.

Winners at the International ITV Awards 2012

AFDESI, the Interactive TV professional organisation, announced the winners of the International ITV Awards 2012 on Tuesday evening, honouring the best interactive productions from around the world.

Speaking on behalf of sponsor TDF, head of TV development Muriel Sangouard said that technical innovations were ready to support hybrid TV and make user experiences “easier, more flexible and more comfortable”.

The winners in the seven award categories were: MeteoNews from Dotscreen (France) for Best Connected TV Application; Amaguiz from Wiztivi (France) for Best Advertising Service; My Nickelodeon Junior (US) for Best Enhanced TV Service; the Karaoke Channel App from Stingray Digital (Canada) for Best Entertainment; TDF/France Television (France) for Best Innovation And Technology; PlayAlong – Who Wants To Be A Millionaire from Visiware (France) for Best Multiscreen Service; and Onteve from Nacamar (Germany) for Best User Experience And Design Interface.

The international jury panel included: Videotron’s Yann Paquet (Canada), Open IPTV Forum’s Mohammad Dadas (UK), Broadband TV News’ Robert Briel (Netherlands), Utelly’s Dario D’Aprile (UK) and Direction des Usages de l’Internet’s Bernard Benhamou (France).

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neWs COWABUNGA! THE TURTLES HEAD FOR ITV ITV HAS secured the broadcast rights for season one and season two of Nickelodeon’s new animation series, Teenage Mutant Ninja Turtles, for simulcast on ITV1 and CITV, its children’s television arm. Teenage Mutant Ninja Turtles will air across ITV1 and CITV from the second quarter of 2013.

“ITV and CITV are a brilliant home for this show,” said Caroline Beaton, senior vicepresident of international programme sales for Viacom International Media Networks (VIMN).

“The deal vindicates the way in which the new series was handled.

The show’s super-fans engaged at an early stage and consulted regularly, and you can see that in the results. There’s a lot of light and shade, humour and great stylised fight sequences. And the CGI/anime mix gives the show a great look.”

ITV and VIMN have also confirmed season three pick-ups of Nickelodeon’s hit live-action series, Big Time Rush and Victorious.

Rovio’s Angry Birds to fly to a galaxy far, far away OVIO Entertainment, the company behind the Angry Birds gaming phenomenon, has unveiled a groundbreaking partnership with Lucas¿lm’s Star Wars franchise. The announcement coincides with Rovio general manager for North America Andrew Stalbow’s arrival in Cannes to deliver a Media Mastermind Keynote this morning.

The partnership involves the launch of Angry Birds Star Wars, a new edition of the Angry Birds franchise in which the birds and their porcine foes will take on the personalities of characters from the Star Wars saga. For example, Red Bird will be transformed into Luke Skywalker while other birds will morph into Chewbacca, Princess Leia, Han Solo and Obi-Wan Kenobi. The pigs, meanwhile, will be Darth Vader and stormtroopers.

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The game, which debuts on November 8, will be available across iOS, Android, Amazon Kindle Fire, Mac, PC, Windows Phone and Windows 8. It is expected to be one of the biggest entertainment launches of the year, pushing Angry Birds well past the 1 billion downloads it has already achieved.

Stalbow will discuss the deal in

more detail during his keynote.

He is also expected to announce new developments aimed at extending the impact of the franchise. So far Rovio has expanded into licensing and merchandising and is poised to enter the animation space.

There are rumours that a feature ¿lm is in the works, but this is yet to be con¿rmed by Rovio.

Angry Birds Star Wars

BBC debuts YouTube channels BBC WORLDWIDE (BBCWW) has entered a new phase of its partnership with YouTube, spearheaded by the upcoming launch of two new original content channels. Coming soon will be a new nature channel, showing ¿lms created by the commercially funded BBC Earth Productions. Another topical science channel,

EastEnders on YouTube

produced in partnership with 360 Productions, will launch in early 2013 with James May and his crack team of scientists.

“BBC Worldwide is very excited about expanding our successful relationship with YouTube,” said Daniel Heaf, executive vice-president and managing director of digital at BBCWW. “It’s a place to distribute the best

British content around the world — and it will, through our original content, be a place where we can experiment with new forms of creativity.”

In addition, BBCWW will be launching a selection of longform programming in the UK and Canada. Titles include the ¿rst ever episodes of EastEnders, classic comedy The Likely Lads, a selection from the BBC’s Shakespeare Collection and The Trials of Life, and dramas such as Campion and The Onedin Line.

A third strand of the deal sees BBC Worldwide renew its commitment to add to its existing selection of more then 8,000 clips across its six channels on YouTube. New clips launching today include Top Gear series 18.

Teenage Mutant Ninja Turtles (VIMN)

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MGM Studios to build on Bond property’s 50 years of success EAN Connery, Roger Moore and Daniel Craig, all dressed in tuxedos, adorn the walls of the MGM Studios stand in the Riviera Seaview this year, marking the 50th anniversary of the ¿rst Bond movie, Dr No, which premiered on October 5, 1962.

Chris Ottinger, president of international television distribution and acquisitions at MGM Studios, was in Cannes promoting the franchise, including the latest Bond movie, Skyfall. Directed

by Sam Mendes and on theatrical release worldwide from the end of this month, its theme song has just hit radio playlists. “It’s great to hype the property with broadcasting partners,” said Ottinger.

In August, Sky took UK rights to the franchise for a year and, along with Sky Italia, will be running a 24-hour dedicated HD Bond channel for a month to celebrate the anniversary. Everything Or Nothing, a feature-length docu-

DEATH ROW DRAMA IN THE MAKING

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Mark Johnson (left), Sarah Burnett and Ray McKinnon

MGM Studios’ Chris Ottinger: “digital rights are now huge”

mentary celebrating the 50th anniversary, has been picked up by France Televisions, Antena 3 and Sky Italia. MGM Studios enjoys a long-running partnership with France Televisions and such partnerships, Ottinger said, are important to the franchise’s enduring appeal.

He continued: “Digital rights are now huge. The changing market landscape in pay and subscription TV is amazing. All our premium pay-TV partners are going in to the SVOD space. It’s

a gamechanger.” Such services rely on distinctive premium content like Bond. A big partner for SVOD is NetÀix. Ottinger said: “It has the ¿ rst window in the UK and is a huge client of ours domestically and in Canada.”

Also on the studio’s MIPCOM roster is Vikings, the drama epic which buyers can see for the ¿rst time in Cannes. Other titles include The Hobbit: A Very Unexpected Journey, The Girl With The Dragon Tattoo and a new remake of horror classic Carrie.

Disney seals deals across the globe DISNEY Media Distribution (DMD) has already announced four deals in Cannes this week including a Turkish production of the hit US series Revenge, to be known as Intikam. The show will launch on Kanal D, Turkey’s biggest free-to-air network, in early 2013, and is co-produced

by Kanal D and Disney. DMD’s southern European office announced the launch of Disney Movies On Demand in Portugal on pay-TV service ZON. In Latin America, Telemundo Media has acquired the rights to broadcast the Mexican local version of ABC’s hit series Brothers & Sisters for the US and Puerto Rico.

DMD has also acquired the international rights to distribute the Country Music Association’s

three annual televised events — the Annual CMA Awards, the CMA Music Festival special and the CMA Country Christmas special — through 2021.

“We look forward to working together with the Country Music Association to deliver great entertainment to country music fans around the world in the

years ahead,” said Ben Pyne, president, global distribution, Disney Media Networks.

The 46th Annual CMA Awards, hosted for the ¿fth time by Brad Paisley and Carrie Underwood, air in the US live from the Bridgestone Arena in Nashville next month on the ABC Television Network.

Disney Media Distribution’s Fernando Barbosa (left) Ben Pyne, Catherine Powell and Amit Malhotra.

ACADEMY Award-winning producer Mark Johnson (Rain Man, Breaking Bad), actor/screenwriter/director Ray McKinnon and Sarah Burnett of the Sundance Channel have joined forces to make Rectify (6 x 1 hour), a drama about a 36-year-old man released after 20 years on Death Row. “I was inspired by a number of real-life stories about prisoners on Death Row,” said McKinnon.

“They made me wonder what it would be like to be entombed for all those years, preparing for death, and then to suddenly find yourself released into a world you haven’t seen since you were 16 years old. How do you take those first baby steps in this strange world? How do you find meaning in life?”

McKinnon set the six episodes over the first seven days following his protagonist’s release from prison. “We’re very excited about this show,” said Sarah Burnett, executive vice-president and general manager of Sundance Channel AMC Networks.

“We’ve co-produced shows like Top Of The Lake and Carlos before. But this is our first wholly-owned, scripted drama, and it’s the lynchpin of our 2013 schedule.” Rectify, starring Aden Young, Abigail Spencer and Hal Holbrook, will be distributed by ITV Studios.

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neWs SPOTLIGHT ON AFRICAN FILM SHADOW Films director and cameraman David Forbes is one of the organisers of today’s Content Trends: Production Opportunities In Africa breakfast briefing.

The South African is at MIPCOM to promote his own work and the wider African film industry.

His films, both as a director and a distributor, cover life in Africa and include Sobukwe – A Great Soul, the story of one of South Africa’s most inspirational advocates of peaceful protest in the 1960s; and Gun To Tape, which follows the Kenyan Olympics team at this year’s Games in London.

Speaking at the session today will be a range of experts on the African film and TV industries, including Kenya’s Continental Content Distribution business development director George Kimani and Jason Njoku, CEO of Nigerian distributor iROKO Partners.

Malaysia makes a breakthrough as Hasbro co-pro tops deals package

Hasbro Studios’ Stephen Davis (left), H E Dato’ Sri Kamaruddin Siaraf, Vision Animation’s Low Huoi Seong and Moody Street Kids’ Gill Carr

ALAYSIAN companies have sealed 12 deals worth $30m this MIPCOM, announced Secretary General of the Malaysian Ministry of Information, Communications and Culture, His Excellency Dato’ Sri Kamaruddin Siaraf during the Creative Malaysia Networking Reception in Cannes on Monday.

H E Dato’ Sri Kamaruddin Siaraf is leading a Malaysian delegation comprising 40 creative content companies and he told over 200 international industry professionals that the Malaysian Government’s investments and support in the entertainment and media industry have ¿nally paid off.

A multi-million co-production deal signing between Los Angeles-based Hasbro Studios with Malaysia’s Vision Animation and Australia’s

M

Moody Street Kids was highlighted at the event.

The agreement for series two of Transformers – Rescue Bots (26 x 30 mins) will see production of the animated series undertaken jointly by Vision Animation and Moody Street Kids, with work to be distributed between Malaysia, Australia, Canada and the US. Hasbro Studios’ president, Stephen Davis, said it was important to work with experienced producers from Asia to stay competitive, and co-producing with Malaysia was an ideal choice.

H E Dato’ Sri Kamaruddin Siaraf said: “Malaysia has achieved a major breakthrough and reached the pinnacle in being globally recognised as a reliable and competitive source of content production, where many experienced, and young and talented, reputable production partners are eagerly opened for co-production opportunities, especially in 2D and 3D animation.

“The international deals announced today are certainly a testament to Malaysia’s strength, and capability in developing award-winning, worldclass properties for international markets at a very competitive cost.”

The networking reception was co-organised by FINAS, the Malaysian Communications and Multimedia Commission (MCMC) and the Multimedia Development Corporation (MDeC), in association with the Malaysian External Trade Development Corporation (MATRADE).

ANGEL’S GATE ON WAY TO EUROPE SINGAPORE-based distributor Bomanbridge is using MIPCOM to launch its multiplatform business format Angel’s Gate into Europe. The format, which sees entrepreneurs pitch business ideas to a panel of investors, was originally transmitted on Channel NewsAsia. Bomanbridge sold the format to Finnish producer Intervisio in September with production pencilled for early 2013.

Sci-fi series marks a first for Chile CHILEAN producer Sergio Gandara hopes his country’s broadcasters will start taking local productions more seriously now that his company Parox has sold the adaptation rights to Parox’s Gen Mishima, Chile’s ¿rst-ever sci-¿ TV series, to US network NBC. The deal also represents the ¿rst time a US network has snapped up a Chilean scripted show to remake for the international market.

“This is a strong message to Chilean broadcasters to trust the independent producers in their own country,” Gandara said. “They have already proved how competitive they can be internationally and, given the chance, they can also deliver

Parox’s Sergio Gandara: “strong message”

the goods in their home market.”

Gen Mishima’s remake will be written and executive-produced by Ken Sanzel, who wrote US thriller series Numb3rs. Sanzel ¿rst showed interest in 2009 after being introduced to the series via Sergio Aguero, Mexican producer of hit movie Y Tu Mama Tambien, and US talent agency William Morris Endeavor.

The NBC deal was unveiled at MIPCOM and plans for the pilot will be announced in January.

Gandara is also president of Chile’s APCT (Association of Film and TV Producers), which launched MiCH!TV (TV Made In Chile) at MIPCOM to promote the works of Chile’s independent TV producers.

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screening the future MIPTV 2013.

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Early-bird stand deadline: 21 November Visit the MIPTV Stand 07.02 / Aisle 7 / Level 01 or speak to your representative MIPCOMPubsNewsMIPTV_7octV2.indd 1

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neWs HBO NORDIC’S SVOD DEAL HBO NORDIC, a new multiplatform video distribution venture which will serve Scandinavia, and Peter Ekelund/ Parsifal International, have unveiled a licensing agreement with Starz Media Worldwide Distribution, a division of Starz Media.

The multi-year deal gives HBO Nordic the rights to a wide selection of premium programming exclusively for pay-TV and subscription VOD (SVOD). Included in the deal is Spartacus for HBO Nordic’s SVOD services and Magic City for pay-TV and SVOD. Additional titles for pay-TV and SVOD include Party Down, Method To The Madness Of Jerry Lewis, Head Case, Jersey Shore Shark Attack, The 12 Wishes For Christmas, Painkiller Jane, Masters Of Horror and Masters Of Science Fiction. HBO Nordic says it will also exclusively broadcast future Starz Original series and additional movie content.

“The licensing agreement with HBO Nordic brings a treasure trove of great movie and TV content that should play well to all audiences in Sweden, Norway, Finland, and Denmark,” Gene George, executive vice-president of worldwide distribution for Starz Media, said.

“We are thrilled to be continuing our relationship with HBO abroad as they launch in Scandinavia, and feel privileged that several Starz properties will be instrumental in their launch.”

TCB Media Rights gets busy closing first deal with Arrow AUL Heaney’s new rights-ownership and distribution company, TCB Media Rights, has finalised its first MIPCOM deal, under which it will distribute Arrow Media’s GroupM-commissioned series, World’s Busiest…

The four-part factual show will look at the world’s busiest destinations: Hong Kong airport, the Venetian Hotel in Las Vegas, Japan’s Shinjuku train station and the Mexico-US border crossing.

TCB, which launched in September, will initially focus on factual programming and formats.

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“There’s certainly a gap in the market for a company with good credentials to help co-create IP, co-finance projects, pre-sell shows and fast-track green lights,” Heaney said, stressing that TCB was aiming to be “every bit as bullet-proof and dynamic” in the back of¿ce as on the creative front.

Heaney is also adopting a new approach to his indie partners: “This business is changing out of all recognition and we need to come up with new models to reÀect that. In the early days, TCB will be pursuing standard distribution relationships, but we will move more towards ownership in time.”

TCB Media Rights’ Paul Heaney: moving towards an ownership model

VENDREDI, Tout Est Permis, TF1’s successful Friday night entertainment format, is hitting the international market as Anything Goes. It poses comic challenges to TV’s funniest personalities, often to be completed on a stage angled at 22.5 degrees to the horizontal. TF1 host Arthur (right) was on hand with Shine Network’s president, Mark Fennessy, for the launch. Shine is looking after international rights.

RTE makes PBS its choice for 2012

The Choice (PBS International)

PBS INTERNATIONAL has closed a MIPCOM deal with Irish public broadcaster RTE for The Choice 2012, which pro¿les the US presidential candidates.

The RTE deal makes Ireland the

last of more than 88 countries to air Frontline’s quadrennial US presidential election special, which examines the places, people and decisive moments of each candidate. Frontline’s political reporting

team has spent the last year conducting 100-plus interviews with the friends and family of Barack Obama and Mitt Romney, as well as authors, journalists and commentators, to create an in-depth pro¿le of each man.

Tom Koch, vice-president of PBS International, said: “Historically, MIPCOM has helped us to generate many of our sales for The Choice. An annual venue where we can reach so many buyers at one time affords us the opportunity to introduce the series at one MIPCOM and close deals through the next.”

More than 34 broadcasters have acquired The Choice 2012 since MIPCOM 2011, including CBC, EBS and NHK.

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neWs Reed MIDEM and KOCCA combine strengths to boost Korean content OREA Creative Content be worked out but this MOU esAgency (KOCCA) and sentially states that in 2013, we Reed MIDEM have signed will be working together at all MIP a Memorandum Of Un- markets but also at events in Korea, d e r s t a n d i ng (MOU) to work closely together and mutually co-operate in helping increase the global expansion of Korean content in the year 2013.

The agreement was signed yesterday by KOCCA president and CEO Hong Sang Pyo and Reed MIDEM’s CEO Paul Zilk. “The final details need to KOCCA’s Hong Sang Pyo (left) and REED Midem’s Paul Zilk

K

such as Broadcasting Worldwide (BCWW),” said KOCCA’s Hong Sang Pyo. “The aim is to encourage a successful business partnership by mutual exchange of expertise, information and networking resources, as well as hosting seminars, events and conferences,” Zilk said.

“For the past 10 years the Korean presence at all markets has been growing. We look forward to watching it increase even more through this co-operation and to a long and successful partnership.”

NETHERLANDS-based production and distribution company FCCE is to launch a new office in Beijing – a joint-venture with Beijing-based Trihelix.

The FCCE China office will source content and formats internationally and then adapt them for the local market. It will also be offering tailor-made and localised platforms for both Chinese and international advertisers. At MIPCOM, FCCE China and Heilongjiang Longmedia Group announced the start of FCCE’s Entertainment Experience format in China. A great success in the Netherlands, the user-generated movie conceived and created by the audience will air in China in March 2013. Signing the agreement in Cannes were: Trihelix/FCCE China’s Annemarieke Kostense (left), FCCE’s Rene Mioch, Heilongjiang Satellite TV Channel’s Gao HongGang and FCCE’s Justus Verkerk.

Imavision seizes Goldorak series

Imavision’s Tania Kertesz (left) and Denys Gagnon with Imavision president Pierre Paquet and Toei Animation’s Kenji Ebato, Sae W Song and Keisuke Sueyoshi

IMAVISION and Toei Animation have signed a MIPCOM deal for the distribution by Imavision of the super robot anime series Goldorak, which has attained cult status since it was originally broadcast on French Canadian television in the mid-70s. The new deal will see 74 episodes of the animated series released on DVD. “We anticipate success across multiple platforms,” Imavision president Pierre Paquet said. “This adds to the library of some 500 DVD titles that we distribute in Canada. The ¿rst Goldorak titles will be released by Imavision by the end of this year, and we are also working on a special collectors’ edition for 2013.”

Kenji Ebato, general manager of Toei Animation, added: “Fans will now have the opportunity to appreciate the original Goldorak series in all its glory.”

MiCh!TV by CinemaChile CinemaChile, the promotion agency of the Chilean audiovisual, launches a new brand internationally to represent our products in the most important television markets of the world: MiCh!TV Television Made in Chile great and interesting deals original and creative products talented and efficient people.

ICM PARTNERS WITH SCREENZ CONTENT and advertising company Screenz has formed an exclusive alliance with talent and literary agency ICM Partners. The companies will leverage their expertise to further the convergence of content and technology in second screen and interactive entertainment.

They aim to fuel interest in TV shows, create a social media buzz and drive ratings. “Second screen and interactive entertainment experiences have revolutionised the way audiences watch content and engage with each other,” said Keyvan Peymani, head of digital strategy at ICM Partners.

Eli Uzan, Screenz’s president, said: “Our proven know-how and catalogue of products combined with ICM’s reach and expertise will lead to great opportunities.” Screenz’s apps for shows such as Big Brother, MasterChef and The Million Pound Drop have incorporated conversations on social networks. Screenz is a cross-media venture between Israeli commercial broadcaster Keshet Broadcasting and the Box, a company specialising in the merging of content and technology.

Dear Pierre, Congratulations on 30 years of H[WUDRUGLQDU\ VXFFHVV /LNH D ½QH UHG Bordeaux, Daro improves with age.

Contact: Constanza Arena, Executive Director Tel: + 56 2 2498574 Email: contacto@cinemachile.cl

May you keep the company growing DQG WKH ZLQH ¾RZLQJ Christiane and Ron

Website: www.cinemachile.cl

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feature

Personality Of The Year Five years ago, Emilio Azcarraga Jean, president and CEO of Mexico’s Grupo Televisa, came to MIPCOM and outlined his intention to turn the company into a leading global player. This year, as MIPCOM Personality Of The Year 2012, he will come back to Cannes to explain how he achieved that ambitious goal. Setting the scene for Azcarraga’s keynote, Televisa Internacional vice-president Fernando Perez Gavilan explains what has changed under his leadership. Andy Fry reports

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feature HEN Emilio Azcarraga Jean took over as president and CEO of Mexico’s Grupo Televisa in 1997, the company was already the dominant broadcaster and producer in its domestic market. But in the last 15 years, he has transformed the company into a global powerhouse as well, says Televisa Internacional vice-president Fernando Perez Gavilan: “He had the vision, the leadership qualities and the risk appetite to make the company what it is today,” explains Perez.

“He gave us the ¿nancial and strategic support we needed to make Televisa the leader in Spanish-language content worldwide.”

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Teresa, whose final episode was the highest-rated programme in Mexico last year

In simple terms, there have been two key developments in Grupo Televisa’s rise to global prominence under Azcarraga. The ¿rst was the purchase of a $1.2bn (€0.93bn) stake in Hispanic US broadcaster Univision in 2010. That deal has enabled Televisa to substantially increase the revenue it generates by exporting Televisaproduced shows to the Hispanic population in the US. The second plank has been an aggressive expansion of the company’s international format business.

“A few years ago, our international export division, Televisa Internacional, was focused primarily on selling finished Mexican programmes,” says Perez. “It was a good business, but it was limited for two reasons.

Firstly, there weren’t many slots for it. Secondly, the competition was tough, especially in important markets like the US, Brazil and Europe.

So we took a decision to grow the formats side of our business by forFernando Perez Gavilan ming production partnerships.”

The model is fairly straightforward, Perez says. “We have the largest telenovela library in the world — approximately 900 titles — and we make many more each year. So we work with local production partners to topicalise those shows. We have great universal stories, but our partners are the ones with the local knowledge that helps us get to the channels.”

We have the largest telenovela library in the world — approximately 900 titles

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Record, Perez says. It was swiftly Nine hundred titles is an awful lot of followed by a Televisa/TV Record content, so Televisa does not just lock adaptation of Rebelde. co-production partners and channel Not content with being a mediumbuyers in a room with a bunch of sized supplier in one of the world’s tapes. “We have a team in Mexico fastest growing markets, there are that does a tremendous job of undersnow reports that Azcarraga may tanding the demo of channels, their take advantage of the new mediatone, preferences and cultural issues. ownership rules in Brazil by acquiBased on this analysis, we present ring a 30% stake in the country’s them with 20 or so titles to look at,” number-two network, SBT. If that Perez explains. were to happen, it would take Televisa This approach has led to a boom in to a new level. business across the world. In 2011, the company made $306m from exWhile the shift towards international ports — up 31% on 2010.

Fernando Perez Gavilan production partnerships has boosted But Televisa’s international success Televisa Internacional’s fortunes, it has not been bought at the expense of its domestic business. The company’s free-to-air and is also important to note that there is still a strong compay-TV channels dominate their respective markets, pleted programme business. with the ¿nal episode of telenovela Teresa the highest- Perez points to Patita Feo, a teen telenovela that was picrated programme in Mexico last year. Eight of the top- ked up by French diginet Gulli. Renamed De Tout Mon 10-rated shows currently in Mexico were produced and Coeur, the show — originally made for Argentina — was a big hit for Gulli. Soon after, it was picked up by Disney aired by Televisa.

Channel Italy, where it also became a hit. “We never used As Televisa’s success in the format market has in- to have much success in France,” Perez adds. “But now creased, it has sought to bring greater structure and we’re ¿nding that the growth of digital channels is helping scale to its export model, Perez says. This is evident our ¿nished product. Every time a television station gets in two ways. First, it has increased its level of out- born, it’s another chance to sell our content.” put, both through its own Mexico City studio and via The decision to go international required a big ¿nancial partnerships with leading companies such as Colom- commitment from Azcarraga. But it is one that was bia’s RTI Productions. In the case of the latter, RTI necessary to safeguard the future of the company, says is currently making around 500 hours a year of pro- Perez. “We are very strong in Mexico, but the CEO gramming for Televisa, which is exported globally by always tells us that the world is now Àat, which is to say that the move towards globalisation means companies Televisa Internacional.

Second, it has moved on from ad-hoc or production- have to take part to survive. The good news for our speci¿c partnerships. In January 2012, for example, business is that we are so strong in content. It doesn’t it signed a groundbreaking deal with Sony Pictures matter how the platforms change, companies will Television (SPT). Under the terms of that deal, SPT has need content, which will help us to maintain our a ¿rst-look at all Televisa’s scripted and unscripted for- position as a business leader in the future.” mats for potential co-production worldwide, excluding While many US and European companies the US and Latin America. At the same time, Televisa have become heavily indebted in their purhas a ¿ rst look at SPT scripted formats for Spain, a suit of growth over the last few years, Azcarmarket in which Televisa has a strong presence thanks raga’s investment strategy does not have an to a new partnership with leading Spanish production air of recklessness about it. This is because the Televisa chief has focused on capitalising company Globomedia.

While Spain is an obvious target for Televisa because the company’s telenovela business rather than of the shared language, other markets that are regarded spreading into other genres. as top priorities include the US and Brazil. In the for- “We need to understand our competitive mer, Televisa is well positioned among Hispanic US advantage and expand on our audiences because of Univision. But Perez says that strengths,” says Perez. “In Azcarraga wants to see further inroads into the En- Mexico, we are very sucglish-language market. To this end, the company’s cessful with game shows, CEO gave the go ahead for the launch of Televisa USA, reality and entertainment, a company whose remit is to create English-language so we know how to procontent for US television, sometimes based on Televisa duce them. But you need a complete strategy in formats but also by creating original content.

The studio’s ¿rst project is a co-production with ABC place to create a gloStudios called Devious Maids. Based on a Mexican se- bal hit, like Endemol ries called Ellas Son… La Alegria Del Hogar, Devious and FremantleMedia.

We’re not there yet.”

Maids is set to air on Lifetime in 2013.

As for Brazil, there is a tough incumbent in the shape of Globo — but this has not stopped Televisa making headway. The Brazilian version of Ugly Betty refer- Emilio Azcarraga Jean: wants to see further inroads into the red to above was made as part of an alliance with TV English-language market

Every time a television station gets born, it’s another chance to sell our content

A LITTLE BIT OF MEXICO EVERYWHERE TELEVISA content now airs in around 65-70 territories including China, where it has licensed Ugly Betty to Hunan Satellite TV and Dumb Girls Don’t Go To Heaven to Shanghai Media Group. Ugly Betty has also been reversioned for Brazil, while Rebelde has been adapted for Portugal.

But perhaps most impressive of all was the recent deal that saw Televisa’s Alcanzar Una Estrella reinvented as Hollywood Heights, an 80-part family drama series now airing on Nickelodeon in the US. Televisa previously worked with Nickelodeon Latin America on the production of another teen sensation called Miss 15.

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CANADA

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neWs CO-PRODUCING WITH CANADA CANADA is one of the most dynamic co-production countries, according to Carolle Brabant, executive director of Telefilm Canada. In the Co-Produce With Canada Overview, she highlighted Canada’s new co-production of sci-fi drama Primeval: New World (with the UK), and on-screen talent including Francois Arnaud of The Borgias (co-produced with Ireland and Hungary) and Amber Marshall of Heartland — both attending MIPCOM. “We practically invented the co-production approach,” Brabant said.

“It’s a gateway to other partners and the North American market.” This was the case for Morgan O’Sullivan of World 2000 Entertainment and Octagon Films’ James Flynn, who had partnered with Take 5 to make MGM Studios’ Vikings. “On the technical side there’s a wealth of Canadian talent,” O’Sullivan said at the Case Studies: Drama panel. For the makers of Rouge Bresil, Canadian co-operation made sense of complex co-prod treaties. “Canada was the go-between,” said Nicolas Traube, whose Pampa Production, with Brazil’s Conspiracao Films, brought the story of France’s ill-fated 16thcentury conquest of Brazil to the screen.

Also on the panel were Take 5’s John Weber and Ricardo Rangel of Conspiracao.

World 2000 Entertainment’s Morgan O’Sullivan

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Investment boosts production schedule for XII Tribes ANADIAN production company XII Tribes Entertainment has arrived i n Ca n ne s w it h stars from its new dark comedy drama Hit Women walking the red carpet, a slate of new drama programming lined up for 2013 and an announcement that the company has gone public.

“Archeos Entertainment has bought 35% of XII Tribes which helps us to get our productions fully financed in the future,” Nicolas Kanellopoulos, chief ¿nancial of¿cer, XII Tribes Entertainment said.

Michel Zgarka, CEO, executive producer, XII Tribes was quick to underline the continuing vision of the company to create compelling scripted drama with women as the central characters.

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XII Tribes Entertainment’s Michel Zgarka (left) and Nicolas Kanellopoulos

“We always will have independent, strong women as the lead in our dramas — women who don’t depend on men but who have their own exceptional qualities.”

Production is set to start on the corporate thriller Signs (12 x 60 mins) with 12 leading female characters who are all managing companies and con-

duct their business by waging battles against other corporations according to the strengths and weaknesses of their zodiac sign. Detective drama Hit Women features four women who make up a Hit Women Agency that aims to rid a city of criminals by using their charm as well as trickery and force.

KELENCONTENT’s Tanya Kelen and Nordic World’s Jan Salling shook on a representation deal for Canadian reality format Mantracker, in which an outdoorsman, skilled in the art of tracking, hunts down two contestants over a 36-hour period.

Octapixx and Mill Creek seal deal

Mill Creek Entertainment’s Jeff Hayne (left) with Octapixx Worldwide’s J Gary Gladman

MIPCOM News // Product News

THE LONGSTANDING informal relationship between distributor Octapixx Worldwide and home video provider Mill Creek Entertainment has matured into a long-term deal that will see Octapixx distribute Mill Creek’s programming worldwide.

The deal was first mooted at MIP. “This market is a hub for the international broadcast and home-video community,” Mill Creek director of content acquisition Jeff Hayne said. “There is

no better place for Octapixx and Mill Creek to begin our international partnership.”

The ¿rst title in the deal is Guns: The Evolution Of Firearms (7 x 60 mins) a high-de¿nition series ranging over 400 years and using archive footage and re-enactment.

Future titles will include Prohibition (6 x 60 mins), History Of The Military (6 x 60 mins) and WWI: The War To End All Wars (10 x 60 mins).

www.mipcom.com

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mipcom

neWs Colourised archive paints new picture of Great War

Louis Vaudeville (left), from producer, CC&C; France Televisions Distribution’s Geraint Marsh; NGCI’s Carlyn Staudt; Ideacom International’s Josette Normandeau; and Eric Verniere of France Televisions Distribution

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RANCE Televisions Distribution and National Geographic Channels International (NGCI) have ¿nalised a MIPCOM deal for NGCI to acquire the global non-standard

rights (excluding France, Canada and the US) for the four-part documentary series, Apocalypse: World War One. The series is scheduled for primetime programming in 2014, to mark the 100th anniversary of the outbreak of the war.

The series is being produced with archive footage, pulled from major sources around the world, and complemented by newly discovered private sources.

Approximately half the ¿lm will feature previously unreleased imagery. All footage is being restored, colourised, post-produced in HD, and mixed in 5.1 Dolby.

Hamish Mykura, NGCI head of international content, said: “The series offers audiences an equally compelling view of World War One with rarely seen and fully colourised footage that serves as a groundbreaking portrait of the war’s complexity.”

Schult sets out Asian ambitions MEDIA-STABLE is a new Singapore-based company set up to bring Japanese entertainment formats to the wider Asian marketplace. The company was set up by former FremantleMedia Asia chief executive of¿cer, Patrick Schult.

“I’ve worked with Asian broadcasters to deliver big shows like Got Talent, X Factor and Idol,” said Schult. “I took Hole In The Wall from a verbal pitch to 200 episodes on RCTI in Indonesia. I also took

MasterChef to RCTI too. And believe me, that was not an obvious show for them at that time.”

Media-Stable is backed by Japanese format company Big Face, and its clients will be both broadcasters and sponsors such as telcos. The ¿rst property Schult hopes to take regional is Big Face’s Numeron, a game show airing on Fuji TV. Future properties will come from Big Face, from third-party companies and in-house development.

Media-Stable’s Patrick Schult

New-look Calimero conquers markets A MODERN-day version of Calimero, a kids’ animation series based on a popular character from an iconic Italian TV ad, has been sold to major European, Middle East and African markets in time for its 50th anniversary next year.

The new version is a 104 x 11 mins CGI co-production led by Francebased Alphanim Gaumont Group.

It has been bought by France’s TF1 and Italian public broadcaster RAI. Cable-and-satellite network Disney Junior has the rights for most of the EMEA region and

Turkey, and the free-to-air rights for Spain and Turkey. Telepool, the German distributor, has the German-speaking rights.

“Many of today’s parents, who will have grown up watching the original series in Europe, will pass on their love for the show to their children,” said Pierre Belaisch, Alphanim’s managing director.

Calimero was originally created for a 1960s TV detergent spot before being turned into the star of a TV series that aired in more than 80 countries until the 1990s.

Anne-Sophie Vanhollebeke (left), of Studio Campedelli, Alphanim’s Pierre Belaisch; Julia Muntefering of Telepool, TF1’s Yann Labasque, Calidra’s Marco Pagot, Lucie Leger of Tele-Quebec, Rai Fiction’s Luca Milano and Rose Zhang of GDC.

Elastic Rights’ Ignacio Orive: “business up 50%”

ELASTIC RIGHTS AT FULL STRETCH ELASTIC Rights has signed a MIPCOM agreement with Nerds Corp which gives the Spanish marketing and commercial platform the multimedia rights for the action adventure series Slugterra in Spain, Portugal, Greece, Turkey and France. Animation Slugterra (39 x 30 mins/ HD/3D) is currently airing 10 times weekly on Disney XD in the US. The agreement follows several other Elastic Rights deals including with Hoho Rights for Cloudbabies. Elastic Rights Italy has finalised a deal with Portfolio International of Canada for the pay- and free-TV rights for the tween and teen series Julie And The Phantoms, while Elastic Rights Portugal has renewed its deal with Nickelodeon Portugal for the pay-TV broadcasting rights of two of Dolphin Entertainment’s tween and teen hit live-action series, Ned’s Classified School Survival Guide and Zoey 101.

Ignacio Orive, founder and president of Elastic Rights, said: “There’s plenty of talk about recession but our business is up 50% on last year. I think the key to our success has been hard work and covering all different platforms.”

29 N3P29+D.indd 1

09/10/12 19:13

WEDNESDAY 10 OCTOBER The world’s entertainment content market

GLOBAL CONTENT TRENDS PRODUCTION OPPORTUNITIES IN AFRICA

DISRUPTIVE DISTRIBUTION: LET THE CONSUMER CHOOSE! 12.05-12.55 I Esterel

9.00-10.30 I Verrière Californie

Moderator Peter Cowley, CEO, Spirit Digital Media Ltd, UK @petercowley

Moderator Grazyna Koscielska, Director, Stimulii Media (Pty) Ltd and Global Media (Pty) Ltd, South Africa Speakers Grazyna Koscielska George Kimani, Business Development Director, Continental Content Distribution Ltd, Kenya @gkkiarie Joseph Hundah, Chief Executive Officer, Modern Times Group, UK @joseph_hundah Jason Njoku, CEO, iROKO Partners, Nigeria @irokotv Russell Southwood, CEO, Balancing Act, UK @BalancingActAfr

MEDIA MASTERMIND KEYNOTE

Speakers Charlie Muirhead, Founder and CEO, Rightster, UK Suk Park, Co-Founder/Co-CEO, DramaFever Suk Park Corp., USA Tom Perlmutter, Government Film Commissioner and Chairperson, National Film Board of Canada, Canada @thenfb @onf

Followed by Meet the Speakers.

GWANGJU, HUB CITY OF ASIAN CONTENT, FUNDING PROJECT

9.30-10.00 I Grand Audi Andrew Stalbow, General Manager, North America, Rovio Entertainment

12.00-13.30 I Verrière Grand Audi Presented by Ministry of Culture, Sports & Tourism

Moderator Kate Bulkley, Media Commentator and Journalist, KG Bulkley, UK @katecomments

Followed by Lunch.

Andrew Stalbow

CONTENT ORIGINALS IN THE DIGITAL SPACE

Presenter PARK Heung Kyu, Deputy Director, Ministry of Culture, Sports and Tourism, South Korea

PARK Heung Kyu

10.15-11.15 I Esterel Moderator Gary Woolf, VP Business Development & Digital, Sales & Distribution, BBC Worldwide, UK @garywoolf Speakers Matthew Forde, EVP-Sales & Co-Productions, BBC Worldwide Americas, USA Ben McOwen-Wilson, Director, Content Matthew Forde Partnerships NACE, YouTube, UK Jean-François Rodriguez, Head of Gaming and Transmedia, Orange, France Larry Tanz, CEO, Vuguru, USA

WORKING WITH YOUTUBE: A CREATORS MASTERCLASS FOR CONTENT PRODUCERS 13.00-14.00 I Verrière Californie Pre-registration required

Followed by Meet the Speakers.

DIGITAL CHINA 11.25-11.55 I Esterel Moderator Kristian Kender, Research Director, CMM Intelligence Ltd., China Speakers Tegan Shi, Senior Manager-Global Content Partnership, Youku Tudou Inc., China Amanda Zhao, Director of Program Acquisitions, Lens Media International Limited, China

Tegan Shi

Followed by Meet the Speakers.

301_RM CONF_N3_COM.indd 1

08/10/12 13:09

OFFICIAL CONFERENCES & EVENTS WHAT’S HOT IN KOREA – CROSS MEDIA CONTENT FORMATS

THE SUPER HEROES OF DIGITAL DEVELOPMENT

14.00-15.00 I Audi K

15.10-15.50 I Esterel Moderator Robert Tercek, President, General Creativity, USA

Sponsored by

Introducing Cross media content in Korea Presenter JEONG Jongil, Senior Researcher, Korea Internet & Security Agency (KISA), South Korea PART 1: Smart Technology: Combining Interactive Technology, Sports Broadcasting and Smart Media Featuring YANG Hyun-Joon, Chief Director, IB Media Net, South Korea PART 2: New Business Models: Combining T-commerce Technology, Travel Information and Smart Media Featuring LEE Changhee, Managing Director, Intercon Media Co. Ltd, South Korea PART 3: Cross media content format Featuring YEOUN Tae Heum, President, Media Tree, South Korea

FANS, YOUR MOST PRECIOUS ASSET 14.00-14.40 I Esterel

Speakers Misha Lyalin, CEO, ZeptoLab, Russia @ZeptoLab Peter Phillips, Senior Vice President & General Manager, Digital Media Group, Marvel Worldwide Inc., USA Eldar Rapaport, CEO, Screenz, Israel

Peter Phillips

Followed by Meet the Speakers.

MIPCOM PERSONALITY OF THE YEAR KEYNOTE 16.00-16.45 I Grand Audi Emilio Azcárraga Jean, Chairman of the Board and Chief Executive Officer, Grupo Televisa Interviewed by Anna Carugati, Editorial Director, World Screen, USA Emilio Azcárraga Jean

ACQUISITION SUPERPANEL: What do Buyers Want?

17.00-18.00 I Grand Audi

Moderator Robert Tercek, President, General Creativity, USA

In partnership with WORLDSCREEN

Speakers Iain Dendle, Business Development Director, Europe, Shazam Entertainment Ltd, UK @iaindendle Kirsty Hunter, Managing Director (UK), Iain Dendle The Project Factory, UK @Kirsty_Hunter Annemarieke Loderus, Sr. Development Manager RTL Digital Media, RTL Nederland, The Netherlands @loderus_ae

Moderator Anna Carugati, Editorial Director, World Screen, USA Speakers Malcolm Dunlop, Executive Vice President of Television Programming and Operations, Rogers Communications Inc., Canada Gill Hay, Head of Acquisitions, Channel 4, UK Beverley McGarvey, Acting Chief Programming Officer, Network TEN Pty Ltd, Australia John Ranelagh, Director of Acquisition, TV2, Norway

Followed by Meet the Speakers.

CROSS-MEDIA CREATIVE SHOT 14.45-15.05 I Esterel Moderator Robert Tercek, President, General Creativity, USA Featured speaker Jim Stewartson, Founder & CEO, Fourth Wall Studios, USA @jimstewartson Jim Stewartson

Followed by Meet the Speakers.

301_RM CONF_N3_COM.indd 2

08/10/12 13:09

WEDNESDAY 10 OCTOBER The world’s entertainment content market

3DTV FOCUS CONFERENCES & SCREENINGS Audi A

CHAIRMAN’S INTRODUCTION BY Chris Forrester, Broadcasting Journalist and Industry Consultant

CHINA’S 3D PROMISE 12.15-12.50 Speakers Qiang Bai, CEO, 3D China Ltd, China Wilhelm Mittrich, CEO, imcube 3D Solutions Limited, Hong Kong

CREATIVE KEYNOTE 10.10-10.30

Qiang Bai

Steve Schklair, CEO, 3ality Technica

3DTV CONTENT TRENDS: WHAT’S NEXT Steve Schklair

10.35-10.55 Yoshiyuki Ikezawa, Producer, Toei Animation Co., Ltd.

Yoshiyuki Ikezawa

14.15-14.45 Speakers Jeremy Dear, Head of Development, Pioneer Productions and Executive Producer, Storm City 3D, UK Jeremy Dear Dr Hans Hoffman, Head of Media Fundamentals and Production Technology, European Broadcasting Union, Switzerland Masaru Ikeo, Executive Producer, NHK Media Technology Inc., Japan

FIRESIDE CHAT WITH 3DTV EXPERTS 11.00-12.00 I Audi A Speakers Peter Angell, COO, IEC in Sports, Sweden Dr Nikolas Hülbusch, Factual Coproduction Manager, ZDF Enterprises GmbH, Germany Jens Monath, Commissioning Editor, ZDF, Jens Monath Germany John Morris, Commercial Director, Atlantic Productions, UK Julian Napier, Director, Julian Napier Films Ltd, UK @juliannapier

301_RM CONF_N3_COM.indd 3

SCREENINGS 14.50-15.50 The very latest from some of the world’s best 3D producers, screened in MIPCOM’s own 3D large-screen theatre.

Speakers Dr Nikolas Hülbusch, Factual Coproduction Manager, ZDF Enterprises GmbH, Germany Kirstie Mclure, Head of Production, Pioneer Dr Nikolas Productions, UK Hülbusch John Morris, Commercial Director, Atlantic Production, UK David Pounds, Chief Executive, Electric Sales Ltd, UK @electricskytv

08/10/12 13:10

mipcom

neWs BBC Worldwide’s Misfits takes the digital route into Germany BC Worldwide has licensed the hit series M isf it s t o Ge r ma n broadcaster ZDFneo, taking the show from its iTunes launch this January, via a successful sale to pay-TV ProSieben Fun to German free-to-air broadcast.

The story of ¿ve young offenders cursed with superpowers, Misfits had met with notable success on Hulu in the US, prompting Isabelle Helle, BBC Worldwide’s head of Germanspeaking Europe, to try alternative routes in Germany when the edgy property wasn’t initially

B

picked up by broadcasters.

“We took a gamble and had it dubbed,” she said, “and launched it as a digital exclusive.” After a social-media focused PR campaign, it became the second-most downloaded series on iTunes; the success piqued the interest of ProSeiben Fun, which has now signed the third season, and ZDFneo has acquired all three seasons.

“Seeing it dubbed in German helped them visualise it working for their audience,” Helle said.

“If you think something will work well for a young channel, go with your instincts.”

BBC Worldwide’s Isabelle Helle: go with your instincts

BEYOND Distribution and Great Pacific Media celebrate the launch of Highway Thru Hell and The Mistress at MIPCOM. Highway Thru Hell, about the men keeping Canada’s most treacherous road clear of accidents through the winter, scored a record series premiere audience of 1.7 million viewers for Discovery Channel Canada this autumn.

Great Pacific Media produced and Beyond distributes the shows. Pictured are: Great Pacific Media’s Mark Miller (left), Mikael Borglund and Fiona Crago of Beyond, and Blair Reekie of Great Pacific Media.

French mission for Hat Trick’s spy HAT TRICK International has scored a sale of the second season of Spy to France’s Canal+.

The comic show follows single father Tim as he juggles his parallel existences — home life with his son and his espionage duties — under the direction of his secret-service boss, known only as The Examiner.

Sarah Tong, director of sales at Hat Trick International, said: “It’s the combination of the instantly recognisable world of espionage with an offbeat, unconventional comedy that has proved an exciting concept for the French audience. It’s a refreshing twist that enables Spy to stand out in a competitive market.”

Spy, which was produced by Hat Trick for Sky 1 in the UK, was nominated for an International Emmy in Cannes on Monday, and lead man Darren Boyd re-

cently won the BAFTA for best male performance in a comedy programme. Series one and two have now sold to more than 100 countries.

The secret’s out: David Bessieres of Canal+ (left) with Hat Trick International’s Sarah Tong and Elfyn Morris

PARTNERS FORM A DREAM TEAM JEAN-Marie Delmotte, head of research and development at Belgian publishing house Averbode Publishers, and Rodolphe Dietrich, founder of Lille-based Zorn Production International, launched Dream Team Distribution this week to maximise the value of children’s edutainment properties.

“Averbode knows publishing, Zorn knows production, and we are in discussion with a merchandising specialist,” Delmotte said. “And while this market focuses on short-term returns, we will take a longer-term view.”

Typical clients will be small animation companies who have a broadcast deal in place but want to do publishing and merchandising deals, and rights holders of book properties with TV potential.

“Clients could come from anywhere in the world, but our portfolio will remain small and high quality,” Delmotte said.

“Also our agreements will be non-exclusive. So if a client has some deals in place, they can handle those, and we’ll do the others.”

Dream Team is currently operating as a division of Zorn. Its first four titles are Hopla (Averbode), Nelly And Cesar (Averbode), Tom (EBU) and Ready Steady Go! (Zorn).

Dream Team’s Jean-Marie Delmotte (left) and Rodolphe Dietrich

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09/10/12 18:30

neWs DOGTV OFFERS HOUND & VISION THE WORLD’s first TV channel for dogs, DogTV, is at MIPCOM looking for carriers to take its pay-TV offering around the world.

The channel’s mix of relaxing and stimulating programming for dogs, with colours specially adjusted for canine eyes, is backed by behavioural experts, dog trainers and pet psychologists. Its founder, Yossi Uzrad, believes that, since five million dogs are left alone at home for five hours or more each day in the US, a channel with content proven to benefit canines has a large potential audience. And since 60% of Americans leave the TV on for their pets when they’re out, there is no shortage of people to pay for it. The same may also be true at MIPCOM: “I have meetings every half hour,” Uzrad said.

Since its trial launch in the US in July, there have been 6,000 uploads of dogs watching DogTV to Facebook and YouTube.

Studio 100 Media sells Vicky and friends to Swiss Teleclub

S

TUDIO 100 Media has signed a deal to broadcast content from its Germanspeaking Junior Channel on pay-TV channel Teleclub in Switzerland and Lichtenstein. Teleclub, which is owned by Cinetrade AG, will show programming from Junior Channel, which is aimed at kids and families and has produced shows including Vicky The Viking, Pinocchio, Heidi, and Maya The Bee. St udio 100 Media managing

director Patrick Elmendorff said: “Swiss Teleclub offers its subscribers superior entertainment and that’s why Teleclub is the perfect network for the broadcast of our children’s channel Junior with its high quality family entertainment.

“The partnership with Teleclub sets the basis for further and future cooperations and strengthens our position in the European market.”

Ju n io r w i l l b e of fe r e d t o subscr ibers of t he Teleclub Family package.

Studio 100 Media’s Vicky The Viking

CARTOON Network US has taken a bite out of London-based Cake’s kids’ and family distribution slate, with the announcement of a deal that will see seasonal specials Dear Dracula and Abominable Christmas premiering on the channel this month.

Dear Dracula is set around Halloween and follows young monster buff Sam who strikes up an unusual friendship with Dracula. Abominable Christmas sees abominable snowkids adopted by a family in a Colorado mountain town, having been chased out of their hideaway by a scientist intent on capturing them.

“As always, we enjoy partnering with Cartoon Network, and we’re excited that they have found value in these specials,” said Edward Galton, chief commercial officer and managing director, Cake.

Produced by Kickstart Productions and Arc Entertainment for Walmart in the US, each 45-minute film features well-known voices including Ray Liotta, Emilio Estevez, Jane Lynch and Matthew Lillard.

Abominable Christmas, distributed by Cake

Every dog has its daytime TV

Record kids deal boost for Beyond Joanne Azzopardi (left) of Beyond and Sharifah Noraidah of Astro TVIQ

BEYOND Distribution has con¿rmed its largest deal to date for kids programming in Asia. Astro TVIQ, the channel for ¿ve- to 15-year-olds which runs on the Astro platform in Malaysia and southeast Asia, has taken the rights to 11 kids’ series — more than 230 hours in total. It also renewed

Backyard Science, which has been one of the channel’s top-performing shows.

Sealing the deal in Cannes was Sharifah Noraidah, assistant vice-president of Astro TVIQ and Joanne Azzopardi, Beyond’s vice-president for Australasia.

34 N3P34+D.indd 1

09/10/12 19:23

mipcom

Cameras roll on The Royals History’s Pawn Stars ready UK-BASED distributor Con- The agreement sees Content Tel- to do business in the UK tent Television and independ- evision, a subsidiary of internaent production company back2back Productions have signed a global deal that kicks off with the production of The Royals, a six-part documentary featuring an in-depth look inside the British monarchy’s world, from weddings, babies and teens to funerals, pets and scandals.

Back2back’s David Notman-Watt (left) with Content’s vice-president commercial affairs, Vicky Ryan and Greg Phillips

tional entertainment conglomerate Content Media Corporation, and back2back co-funding and co-producing a slate of programming, and Content handling the international distribution. The Royals is the first of the programmes to get the green light.

Speaking about back2back, Content Television and Digital’s president Greg Phillips said: “We have been very impressed with their original approach to factual and reality programme-making. The company has a highly experienced team of producers to bring these diverse projects to life.”

David Notman-Watt, back2back’s managing director, said: “Co-producing/co-funding with Content Television will allow us to build on our factual and reality content as we look to expand.”

HE FIRST international version of format Pawn Stars, the hit Ày-on-thewall reality series transmitted on US cable network History, is to be produced for the UK. This follows an agreement between History’s owner A+E Networks, A+E Networks UK, and US-based Left¿eld Pictures, the show’s producer.

With the working title Pawn Stars UK, the new series of the show which follows the daily lives and work of a familyowned pawn shop is scheduled to premiere during the fourth quarter of 2012 on History’s international channels in the UK, Canada, Europe, Asia-Pacific and Latin America.

Production of the British edition establishes a new strategy

T

Pawn Stars: new funding model

that sees History’s international channels also co-funding the show.

“This commission establishes a new model whereby History channels around the world will own this phenomenal franchise extension,” said Christian Murphy, A+E Networks’ senior vicepresident, international programming and marketing.

35 N3P35+D.indd 1

09/10/12 17:31

neWs New opportunities for Enlight after success with X Factor NLIGHT Media, the la rgest i ndependent production company in China, is at MIPCOM to seek international partners and new formats following its successful re-version of The X Factor for Liaoning TV. Enlight’s mission is to become a pioneer in China for international format development and Harry Su, Enlight’s president of TV production department, is excited about the continuing boom in the Chinese TV industry and the opportunities to work on new

E 3DDUO’s Maxence Devoghelaere (left) with Cyber Group Studio’s Pierre Sissmann and Carole Brin

CYBER GROUP CREATES APPS CYBER Group Studios has begun developing apps and electronic content based on its animation properties.

It is working with Lille-based app developer 3DDUO, first on an ebook for Zou that will be published before the end of 2012. Sales to broadcasters include Disney Junior (EMEA, Asia, Latin America, Australia and New Zealand), France 5, Tele Quebec and KBS. Next, in the first half of 2013, will come a set of games and apps for Zou and the other Disney series Ozie Boo and Tales Of Tatonka. The 2013 release for Zou will take place in 10 languages.

“We are very excited to extend the entertainment experience of our brands beyond the television screen and we are pleased to have entered into this partnership with 3DDUO,” said Pierre Sissman, Cyber Group Studios’ president.

“We strongly believe in the potential of Cyber Group Studios’ IPs and will do our best to ensure success is achieved,” Maxence Devoghelaere, 3DDUO CEO said.

production deals with the West.

“The industry is in a fast-growing period and there is an appetite to acquire internationally inÀuential formats and make a real success of them in a short time,” Su said. “However, to continue raising Chinese production standards, we can see that it is necessary to ¿ nd international talent to come to China and help us to develop.”

Su said that the enormous population in China is a bonus in terms of audience reach and that The X Factor has signi¿cantly

Enlight Media’s Harry Su

boosted Liaoning TV’s ratings.

“Major Chinese broadcasters still only want large scale entertainment shows but we are always looking for new companies to work with who we haven’t met before,” Su said.

Foothill and DQE forge co-pro deal DQ ENTERTAINMENT and Foothill Europe have joined forces for new buddy comedy Raz &

From left: Foothill’s Jo Kavanagh-Payne and Gregory Payne, and DQE’s Tapaas Chakravarti

Benny. The CG-animated series (52 x 11 mins), which follows daredevil Raz, cautious Benny and their eccentric pal Lilly, will be developed, financed, produced and distributed by the two companies. The deal also covers the exploitation of ancillary rights, including merchandising.

“We have long admired DQE’s work and have been seeking just the right project on which to

work with them,” Jo KavanaghPayne, Foothill Europe’s managing director said.

The characters were created

by UK-based Simon Hodgkiss of Rockkiss DME. Tapaas Chakravarti, chairman and CEO of DQE Group said: “Raz & Benny is such a fun project and we are really looking forward to working with Foothill to bring this property to life.”

Dancer’s chance to Shine across US TOP DANCERS and choreographers from the Royal Ballet in London will be travelling across the US on a talent search thanks to a new series from Ovation that is being represented internationally at MIPCOM

by Shine International.

Seven-part series A Chance To Dance ¿ nds the best dancers at US schools and then subjects them to a gruelling training regime before a gala performance at the Dizzy Feet Foundation gala. Father and son Nigel and Simon Lythgoe, between them producers of American Idol and So You Think You Can Dance among

others, shared the production between their companies, Nigel Lythgoe Productions and Legacy Productions.

Ovation has also announced its ¿ rst co-production, with BBC Worldwide Americas. Doors Open, based on an Ian Rankin novel, stars Stephen Fry as an art professor who teams up with a banker and a self-made mil-

lionaire to pull off an art heist.

The LA-based company recently licensed Blackout, a 3 x 60 mins drama starring Christopher Eccleston, from BBC Worldwide and announced more original content commissions, including Opening Night, a 120-minute documentary that goes behind the scenes at a musical version of Snow White.

Simon Lythgoe (left), Legacy Productions; Hayley Babcock, Shine International; Kary McHoul, Nigel Lythgoe Productions; Chad Gutstein, Ovation; Nadine Nohr, Shine International; Kris Slava, Ovation

36 N3P36+D.indd 1

09/10/12 18:33

mipcom

Toei’s Dragon Ball is back Cineix Rights adds US producer to catalogue OKYO-based Toei Ani- about the movie in December.�

T

mation is in Cannes promoting the latest movie of the long-r unning Dragon Ball franchise ahead of the movie’s global premiere next year.

Dragon Ball, which began as a manga cartoon, was Âżrst made into a TV series by Toei in 1986 and became a hugely popular anime in Japan and internationally.

The latest movie, Dragon Ball Z, will be released next March in Japan.

Speaking to MIPCOM News, Toei Animation vice-chairman Kozo Morishita said: “With such a long-running series, it’s important to evolve the storyboards and characters because you have to make sure modern audiences engage with it. We will be announcing more details

Widely accepted to be one of the greatest manga series of all time, Dragon Ball has appeared in various forms since the 1980s including comic books, TV and Âżlm formats.

Toei Animation’s Kozo Morishita: engaging modern audiences

UK INDEPENDENT television distributor CineÀix Rights has signed an exclusive threeyear deal with US producer LMNO Productions the company to distribute LMNO’s 450-hour back catalogue, as well as its new programming for the next three years.

Shows include: Unusual Suspects (50 x 60 mins) about everyday people who turn out to be not quite what they seem; The Little Couple (100 x 30 mins), a reality show about two married dwarves; and Cheating Vegas (3 x 60 mins), about scamming the casinos. “We are delighted to be partnering with such a highly reputed producer as LMNO,â€? said Chris Bonney, CEO of Rights, CineĂ€ix Media. “This is the start of a strategic collaboration in which we

will be distributing LMNO’s content and providing support on IP exploitation from the programme development stage onwards.�

Eric Schotz, president and CEO of LMNO Productions said: “CineĂ€ix has a great reputation for delivering results for clients and we’re particularly pleased at their approach.â€?

LMNO’s senior vice-president Ed Horwitz (left), Cineix’s Chris Bonney and LMNO’s Eric Schotz

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37 N3P37+D.indd 1

09/10/12 18:59

neWs MARKET LEADERS SIGNED FOR ATF ASIA TV Forum & Market (ATF), Asia’s entertainment content market, has announced a strong conference line-up of for December.

Over four days, ContentNOW will provide insights into the region’s TV and film industries, with spotlights on Chinese film, Asian broadcasters and Asian TV content and co-production opportunities.

Joining an array of international keynote speakers, Cort Lane, Marvel’s vice-president of animation development and production will kick-start a pre-market conference on the issues surrounding Asian animation.

“I am thrilled to make my first appearance at the Asia Television Forum,” he said.

“This is a very exciting opportunity for us to share what we have coming up in our slate. Conference delegates will get a chance to preview exclusive clips from Marvel Animation as we highlight the next wave of Marvel characters bound for television stardom,” he said.

Other speakers include Damian Tromel, head of acquisitions and creative at DreamWorks and Derek Reeves, creative executive for development and co-productions, Nelvana. ATF opens at Marina Bay Sands in Singapore on December 4.

Animation deal sealed thanks to KOCCA’s detective work

Sunwoo’s Moon-ju Kang (left), KOCCA’s Hong Sang Pyo and Planet Nemo’s Frederic Puech

K

OREA’s Sunwoo Entertainment and France’s Planet Nemo Animation have signed a co-production partnership for pre-

school HD TV animation series Ted & Dory Detectives (52 x 11 mins.)

The Korea Creative Content Agency (KOCCA) was instrumental in bringing the property to the inter-

national market. “It’s part of our mission to provide this support,” said KOCCA president and CEO Hong Sang Pyo. “Our hope is that this partnership will pave the way for even more Korean creative content to reach the global market.”

Sunwoo Entertainment managing director Moon-ju Kang added; “We want our content to be enjoyed everywhere, so for us it’s important to have a credible partner that can help us develop and market this property properly for the international market.”

Planet Nemo and Sunwoo aim to bring the series ¿ rst to European and then North American broadcasters. “Planet Nemo is both a producer and distributor so we’ll be handling distribution outside of Asia,” said Planet Nemo president Frederic Puech.

MULTICOM Entertainment Group signed a worldwide distribution deal on Monday with Korean animation house Studio W. Baba for the 26 x 30 mins 3D animated action series, Mask Masters.

Pictured are: W. Baba’s Hong-Ju Lee, Daniel Regis Brown’s Regis Brown, MSC Malaysia’s Michelle Sta Maria, Multicom’s Irv Holender, Audioworks Producers Group’s Kip Kaplan, W. Baba’s Suh-changbum, Mirayi’s Nikole Saw and Jin. Ng Jin Chong and Multicom’s Myriam Diaz.

Sinbad sales to Seoul and beyond BBC WORLDWIDE announced a raft of new sales of Sinbad at MIPCOM including deals with KBS in South Korea, TV3 in Russia and Fox International Channels across Bulgaria and the Balkans. “We’re extremely pleased with these new sales of Sinbad, which has been a ratings hit for Sky in the UK.” Caroline Torrance, director of drama for BBC Worldwide’s content and produc-

tion business. “It’s spectacular, thrilling family entertainment, so we expect this series to continue to sell, and delight audiences around the world as it has done here.” BBC Worldwide is also launching new dramas Ripper Street and Top of the Lake at MIPCOM this year.

Sinbad (BBC Worldwide)

38 N3P38+D.indd 1

09/10/12 18:34

mipcom

RT extends international reach with launch of new video agency Ruptly LOBAL news network RT — which broadcasts in English, Arabic and Spanish from Moscow and Washington, and is available to 550 million viewers worldwide — is about to launch a new full-service video agency. The RT Ruptly service will provide original video coverage of developing stories from around the world.

Three years ago, RT launched an online video agency, FreeVideo, which gave users free access to RT footage.

“The success of FreeVideo exceeded all our expectations,” said Margarita Simonyan, RT’s editor-in-chief. “Since 2009, more than 13,000 TV channels and agencies from 185 countries have subscribed to the service and many of those use our materials on a regular basis. We’re talking about big players like

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CNN, Fox News, ABC News, AP, Reuters and many others. Altogether, nearly 14,000 videos have been uploaded to the site, which has generated more than 175,000 downloads, mostly from media outlets in the US, as well as from China and Europe. We saw this demand for original news footage and decided to build on that.”

But Ruptly will be different from FreeVideo. “While FreeVideo primarily contains content, particularly news footage — created by RT for use in the network’s own broadcasts — Ruptly will offer a lot more, particularly raw footage and materials created speci¿cally for outside distribution,” Simonyan said. “To this end, we’re expanding our presence around the world: we are adding to our network of international bureaus — there are currently 25 — and setting up outposts in China, Iraq and Afghanistan.”

RT editor-in-chief Margarita Simonyan: “Ruptly will offer a lot more”

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neWs FUJI TV THINKS OUTSIDE THE BOX JAPANESE commercial broadcaster Fuji Television Network (Fuji TV) and FremantleMedia are in Cannes with a new format called 10 Minute Box. Developed by Fuji TV and brought to market in collaboration with FremantleMedia, the show features a glass box containing five contestants with big personalities and bigger egos. The audience is the judge, ranking the box’s inhabitants on factors including beauty, sex appeal and style. The only way contestants can get their hands on the big cash prize is if they can put their egos aside and work out how they ranked.

Over the course of the last two years, Fuji TV and FremantleMedia have formed increasingly close ties, in terms of both development and distribution. This has resulted in shows like Total Blackout (the top-rated show for Syfy Channel in the US) and an alliance between Fuji TV and FremantleMedia Asia to co-develop and co-produce formats for Asian broadcasters.

Formats are a big priority for Fuji TV, which is part of a government-led Japanese delegation promoting new shows this week at MIPCOM. Aside from 10 Minute Box, Fuji titles include Light Sleepers, an extreme reality show where contestants compete in a speedsleeping standoff, a speed-waking competition and an endurance battle to stay awake.

New series of Life Force is natural development for NHK and NHNZ

NHK’s Shin Murata shakes on the deal in Cannes with NHNZ’s executive vice-president development and marketing Neil Harraway

HK and NHNZ have used MIPCOM to unveil a new series of Life Force. The major blue-chip science/ natural history series Life Force II builds on the worldwide success of Life Force I, a six-part series co-produced by NHK, NHNZ, France Televisions, Science Channel and Animal Planet

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and distributed by Off the Fence (OTF).

Like its predecessor, Life Force II is a global production, with the Science Channel, Discovery Network International and ARTE partnering NHK and NHNZ in the production. Off the Fence will again distribute the series.

Life Force II delves into the science and mystery of evolution

and unravels the stories of how and why animals in six extraordinary environments evolved to be so strange and unique. Commenting on the production, NHK executive producer of natural history programmes, Shin Murata, said: “This will be the fourth time NHK and NHNZ have done a true co-production, in the sense that we both play a hands-on role in making the programmes. And the participation of our other partners will enable us to use even newer camera technologies to reveal more of the mysteries of life and evolution.”

NHNZ managing director Michael Stedman added: “It is wonderful to be able to carry on with the momentum gained through the ¿rst series, and have the opportunity to work with the many talented people involved in this co-production.”

The regions that the programmes will feature are South West China, Borneo, South West Africa, Central America, India’s Western Ghats and Sri Lanka, and East Africa. The production will be two years in the making, with delivery in mid-2014.

Japan reveals universal treasures

Minister Counselor Toru Morikawa: “content we can export with confidence”

TORU Morikawa, the Japanese Minister-Counselor in France, is in Cannes to support Treasure Box Japan, a project designed to showcase Japanese formats for the international marketplace.

“Japanese formats offer high-quality entertainment with universal appeal,” said Morikawa. “As with a Japanese car, the Japanese consumer demands perfection. So this is content that we can export with con¿dence both as ¿nished programmes, and as formats to be localised by others.”

Among the properties on offer is Time Scoop Hunter, a scripted series in which a time-travelling journalist

interviews characters from history.

Ninja Warrior is a physical elimination contest that has already aired successfully on NBC in the US. In The Great Grandpa!, older men perform physical challenges on behalf of their grandchildren. The show is subtitled All I Need Is Your Smile.

“Achieving format sales is a short-term objective,” said Morikawa. “More important for the Japanese government is to support co-operation between the companies. By working together and being proactive, they can have a more effective presence in international markets like this one. It’s a longer term objective, but one we very much endorse.”

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people

OLLYWOOD legend Matthew Modine is in Cannes to promote end-of-theworld thriller Cat.8, a four-hour miniseries produced by Muse and distributed by Sonar Entertainment. It’s a role he’s happy to play: “Long before it was standard in the industry I used to travel the world promoting projects. I like to get behind productions and support them any way I can.”

In Cat.8, Modine, whose credits include Birdy, Full Metal Jacket and The Dark Knight Rises, plays a renegade scientist who is the only person capable of stopping a huge ¿reball crashing into the Earth and wiping out humanity. “It’s a ticking clock story,” he says, “I don’t stop running from the beginning to the end.”

Modine hasn’t done a science-¿ction style production before. So what attracted him to a project like Cat.8? “I enjoyed the script. It felt like a Harrison Ford movie — can we save the world before it’s too late? And it ¿ts in with my own interest in environmentalism because the story is about misuse of energy technology. The world faces enormous problems, so if this ¿lm gets an environmental message across that’s great.”

Best known for his movies, Modine is happy to be part of the growing trend for big screen stars to accept small screen roles. And he’s comfortable working within the tighter budgets and timelines that exist in TV. “Earlier in my career there was no real crossover between the two. But I think the line has blurred to the point it doesn’t exist anymore. The real struggle these days is to ¿ nd the best story and the best director. We were fortunate with Cat.8 to have Kevin Fair, who came via Smallville.”

Modine has worked with some of the world’s best directors (and next year directs his own movie The Rocking Horsemen). But ask him to single out one highlight in his career and he names Stanley Kubrick’s Full Metal Jacket: “It’s amazing to have worked on a ¿lm like that which has stood the test of time so well.

Hundreds of thousands of people come to LA to make a career and less than 1% succeed. So for me to have worked on productions like Full Metal Jacket is like winning the lottery.”

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Modine on the run Matthew Modine; mixing movies and mini-series

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neWs ASIA LIKES SOUND OF WEDDING BAND FREMANTLEMEDIA Enterprises (FME) has sold the comedic US drama Wedding Band (10 x 60 mins) to two multi-territory broadcasters in Asia Pacific, bringing the show to audiences in more than 45 territories. Sony has picked up the show for its channels in China, Hong Kong, Malaysia, Philippines, Singapore, Thailand and Vietnam.

Viacom18 has done so for channels in India, Pakistan, Sri Lanka, Bangladesh, Nepal, Bhutan and the Maldives.

“Wedding Band is fun and youthful,” said FME’s Ganesh Rajaram, senior vice-president of international distribution and home entertainment, Asia, who brokered the deal. “It’s got a great script and a wonderful cast and we’re really looking forward to its premiere across Asia.”

The series is about two lifelong best friends — Tommy, a perennial bachelor, and Eddie, a married father of two — and their friends who play live music at weddings.

Buoyed up by free booze and friendly bridesmaids, these weekend rock stars will stop at nothing to make every wedding, birthday or bar mitzvah a night to remember.

Wedding Band, which premieres on US cable net TBS in November, has already sold to Canada (CTV), the UK (Channel 5), Latin America (TBS Latin America), Australia (Network Ten), the Middle East and North Africa (MBC Group), Denmark, Norway and Sweden (Viasat Broadcasting) and Finland (YLE).

New series to shed light on Hitler’s journey to genocide EOS/ Beta Film’s Jan Mojto: “The time is right to create a series on Hitler out of Germany”

EAMWORX Fernsehen & Film managing director Nico Hofmann and EOS/Beta Film managing director Jan Mojto have unveiled plans for an eightpart series about Adolf Hitler.

The project will be based on the biography Hitler’s First War by historian Thomas Weber.

The series begins with the First

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World War in 1914 and ends with Hitler’s death in 1945. By examining key moments, turning points and antagonists, the project pinpoints certain revealing “leaps in radicalisation” made by Hitler during the decisive phase of the preparations for the Holocaust. “Even with all the previous attempts to shed light on the Third Reich, the war and the

genocide, Hitler himself remains mysteriously vapid,” said Weber, a Hitler expert and historical adviser for the TV project. “Our self-imposed benchmark for a new series on Hitler must be to change this.” In order to guarantee an “inclusive” interpretation of Hitler’s persona, distinguished specialists will participate in developing the subject. Next to the historians Weber and Ralf Georg Reuth, the ¿lm team will bene¿t from the expert advice of Jonathan Steinberg (University of Pennsylvania and a fellow of Cambridge University), who is an expert on recent Jewish history.

Mojto added: “The time is right to create a series on Hitler out of Germany in English for the international audience. With Nico Hofmann, we share 12 years of co-operation with almost 30 programmes. Many were of a sensitive nature and have turned out to be emotionally intriguing and historically acclaimed.”

Animators help change the world ANIMATORS are not usually seen as saviours of and we can reversion the animations cheaply into the world, but Dr Tom O’Callaghan and Firdaus local languages.”

Kharas of the iheed Institute, together with anima- Behaviour change is measurable, and the mobile tion software providers Toon Boom Animation, phone allows for the speedy transfer of health information from the ¿eld. have found a way for them to IHeed is crowdsourcing ¿lms be just that. on its website, www.iHeed“We are training a million crowd.org, and uses a network community health workers in of health advisers to validate Africa through short animathe content. It runs competitions for mobile phones,” said tions with cash prizes but, Kharas, the Institute’s creaKharas said, the main motivative advisor and a worldwide tion for participating animaexpert on behaviour-change tors is a desire to help, a thirst communications. “There are for creative outlets and peer 700 million mobile phones Drawing strength: iHeed’s Firdaus Kharas recognition. and cheap tablets in Africa. (left), Toon Boom’s Joan Vogelesang and iHeed’s Tom O’Callaghan Toon Boom, meanwhile, is It’s a more effective commupushing the message in the thousands of studios nication mechanism than printed materials.”

O’Callaghan stressed that they are interested in be- across Africa and Asia that use its software. haviour change, not simple education: “The ¿lms “Through our extensive network, we are delighted cover topics such as water sterilisation, breastfeed- to accelerate and extend the reach of this global ing and domestic violence. It’s an accessible and training movement,” said Joan Vogelesang, presicost-effective way to get the information across, dent and chief executive of¿cer of Toon Boom.

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Global Agency in Cannes to make big fashion statement NTERNATIONAL formats distributor Global Agency turned the Palais into its own private fashion show to promote Fashion Icon, which has so far clocked up more than 270 episodes over two seasons, attracting thousands of hopefuls desperate to become the Fashion Icon of Turkey.

Host of Fashion Icon, model/ designer Ivana Sert has been at MIPCOM showcasing a selection from her latest fashion collection.

Izzet Pinto, managing director of World Wide Entertainment and chief executive of¿cer of Global Agency, said: ”Fashion Icon is a huge daily brand in Turkey and is already attracting interest from around the world. We’re con¿dent that it will sell into several

I

Studio Lambert’s Eli Holzman

HOLZMAN ON HUNT FOR BUYERS

Ocean Models Agency owner Kaya Wittenburg and his model team

major territories at MIPCOM.” World Wide Entertainment is also launching Ocean Models, a 13-episode reality series following the models of the eponymous Miami-based high fashion

agency. The series chronicles the journey of an international cast of both male and female fashion models as they dive into a world of excess, both professionally and personally.

ZHEJIANG Huace Film & TV is celebrating the sale of a package of top-rated Chinese TV drama series to Electronic Media Airtime Services (EMAS) of Malaysia.

The deal covers Malaysian new media rights to several period, kung fu and contemporary series such as Love Amongst War (48 x 45 mins), Meteor Butterfly Sword (30 x 45 mins), Memoirs Of China (42 x 45 mins) and Snow Leopard (40 x 45 mins).

According to Zhejiang deputy general manager Yu Haiyan, “Malaysia is a great market for Chinese TV drama and we are delighted to establish another new business relationship at MIPCOM.” The deal was witnessed by Yin Ming Qing, who is leading Zhejiang’s presence at MIPCOM for the fourth consecutive year.

From left: Sharon Leung (Zhejiang), Shirin Roesman (Electronic Media Airtime), Yin Ming Qing (China International Cartoon & Animation Festival), Izham Abdullah (EMAS) and Yu Haiyin (Zhejiang).

Stealth and Prorom in debut deal MARBLE City, the feature ¿lm starring Nicholas Cage, has been sold by Stealth Media Group of the UK to Germany’s Prorom Media-Trade for the territories of Hungary and Romania.

Cage plays a newly released prisoner who embarks on an actionpacked trip of vengeance against those who put him inside.

Stealth’s senior manager of international sales, Tania Sarra,

and Prorom’s Johannes Goetz and Julia Pahl, respectively head of sales and acquisitions and sales and acquisitions manager, clinched the deal. It is the ¿ rst time the companies have worked together.

“Closing our first deal with Stealth Media Group, a promising player on the market, lays the foundation for a long-term business relationship,” Goetz said.

Stealth’s joint-CEO Sean O’Kelly and Tania Sarra, and Prorom’s Julia Pahl and Johannes Goetz

ELI HOLZMAN chief executive officer of Studio Lambert, has had a very productive year — delivering new and returning series to a mix of US networks and cable channels. Now he’s in Cannes, working with sister company All3Media International to pitch some of the titles to buyers. “We have four formats and a completed show on offer,” said Holzman. “All of them have either played on US cable channels or will debut in the next few months.” The completed show is Spike TV’s Rat Bastards, which follows the fortunes of hillbilly hunters on the search for over-sized rats in Louisiana. The formats are Be The Boss, Neighbourvention, Model Employee and Supermarket Superstar.

The latter is a 10-part co-production with The Weinstein Company for the Lifetime Channel.

Holzman said the US TV market was in serious transition, something benefiting companies such as his own: “Online and VOD platforms are becoming the new home for library content. So cable channels that used to rely on repeats are moving to origination.

There were 600 new series in the last year and we expect that to double next year.”

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mipcom

feature 3DTV

Taking 3D to the next level

The Wildebeest Migration: Nature’s Greatest Journey, an Electric Sky production for Sky 1, Animal Planet, 3Net and Sky 3D

3DTV is alive and well. And as the technology establishes itself, and new channels come on stream, new trends in programming are emerging. Chris Forrester reports on the latest developments...

FTER his obituary had been published technology. Now there’s a movement to see 3D tap into prematurely, Mark Twain famously episodic drama series, and other regular TV fare, with remarked: “The reports of my death are none other than Avatar director James Cameron urging greatly exaggerated”. Well the same goes producers and broadcasters to look closely at for 3DTV, and despite plenty of TV folk everything they do with a view to producing more 3D programmes. The BBC (Wimbledon, writing off the technology, it seems Strictly Come Dancing, Planet the proof is in the growing number of Dinosaur 3D and The Last Night Of channels on air, hundreds of extra 3D The Proms) has added to its roster of hours thanks to the Olympic Games, 3D highlights, while BBC Worldwide and a real push this year by many has an even wider selection of 3D broadcasters to create 3D-specific content within its catalogue. The programming. The normally ultratraditional end-of-summer live music cautious BBC is busy with 3D. broadcast Last Night Of The Proms Likewise Germany’s ZDF, and in was also beamed in 3D to cinemas Japan, NHK is investing in 3D as around the UK, where audiences were well as ¿nalising its industry-leading encouraged to dress in patriotic 8 ,0 0 0 -l i n e Su p e r H i-Vi sio n 3ality’s Steve Schklair

A

3D hits you in the stomach with its intensity

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feature Natural history on the move in 3D THE Wildebeest Migration: Nature’s Greatest Journey (1 x 43 mins/50 mins), sheds new light on an amazing migration in Africa. Each year the Serengeti Plains in Tanzania play host to one of the most spectacular movements of animals on the planet. Some two million Wildebeest, Burchell’s Zebra and Thomson’s Gazelles begin a round trip that will take them almost 2,000 miles. Now, for the first time, the audience is placed at the centre of the herd in 3D as it undertakes one of the most arduous journeys on the planet.

The documentary special is an Electric Sky production for Sky1, Animal Planet, 3Net and Sky 3D

costumes, complete with Àags and bunting. It is the same at ZDF, and its commercial arm ZDF Enterprises, which now has ¿ve 3D shows on its slate — not least the spectacular Cosmic Encounters, a 1 x 52-mins special produced for ARTE and ZDF by Prospect TV Production, Jurgen Hansen and Simone Stripp, featuring the world’s first 3D images from the International Space Station. The ¿lm tracks a Dutch and a German astronaut through training and into space and features some heart-stopping 3D footage.

The production follows on from the award-winning success of ZDF’s 3D doc about free-climbing mountaineers, The Huber Brothers. Other ZDF-backed 3D projects in development include In Search Of The Yacu-Mama: Giant Anaconda, (1 x 50 mins), and The First War Of The Machines (3 x 50 mins) coming out next year. These moves are designed speci¿cally to counter the problems mentioned by the likes of Canal Plus and the US’ DirecTV, both of which have cut back their 3D efforts while stressing they’ll re-start once 3D productions do begin Àowing. The received wisdom

mipcom

Nobody is exploring the easy, low hanging fruit of two-camera scripted drama where the cost delta is negligible CPG‘s James Cameron

Sony’s experimental glasses-free 3D system

The Dolby/Philips experimental glasses-free 3D system

NHK’s Soma Namaoi production in 3D

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feature

Break the rules in 3D say experts “Stereographers must remember that, along with the director, they can also use 3D as a device for storytelling, and not just ensuring that lenses are aligned or making convergence adjustments,” says Carolyn Giardina, co-author with Adrian Pennington of a new Focal Press book‘Exploring 3D: The New Grammar Of Steroscopic Filmmaking.

Pennington adds that from conversations with Wim Wenders (Pina), Martin Scorsese (Hugo) and Baz Luhrmann (The Great Gatsby) came a clear message that 3D could enhance core storytelling.

3ality’s Steve Schklair, who is speaking at MIPCOM’s 3D event, is fresh from working on Stalingrad, a Russian 3D epic now in post and shot in St Petersburg. Schklair said that 3D aided the storytelling.

“You feel the shot, the battle, the flames, the fear. Saving Private Ryan’s battle scenes were terrific but 3D is so much better because it communicates more of the strengths of emotion. 3D hits you in the stomach with its intensity.”

Julian Napier (left) and stereographer Sean McCLeod shooting Carmen in 3D

from the industry is that 3D is expensive, but there’s now a major thrust towards the trimming of production and post costs and using new methodologies to get 3D to the TV screen at signi¿cantly lower costs per hour.

For example, BSkyB is happily funding fresh 3D productions such as Galapagos — which will be showcased at today’s MIPCOM 3D event — as well as the high-pro¿le Kingdom Of Plants, both hosted by Sir David Attenborough; Meerkats 3D and Bachelor King 3D. The company is also co-producing, with James Cameron and Vince Pace — Cameron Pace Group (CPG) — the 2012 3D Ryder Cup golf event which took place in September at Medinah Country Club, Illinois, and using 26 dedicated 3D cameras to cover the action. Sky’s efforts are seemingly paying off, with Sky sources saying they are very happy with “well over” 250,000 3DTV subscribers. This winter season will see greater efforts focused on 3D soccer, live events and documentary programming. John Cassy, who heads up BSkyB’s 3D efforts, says the Ryder Cup Golf in 3D is Sky’s ¿rst major production venture with Cameron Pace Group (CPG). Cassy is also a fan of

3ality — 3ality’s Steve Schklair is a speaker at MIPCOM’s 3D event — and Sky is using dedicated 3D production vans fully equipped with 3eality’s equipment which it has used on a wide variety of OB locations. Sky has also been an aggressive buyer of high-quality 3D material from the likes of A+E Networks (Titanic: 100 Years In 3D, History Of The World In Two Hours and Invisible), as well as an increasingly proli¿c production house itself. Outside the BSkyB pay-TV universe the UK has around 800,000 3D sets installed, although it is fair to say that some owners might not be aware they have the technology on their sets. Researchers at Futuresource Consulting say that by 2016 that will have grown to more than 20 million. But James Cameron sums up the challenges for production houses, and broadcasters.

Speaking last month at IBC in Amsterdam, Cameron said: “The irony is that we are doing the hardest things in 3D — visual effects cinema and huge multi-camera broadcast shoots — yet nobody is exploring the easy, low hanging fruit of two-camera scripted drama where the cost delta is negligible. Broadcasters should be

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HARNAS – WILDLIFE RESCUE CAMP WILD ANIMALS, YOUNG VOLUNTEERS, CHARISMATIC EXPERTS AND THE BEAUTIFUL LANDSCAPES OF NAMIBIA. EXPECT THE UNEXPECTED IN THE ADVENTUROUS WORLD OF THIS FACTUAL ENTERTAINMENT SERIES.

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taking their highest-rated programme and shooting that Safari Park Adventure, America’s National Parks, and in 3D to see where the value is. I don’t know why they animation shows, it is also tapping into special events are not.” CPG is busy shooting a Mariana Trench doc such as its regular musical treat From The Basement.

(DeepSea Challenge) in 3D for NatGeo, which is BSkyB’s schedule has a sprinkling of 3net’s output but posing some extreme depth and technical challenges. is also heavily dependent on its own relationship with New ultra-lightweight 3D camera rigs were developed Atlantic Productions and its high-quality output for the shoot. “We see applications for this technology including Flying Monsters In 3D, now getting the IMAX big-picture treatment, in 3D sports including on Kingdom Of Plants, The helmet cams, race cycles or Bachelor King 3D — also motoGP,” he said. What getting a theatrical release — Cameron and some other and Galapagos, at which experts are proposing is a 5D MIPCOM delegates will get a production model where a 3D sneak peek. Sky and Atlantic rig also supplies 2D material, have linked in a joint-venture and where the same production project, Colossus Productions, routines are more or less t o develop or ig i n a l 3D fol l owe d a s fo r a 2 D programming for UK and conventional shoot. US network international audiences. John ESPN, with a 24-hour 3D Morris, Atlantic’s commercial channel to fill, used 36 3D director, is at MIPCOM and camera rigs at last winter’s will update delegates on their Winter X Games in Aspen, CPG’s James Cameron latest projects. While sport and Colorado. At Aspen both the 2D movies currently form the and 3D productions use one b a c k b o n e of m o s t 3D unified crew and mobile unit and the 2D telecast is derived from the left-eye feed of transmissions, there’s an increasing trend towards the 3D show. It worked, saving a fortune and satisfying special events, such as MTV-type concerts, for their both 3D demands as well as those of the 2D network. impact. This concert footage has spawned a new 3D Of course, it helps that Aspen is a naturally photogenic industry, beaming live or ‘as-live’ events into cinemas location. Indeed, there’s not much that’s off limits to and theatres, and then onto Blu-ray and other packaged broadcasters such as the US’ 3net or BSkyB. While media. Spectacular events such as Carmen and 3net (owned by Discovery, Sony and IMAX) will Madame ButterÀy (both in 3D, for the Royal Opera happily show programming such as Storm Surfers, House and RealD, and produced by Principal Large

Broadcasters should be taking their highest-rated programme and shooting that in 3D to see where the value is

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feature 5 NUMBER OF CONFIRMED DEDICATED 3D CHANNEL LAUNCHES

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Format) have been shown in thousands of cinemas technology, as has a Dolby/Philips joint venture. The around the world. They were transferred beautifully to results certainly work. However, the next step might Blu-ray for sale globally. The film’s director and well be so-called 4K-line transmissions, expected stereographer, Julian Napier, is a panellist at by around 2015-16, where both extra bandwidth and MIPCOM’s 3D event. He’ll explain some of the increased frame-rates will lend themselves to 3D. Dr challenges the projects created. Challenge is also the Hans Hoffmann, from the EBU, will touch on these name of the game as far as China is concerned. James developments in his MIPCOM 3D session. Given the Cameron is aggressively expanding his CPG operation right planning, technology and crew, the incremental into China. CPG China is a joint venture between CPG, costs of producing 3D should be minimal according Tianjin Northern Film Group and Tianjin Hi-tech to John Cassy, BSkyB 3D channel director. Cassy Holding Group, the two major film studios and points to Sky’s recent 2D/3D production of the Isle of investors in Tianjin city, 120 km southeast of Beijing. Wight music festival which used 18 3D cameras and CPG China’s main business will include the production only two 2D cameras — with most of the 2D footage of 3D programming, development of 3D technology coming from the left eye of the 3D cameras. This was also backed up by viewing figures; and the production of 3D equipment. the coverage led to Sky Arts’ highest But while the door might be open for MIPCOM’s 3D ratings of the year so far. Cassy says James Cameron, lesser names might SCREENINGS that the budget difference between a find it more difficult. Nevertheless, pure 2D shoot and ‘5D’ simulcast was there’s a great opportunity with CCTV Wednesday, October 10, “not that great.” Spencer Stephens, committed to signi¿cantly boost its 3D 14.50-15.50, Auditorium A, Level 3 chief technology of¿cer and executive coverage and transmissions.

Spectacular 3D content will vice-president of technologies at Sony be shown from the following Pictures Technologies, who participated Most 3D viewers grumble about the producers/broadcasters: • ZDF, Germany at MIPTV earlier this year, also argues glasses. They can be expensive, and • Atlantic Productions/BSkyB, 3DTV shows and motion pictures can the industry has promised a single UK come in on the same schedule as 2D, universal standard but that’s not — as • Electric Sky, UK • Pioneer Productions/ with only marginal budget differences, yet — happened. Meanwhile there are National Geographic by using precise planning, the right two developments that could change the • Imcube 3D Solutions, technology and even training existing complete landscape. First up is glassesGermany/Hong Kong crew. His ¿ ndings are the results of free 3D. Sony has developed this

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©MSF/Mads Nissen

DEDICATED TO LIFE THEY RISK THEIR LIFE TO SAVE ANOTHER ONE: THE PEOPLE OF MÉDECINES SANS FRONTIÈRES. THIS SERIES FOLLOWS THEIR CHALLENGING LIVES BETWEEN HOMELAND AND FRONTLINE.

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Sony Pictures’ tests with 3D on daytime TV drama Days Of Our Lives and ABC sitcom Happy Endings.

Both shows were filmed with 3ality TS5 rigs and the crew consisted of just three extra members — a stereographer, a rig technician and a stereo image processor. While Stephens concludes that the increased production costs are relatively modest, he advises 3D

productions not to skimp on the rigs. “There were cheaper rigs on the market but the 3ality proved the most ef¿cient and left us with the least to do in post. If you fall behind schedule on a US TV show by just half a day that can cost you more than $100,000,” Stephens says. “In view of this we decided the more expensive rig was cost-effective in the long term.”

The NHK 3D show, Soma Nomaoi, featuring the Soma wild horse chase, which commemorates a battle which took place more than 1,000 years ago

53 47_53_A24_28_MIPCOM-A-006 3D2.indd 6

09/10/12 17:29

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8-11 October 2012 Cannes - France

LATIN AMERICA

EUROPE

The world’s entertainment content market

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

AUSTRIA

FILM AUSTRIA / AUSTRIAN INDEPENDENT FILM PRODUCERS

21.09

Level 01

BELGIUM

FLANDERS IMAGE

20.14

Level 01

BELGIUM

WALLONIE BRUXELLES IMAGES

04.14/ 06.13

Level 01

EUROPE

MEDIA-STANDS.EU

H4.35

Level 4/5

FINLAND

FAVEX - FINNISH FILM & AUDIOVISUAL EXPORT

C1.04

Level 01

FRANCE

TV FRANCE INTERNATIONAL

02.15/ 04.19

Level 01

FRANCE

ILE DE FRANCE FILM COMMISSION

10.02

Level 01

FRANCE

IMAGINOVE

10.08

Level 01

FRANCE

POLE IMAGE MAGELIS ANGOULEME

06.04

Level 01

GERMANY

GERMAN FILMS SERVICE & MARKETING GMBH

12.30

Level 01

IRELAND

IRELAND ON SCREEN

02.30

Level 01

ITALY

ICE- AGENCE POUR LA PROMOTION ET L’INTERNATIONALISATION DES ENTREPRISES ITALIENNES

R36.17

Riviera

RUSSIAN FEDERATION

RUSSIAN FILM AND ANIMATION PAVILION (BY CINEMA FUND)

07.38 / 09.35

Level 01

SPAIN

AUDIOVISUAL FROM SPAIN

R32.27/ R33.20

Riviera

SPAIN

BASQUE AUDIOVISUAL

R31.29

Riviera

SPAIN

CATALAN FILMS & TV

R32.25 / R34.13

Riviera

SWEDEN

SPARKS NETWORK

G3.02

Level 3

TURKEY

TURKISH PAVILION

UNTED KINGDOM

UK INDIES

LR4.15

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

ARGENTINA

ARGENTINA AUDIOVISUAL

06.23

Level 01

ARGENTINA

INCAA

06.27

Level 01

BRAZIL

BRAZILIAN TV PRODUCERS ASSOCIATION

02.41

Level 01

CHILI

CINEMA CHILE / PROCHILE

09.04

Level 01

COLOMBIA

PROEXPORT COLOMBIA

11.30 / 13.27

Level 01

MEXICO

MEXICO: VOICE AND IMAGE

08.20

Level 01

05.24/05.30/05.34/07.23/07.25 07.27/07.29/07.31/07.33 Level 01

For location, check on your site map available at registration.

List of pavilions registered at MIPCOM, as of 12 September 2012

Lerins

281_RM PAVILIONS_N1a3_COM__ 09/10/12 18:34 Page2

Visit the national & regional pavilions

OCEANIA

MIDDLE EAST

NORTH AMERICA

ASIA

www.mipcom.com

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

CHINA

CHINA PAVILION

03.04/05.01

Level 01

CHINA

JIANGSU PAVILION

03.01

Level 01

CHINA

ZHEJIANG PAVILION

13.20/13.26/13.28 15.19/15.21/15.23 15.25/15.27/15.29/ 15.31 Level 01

HONG KONG

HONG KONG PAVILION

09.24

Level 01

INDIA

NATIONAL FILM DEVELOPMENT CORPORATION LIMITED

09.34

Level 01

INDONESIA

INDONESIAN CINEMA

06.07

Level 01

JAPAN

JAPANESE PAVILION

03.23

Level 01

KOREA (SOUTH)

KOCCA (KOREA CREATIVE CONTENT AGENCY)

08.37 / 10.35

Level 01

MALAYSIA

NATIONAL FILM DEVELOPMENT CORPORATION MALAYSIA (FINAS)

11.18 / 13.17

Level 01

SINGAPOUR

MEDIA DEVELOPMENT AUTHORITY

05.20/07.19

Level 01

TAIWAN

TAIWAN EXTERNAL TRADE DEVELOPMENT COUNCIL (TAITRA)

12.18/14.15

Level 01

THAILAND

SOFTWARE INDUSTRY PROMOTION AGENCY (PUBLIC ORGANIZATION) 09.27

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

CANADA

ESPACE QUEBEC - TELEVISIONS ET MEDIAS

C1.05

CANADA

TELEFILM CANADA

00.01/02.10/04.01 Level 01

U.S.A.

INDEPENDENT FILM & TELEVISIONS ALLIANCE

15.18 / 17.09

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

ISRAEL

THE ISRAEL EXPORT & INTERNATIONAL COOPERATION INSTITUTE

19.09

Level 01

KUWAIT

GCC JOINT PROGRAM PRODUCTION INSTITUTION

11.13

Level 01

COUNTRY

PAVILION NAME

STAND NUMBER LEVEL

AUSTRALIA

SCREEN AUSTRALIA

04.36/06.37

For details, see your MIPCOM 2012 Guide in the “National & Regional Pavilions” section.

Level 01

Level 01 Level 01

Level 01

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