Mipcom 2014 news 4

mipcom nEWs ®

DAY

Thursday 16 October 2014

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FACEBOOK

Learn about the Best Practices Leveraging Facebook And Instagram In Broadcast at the Facebook Workshop today at 9.30

FILM & TV CROSSSROADS

Lionsgate TV’s Kevin Beggs told MIPCOM delegates: “There’s no blueprint for how to make a show...”

See p.10

CULT TO MAINSTREAM

When did sci-fi and the paranormal become cool? A top-level panel explains...

See p.6

COUNTRY OF HONOUR

Turkey is the MIPCOM 2015 Country Of Honour See p.13

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NEWS Format buyers in waiting game for next big thing

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OR M AT buyers a re only after one thing — a standout, game-changing hit with the ability to surprise. Unfortunately, agreed the speakers at yesterday’s Formats Superpanel, they are having a tough time finding it.

“The market is bland at the moment,” said TV2 Denmark’s Anette Romer. “We’re all looking for the Next Big Thing but we aren’t finding it anywhere. All

Anette Romer

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Show is career high for MasterChef Bastianich

the shows that have launched this year are derivative. There are no game-changers, like Strictly.

Strictly was a leap — nobody was doing dancing at the time — and it took a leap of faith to broadcast it.”

And for TV2 at least, Strictly continues to do the numbers as it twirls into its 11th season. “It’s like a little jewel we keep polishing and renewing,” Romer said. Keshet Media’s Ran Telem agreed: “We’re seeing viewer fatigue with the older formats, so we’re desperately looking for something new. Everybody in this room could identify a standout idea in seconds. We’re just not seeing it.”

Meanwhile, the legacy superformats continue to perform. Bell Media’s Phil King reported that The Amazing Race, now in its third season on CTV, has become the most-watched Canadian show of all time. In terms of what’s needed to localise a format, opinion was divided. MTG’s Merrily Ross said it was all about the casting: “The format will always stand up but casting is what will make it work.”

Mark Fennessy (far left), Thierry Lachkar and Nadine Nohr of Shine Group with MasterChef USA judge Joe Bastianich

US CELEBRITY restaurateur and food critic Joe Bastianich has said that the second series of Masterchef Junior is the pinnacle of his broadcast career so far.

Speaking on stage at MIPCOM yesterday the MasterChef USA judge said the series, which premiers on Fox in the US in November, was “the proudest thing I’ve ever been involved with in all my TV career”.

He added: “The kids are amazing; they are great for TV because they are honest and unfiltered.”

Bastianich was joined on stage by senior executives from Shine, the show’s producer and distributor, at a special showcase session.

Shine International chief ex-

ecutive Nadine Nohr said that one of the keys to the success of the show — which has been produced in over 50 countries and broadcast in 200 territories — is that the company has carefully chosen which local producers it will work with.

“MasterChef has been carefully nurtured,” she said. “It’s very much about finding people who will share that enthusiasm and commitment and have a track record in cooking shows.”

Also on the panel was Shine France chief executive Thierry Lachkar, who said that after a slow take-up of cookery shows the success of MasterChef had played a part in winning French viewers round to the format.

MIPCOM Stand R8.C20 all3mediainternational.com

For real, folks!

Life’s dramas.

MIP_DAILIES_ADS_2014_V2.indd mipcom neWs 44 The official MIPCOM daily newspaper ®

Thursday 16 October 2014

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Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Crossley, Sarah Kovandzich Reporters Stuart Braun, Ben Cooper, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens Editorial Assistant Hannah Stephens Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Veronique Duthille, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Olivier Houeix, Michel Johner, Yohann Mortier Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinator Emilie Lambert Production Assistant Eric Laurent ADVERTISING CONTACT IN CANNES Christine Mendes • christine.mendes@reedmidem.com Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2014, Reed MIDEM Market Publications. Publication registered 4th quarter 2014.

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NEWS

From Cult To Mainstream: how the sci-fi genre gained a wider audience

Ben Donald

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Steven Moffat

OHN Ford, Alan Pakula, Coppola, Peckinpah and Chabrol — not the references you might expect from ma kers of cult sci-fi, but an indicator perhaps of a new seriousness, as well as mainstream acceptance. But when did sci-fi and the paranormal become cool?

Thank the internet, said writer and director M Night Shyamalan at the star-studded From Cult To Mainstream Case Studies panel discussion, part of the Film & TV Crossroads strand. “With the internet, the geeks were given the keys to the kingdom,” he said. “They were the fringe, they became the gatekeepers.”

Advances in FX and movie-level budgets for TV series have undoubtedly banished the ‘hubcaps in space’ image that old sci-fi once had, making it accessible

Glen Morgan

to wider audiences, but there’s also no denying a willingness to face up to big issues.

“Genre, whether it’s horror or science fiction seems to always be ahead of the curve,” said Glen Morgan, citing the latent anxieties about nuclear annihilation in Godzilla, McCarthyism in Invasion Of The Body Snatchers, or World War II in The Searchers.

Morgan, who produced and wrote The X Files, previewed his new show, Intruders, about “a secret society that has learned to control reincarnation”, which he suggested played to fears about climate change and the very continuing existence of the human race. Shyamalan’s promo for new Fox series Wayward Pines, about a secret agent searching for missing colleagues in an apple-pie-and-picket-fence town, had quasi-supernatural thrills

but also spoke to worries about surveillance and liberty in our society.

Ben Donald, executive producer on BBC Worldwide’s forthcoming The Refugees, agreed. “Scifi at its best can hold up a mirror to the world and act as a fantastic metaphor,” said Donald. The Refugees dramatises the effects of a mysterious visitor from the future on a small community.

“It’s not a soapbox show but it stands for the immigration debate,” he said. “There are more displaced people now than at any time since World War II, it feels fantastically relevant.”

It also seems we may be revisiting our youthful comic book heroes with a new psychological and emotional depth. Doctor Who goes “hell for leather on the sci-fi/fantasy aspect, because the main character lives in a tel-

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M Night Shyamalan

ephone box that is bigger on the inside, and can change his face,” said showrunner Steven Moffat, who also talked about updating Sherlock Holmes for the 21st century. “Yet emotionally, Doctor Who is quite grounded. It’s the intimate bits that you can connect with.”

Shyamalan said that working in TV for the first time had “loosened up” his film-making, and praised Agatha Christie, “my hero”, for her work rate. For him, the paranormal was, “a way to talk about faith that isn’t centred around religion”.

He described hearing creaks and bangs around his house and hoping to see ghosts, as proof that life was more than the here and now. Perhaps, the truth really is out there, and, like Fox Mulder, we all simply want to believe…

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NEWS

Personality Of The Year Entertainment industry creative icon Simon Cowell received the Personality Of The Year award at a gala dinner in his honour yesterday. Industry luminaries were there to celebrate with the Syco Entertainment supremo.

The MIPCOM Daily News was there to record the event British X Factor star Ella Henderson performed a heartfelt set for her boss

Simon Cowell with his partner Lauren Silverman

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ITV’s Peter Fincham (left), FremantleMedia’s Ian Hogg, FremantleMedia’s Richard Holloway and Sony’s Wayne Garvie

Shannon Tweed (left) and her husband Gene Simmons with Sierra/ Engine Television’s Chris Philip

FremantleMedia’s Rob Clark (left), Shine Australia’s Mark Fennessey and Matthew Deaner of Screen Producers Australia

FremantleMedia’s Cecile Frot-Coutaz (left), UFA Show & Factual’s Ute Biernat, RTL’s Anke Schaferkordt and RTL’s Andreas Rudas

Syco Entertainment’s Liam Cassidy (left), FremantleMedia’s Treicy Benavides and Rapid Blue’s Duncan Irvine

The team from Disney/ABC Television Group: Janice Marinelli (left), Keli Lee, Patrick Moran, Janet Pyne, Benjamin Pyne and Anne Sweeney

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NEWS Flexibility and global reach help Lionsgate stay with competition Lionsgate TV’s Kevin Beggs

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IONSGATE TV chairman Kevin Beggs offered an analysis of the firm’s success during his market keynote yesterday. With credits that include Mad Men,

Orange Is The New Black, Weeds and Nurse Jackie, he said Lionsgate was “like the Switzerland of TV, we sell to everyone and stay flexible. There’s no blueprint for how to make a show… you go

buyer to buyer and come up with different approaches for each one.”

One hard and fast rule, however, is that shows have to have global sales potential: “International is

important because we have to recover sizeable deficits,” said Beggs. “We have to have a feel for how a show will do internationally to get behind it. The Royals was commissioned by E! US but should do well internationally.”

Beggs talked about the expansion in the number of platforms now investing in high-end drama, with VOD platforms like Netflix, Hulu and Amazon entering the market alongside HBO, Showtime, Starz and AMC. He predicted that the number of high-profile streaming services would grow “to six or seven” and also anticipated doing more work directly with non-US companies. “Companies in the UK, French and German pay-TV markets are a high priority for us, especially now the latter are investing in English-speaking shows because that makes it easier for us to bring the right actors and writers to the project.”

He identified formats as an opportunity and said discussions were ongoing regarding Boss, Mad Men, Weeds and Nurse Jackie. He also said the company is developing Jo Nesbo’s novel Headhunters as a TV series and is working with the Ylvisaker Brothers pop duo on a project.

Nigeria sets out expansion plans

Nollywood, the prolific Nigerian movie industry, and the country’s TV sector need to participate in an event like MIPCOM to fulfil global ambitions.

That was the key message during the panel called Expanding Horizons In Nigeria: The “Nollywood” Case Study yesterday.

Alex Eyengho, president of the Association of Nollywood Core Producers (ANCOP), told the audience: “We want to expand the horizons of Nollywood; that is why we’re here.”

Although Nollywood is considered the world’s second biggest movie industry based on the number of productions annually (after Bollywood and before Hollywood), its reported $5bn a

year in revenues remain a fraction of Hollywood’s $522bn.

Eyengho believes broadening its relationship with the international TV industry could boost the genre’s fortunes.

“Nigeria doesn’t have any coproduction treaties with other countries; remedying that is an opportunity we hope to explore here,” he added.

His appointment as the first African vice-president of the 81-year-old Paris-based International Federation of Film Producers Association also shows how far Nollywood has come, he said.

The Nigerian film and TV drama sectors are experiencing a renaissance, observed, Sola

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Omole, director general of public-service broadcast group Nigerian Television Authority.

“This is our first time at MIPCOM, which signals what we’re going to be doing going forward,” Omole said. “Nigeria is at a crossroads going from analogue to digital. That gives us the opportunity to rethink the delivery of programmes to our audience.”

Other panelists included Mo Abudu, executive chairman/ CEO of EbonyLife TV, which is described as “Africa’s first global black multi-broadcast entertainment network”, and the panel’s moderator Emeka Mba, director general of the broadcast regulator National Broadcasting Commission.

Alex Eyengho

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Panel urges delegates to create content for tomorrow’s 4K world

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ODAY’s producers and broadcasters should be creating video content in 4K technology, if their works are not to become outdated soon, concluded speakers at panel sessions for The Very Best In 4K screenings this week.

In terms of picture quality, the resolution of cinema-standard 4K broadcast comprises 4,000 horizontal lines compared to 720 or 1,080 horizontal lines for HDTV. And shooting film in 4K is progressing rapidly. Moving images are shot in 50 to 60 frames per second (fps) now compared to 25 fps only a year ago.

Chris Forrester, industry consultant and sessions moderator, observed: “Producers and broadcasters still need to be educated and our role at this MIPCOM has been to showcase what can be achieved in 4K.” Forrester advised producers to start archiving their shows in 4K to ensure the visual quality remains relevant in five years time.

Rai Com’s Paola Carruba and DBW’s Giuliano Berretta

“For us, it is an experiment but the idea is to bring three or four to market by the end of next year,” said Paolo Carruba, head of music publishing and music production at Rai Com, Rai’s distribution arm.

Giuliano Berretta, DBW’s president, is confident consumers will lead the charge and buy enough 4K-enabled TV sets to justify investments in the relevant equipment and training of technicians.

“Broadcasters and independent producers should be creating content in 4K for tomorrow, otherwise their material will be dated,” he added.

The MIPCOM screenings illustrating 4K’s strengths included a production of Giacomo Puccini’s opera La Boheme yesterday. Italian state broadcaster Rai co-produced it with production house DBW Communication.

Brazil film on path to broadcast A CO-PRODUCTION agreement between France-based Alegria Productions, ARTE France and Cine Group in Brazil has resulted in a new documentary launch at MIPCOM of Brasil: The Path To Order And Progress.

Directed by Pascal Vasselin, the contemporary history film of-

fers a new twist on an old subject by documenting the experience of three generations within one family to reflect on Brazil’s process of democratisation and nation-building.

“The story is amazing,” Cine Group’s Luis Antonio Silveira, said. “Alegria found such in-

teresting characters in Brazil within one household — the film features a rich family and their family of servants so we have different socio-economic perspectives.”

At its core, Alegria’s Serge Gordey said the film has emotional richness as it features very human perspectives and personal renditions of history: “I think the highlight is really that we managed to tell such a personal story about how a society has emerged from slavery and, one hundred years later, is a democratic state.”

Co-financed by ARTE France, GNT Brazil, Al Arabyia, RadioCanada and RTS (Switzerland), the documentary will be broadcast on these channels from November and is distributed by ARTE France.

Cine Group’s Luis Antonio Silveira (left), Alegria’s Serge Gordey, Cine Group’s Monica Monteiro and ARTE’s Andre De Margerie

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TV5MONDE LOOKS AT LIFESTYLE TV5MONDE has been celebrating its 30th birthday at MIPCOM, with a recent refresh of its on-air identity, and a new focus on lifestyle and themed programming.

Sundays and Thursdays remain dedicated to cinema, including a focus on Cannes around the Film Festival in May and cycles of retrospectives spotlighting major actors and directors. However, there will be a new portraits strand on Thursdays and, on Tuesdays, a focus on history.

The channel is available in more than 250 million homes worldwide and claims to represent not just a language but a cultural space.

Though 30 years old, it is now attracting a younger audience than ever, and the reinforcement of its lifestyle schedule, with Wednesday and Friday evenings dedicated to the genre in addition to weekday mornings, is aimed at this demographic.

Starting this month is a second season of Le Plus Grand Patissier, the Francophone version of blockbusting Bake Off format. This October also sees programming themed around food and terroir — local, sustainable, smallscale production in the face of globalisation. There will still be a strong focus on news and current affairs, with two magazine shows for the 200 million French speakers around the world — though the channel said that, with subtitles in more than 12 languages, it also caters to a diverse multilingual audience looking for a different perspective on global affairs.

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NEWS MIPCOM spotlight to turn on Turkey as Country Of Honour

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URKEY was yesterday named the MIPCOM 2015 Country Of Honour.

The nation of 76 million

people has the world’s secondfastest growing TV industry, with productions currently broadcast in more than 100 territories

worldwide and annual drama exports exceeding $150m (€118m).

“We’d like to thank Reed MIDEM for this opportunity,” said Dursun TopCu, vice-president of the Istanbul Chamber of Commerce’s executive board, at the ceremony at the Istanbul stand.

“Our TV sector is very dynamic and we have a young population with a lot of creative energy.

They’re making great shows not only for domestic audiences, but outside of Turkey too,” he said.

“In the past six or seven years the sector has made a lot of progress.

Every year this is increasing, and every month we’re seeing new programming.”

Topcu highlighted Turkey’s traditional export markets, but also stated an ambition to reach beyond and find new audiences worldwide.

Dursun Topçu (left) and Jerome Delhaye

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“If you go to countries in the Middle East, the Balkans, Central Asia, you’ll see Turkish series on TVs every night. We have come to this point and now we’re taking the next step.” He added: “As Country Of Honour we would like to share this dynamism at MIPCOM 2015, which provides a global showcase for Turkey to advertise its treasures to the world.”

The MIPCOM focus on Turkey will include a series of high-level conferences from Turkish industry figures, screening showcases to preview the latest Turkish programming and business networking events.

“It’s a great honour for Reed MIDEM to sign Turkey as Country Of Honour for MIPCOM 2015,” Reed MIDEM’s Jerome Delhaye said. “Turkey has been a longtime partner of Reed MIDEM, MIPTV and MIPCOM. I’m sure it will be a great success next year because Turkey is a country with a lot of content, formats and stories.”

RUSSIAN INNOVATION PAVILION

Russian IT solutions for Media, Entertainment & Sport You can find us at our stand № P-1.C32 E-mail: projects@rusipr.com

THE winner of MIPCOM’s 6th Annual Buyers’ Award for Japanese Drama, TV Asahi Corporation’s Time Never Stops, was honoured at the J-Creative Party on Tuesday. Pictured are three of the award’s 15 jurors — TV France International’s Mathieu Bejot (left), The Wit’s Virginia Mouseler and Visionary Thinking (Serbia)’s Dragan Petrovic — with TV Asahi’s Gengo Sunami, the Japan Commercial Broadcasters Association (JBA)’s Hiroshi Inoue and NHK’s Yukinori Kida.

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THE RESULTS ARE IN! YOU WERE SURVEYED. YOU ANSWERED.

WERE YOU NORMAL? In September we launched the Official MIPCOM Are You Normal? Survey.

We asked you questions about your behaviour at the market and here are the results - “normality” is defined by the majority rules!

In the TV show format Are You Normal? both the in-studio Poll Posse and the contestants are encouraged to give anecdotal evidence of their behaviour as an added layer of entertainment - so we encourage you to tell someone your true stories.

Is it normal to enter the Palais wearing the same clothes as the night before?

Is it normal to lose your MIPCOM registration badge?

Is it normal to end a MIPCOM evening in La Chunga?

82% say it’s

85.5% say it’s

53.9% say it’s

Not Normal

Not Normal

Not Normal

Is it normal to wake up on the beach?

Is it normal to miss a meeting at the market?

Is it normal to participate in a breakfast meeting on only 3 hours sleep?

Is it normal to sneak your way into a party you haven’t been invited to?

91.3% say it’s

73.7% say it’s

71.9% say it’s

76.9% say it’s

Not Normal

All sales by all3mediainternational t: +44 (0)20 7845 4350 f: +44 (0)20 7845 4399 e: international@all3media.com

www.all3mediainternational.com

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Normal

Normal

Normal

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Is it normal to appear interested in a show just to get a free giveaway?

64.1% say it’s Normal

A daring

A whopping

A sleepy

of MIPCOM attendees have swum in the sea in Cannes.

of MIPCOM attendees have realised a whole two days have passed at the market without phoning home.

of you have fallen asleep in the Palais toilets, we don’t blame you!

Uh-oh

Eek!

Naughty Naughty…

of attendees have missed their flight to or from the market.

of market goers have lost luggage on the way to/from Nice airport...an excuse to go shopping on Rue d’Antibes?!

of MIPCOM goers have run away from a Cannes taxi without paying.

42.3% 72.8% 11.8%

Is it normal to get lost trying to find your hotel/apartment after a late dinner or drinks?

55.6% say it’s Normal

16.7% 19.5% 2.6%

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NEWS PIRIE ON BOARD FOR ARCHER ADAPTATION DUCHESS Street Productions’ managing director, Donna Wiffen, has appointed David Pirie as lead writer and showrunner on The Clifton Chronicles.

Screenwriter, novelist, film producer and critic Pirie is renowned for his noir thrillers, classic adaptations and period dramas. His previous screenwriting credits include three-time BAFTA-winning The Woman In White and ITV’s Murderland.

The Clifton Chronicles is an adaptation of Jeffrey Archer’s best-selling series of historical novels to which Duchess Street Productions has acquired the rights. The series is currently in development, with Wiffen leading the project.

Wiffen, former head of worldwide drama at FremantleMedia, brings over 25 years of expertise in drama production to the company.

“At Duchess Street, our focus is on producing high-end, original drama and dramatic adaptations with international appeal. I am thrilled that David Pirie has joined the project. He is a master at the art of adaptation, and I am very much looking forward to seeing him bring Jeffery’s epic saga to life,” Wiffen said. “I have been discussing the project with buyers at the market and networking with other creatives. MIPCOM is always a great place to meet talented writers and producers.”

Duchess Street, launched earlier this year, is a division of parent company Bob & Co whose musical TV film That Day We Sang was also being promoted at MIPCOM. It is set to air later this year on BBC Two.

Laos is latest Asian market to embrace FMI’s superformats

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REMANTLEMEDIA International (FMI) has sold the Syco Entertainment/ FremantleMedia superformat Got Talent to LNTV3 in Laos — the company has sold a total of 25 formats in the last year to seven Asian markets, which also include the Philippines, Singapore, Malaysia, Taiwan, Myanmar and Cambodia.

The latest deal marks the first time that a major international format has been sold to Laos.

Singapore-based Haryaty Rahman, FMI’s vice-president of international distribution and home entertainment Asia, said: “We’re very proud to have sold the equivalent of two formats every month over the last year. It’s a huge advantage that we’re based [in Asia], as it means we understand the requirements of local audiences and broadcasters, allowing us to match their needs with the

FremantleMedia formats already in Asia include The Noise, reversioned for Singapore

breadth of titles in our catalogue to create the perfect fit.”

Rahman, who took over local format sales 12 months ago, has brokered deals for the Got Talent, Idols and X Factor franchis-

es in Myanmar and Cambodia.

Among the other FremantleMedia formats to have been sold into the region are The Noise, Family Feud, Total Blackout and Take Me Out.

The race is on for new Senna series ZODIAK Rights presented Formula-E: Racing Recharged at MIPCOM this week — an exclusive insight into the birth of the exciting new electric-powered motorsport.

Bruno Senna, the nephew of Brazilian Formula 1 legend Ayrton Senna, is the focus of a one-hour factual programme already coproduced with National Geographic and which goes behind the scenes as a team prepares for the first-ever Formula E season. Still in early development, the forthcoming series will be focused on the 10 rounds of the Formula-E championship. If National Geographic does not take up its eight-week option by the end of October, free- or pay-TV networks will be able to get involved.

“The main thing about the championship is that it promotes sustainability,” said Senna, who drives for the Indian-based Mahindra Racing team. “There are a lot of manufacturers getting in-

Bruno Senna (centre) with Zodiak Rights’ Emily Elisha and CEO Steve Macallister

volved in the championship now because they want to test their electric car technology. BMW is trying to get involved. Renault and Audi have already partnered with teams.”

Emily Elisha, head of factual at Zodiak Rights, added: “It’s really intriguing. It could be a real

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game-changer in the racing scene.

It feels like the right moment, and broadcasters are really interested in something like this. In addition to sustainability issue, the technology behind the cars is really fascinating — the fact that they are very high powered [reaching speeds up to 250 km/h].”

mipcom

Espace Quebec celebrates booming business Growing global demand for all content and a surge of interest in animation results in a buoyant outlook for the Quebecois companies attending the market in Cannes

Deal-makers: Nicola Merola (left) of Pixcom Productions and Bell Media’s Franca Cerretti

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uebec animation software specialist Toon Boom Animation is celebrating its “best-ever year” at MIPCOM, buoyed by growing demand from the international market. Attending MIPCOM amid a host of producers, distributors and broadcasters from the region as part of the Espace Quebec pavilion, Toon Boom vice-president of sales, Francois Lalonde, said that animation was experiencing a surge in interest.

“We always come here but I think this has been the most successful year we’ve ever had,” he said. “In animation especially everybody is really upbeat at the moment.

Broadcasters are starting to buy and we’ve had lots of interest.

There’s been a change this year, everybody’s more positive”.

The pavilion, appearing at MIPCOM for the third consecutive year, is supported by the Montrealbased Societe de Developpement des Enterprises Culturelles (SODEC) and the Association Quebecoise de la Production Mediatique (AQPM).

Celebrating Toon Boom’s 20th anniversary and its “best ever year”: Toon Boom Animation’s Desideria Mastriaco (left) and Francois Lalonde

It has brought with it a raft of producers, broadcasters, distributors, acquisition executives, with a total of 37 organisations and companies representing the region in Cannes. The organisers are keen to promote Quebec’s broadcast talent to the world and encourage international TV makers to use the region for shooting locations.

Lalonde said that, as the industry adapts to digital, his company is seeing more opportunities from broadcasters looking to update their content.

“Online has opened up lots of new doors for us,” he said. “All these new platforms need content. We’re seeing more demand for adult animation than we used to, and there are more 3D/2D spin-offs.”

Toon Boom was exhibiting alongside producer Pixcom Productions, which was celebrating the signing of a major deal with fellow Quebecois company Bell Media, one of Canada’s largest broadcasters.

The deal inked at MIPCOM sees Bell take on two series of Pixcom’s hit show Restoration

Garage. The show, which Pixcom is also distributing globally, features the real-life Guild of Automotive Restorers, a classiccar restoration specialist garage based outside Toronto.

The deal was sealed at MIPCOM

by Pixcom Productions president and producer Nicola Merola and Franca Cerretti, director of acquisitions for Canal D and Investigation.

Another major Quebecois success story, the Just For Laughs series and spin-off shows, continues to attract interest from the market. Speaking to MIPCOM News, Just For Laughs Distribution director of sales and development, Sari Buksner, said that new entrants to the market had made the job of distribution “more complex”, but that there were also “more opportunities than ever before”.

She said: “There is a whole new level of interest from IPTV and telecoms companies trying to get into the business. We’re being approached by a lot of these companies exploring ways they can show new content.”

Buksner said that the flexibility

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Stephanie Elsliger-Garant (left) and Sari Buksner of Just For Laughs Distribution

of Just For Laughs, which can be edited into smaller segments and clips, was one of the reasons the company had been able to adapt the format for digital platforms.

Announcing a series of deals including acquisitions for the Just Kidding series by BBC Kids and Disney US, Buksner added: “MIPCOM is a great opportunity in a short period of time to get the pulse of the market. People still need that personal relationship and nothing can replace that.

The market has been going such a long time now, so many people have found other brands that they have that synergy with.”

Also unveiled at this year’s show was the news that Quebecois producer Muse Entertainment has landed Katie Holmes to appear as Jacqueline Kennedy in the latest series in the ongoing TV history of the Kennedy family. Muse has reunited director writer team Jon Cassar and Stephen Kronish, the creators of The Kennedys, to produce the new series, The Kennedys After Camelot, which will run on independent cable network Reelz.

NEWS Vibrant TV’s multi-audience approach pays off at market Vibrant TV’s president/CEO Dan Zifkin: “staying power”

LoriGali’s Garen Koundakjian

LORIGALI FINDS FLOW OF INTEREST IN NOZI LORIGALI, a Canada- and Lebanon-based company of brand creators, character designers, concept producers and product developers, has reported interest in its fantasy animation series currently in development, Nozi And The Water Warriors.

The character Nozi — a drop of water — was created in 2008 by Garen Koundakjian, who is also managing director of the LoriGali Group.

“This character shows the importance of water in our daily lives,” said Koundakjian, but as well as promoting a subtle environmental message, he said: “It’s very funny and action-oriented. There are no boundaries.”

A trailer and script pilot is already complete, and several screenings were held in Cannes. “We are now looking for co-production partners and broadcasters,” said Koundakjian, adding that there is already interest from Disney, Nickelodeon and broadcasters around the world.

“We also have some serious investors who want to get involved.

Everything is ready to go, including the mobile application.”

Aimed at six- to 11-year-olds, it is being developed with American writer Michael Maurer, responsible for more than 300 animation and live-action scripts for Disney, Universal and Warner Bros. among others.

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IBRANT TV Network, the English international channel for American television viewers, is on the cusp of signing close to 1,000 hours by the end of MIPCOM. President/CEO Dan Zifkin said the channel continues to provide a US broadcast platform for international producers and a unique environment for advertisers wishing to focus on travel, sport, fashion, kids, beauty and health.

“Vibrant TV targets all audiences and many people are under the illusion that, without a targeted niche, it makes it difficult for us

to deliver on-target content,” said Zifkin.

“On the contrary, we are backed by Zephyr Media Group, one of the most prominent media buying agencies in the US. We understand what our audiences want and how advertisers can share their messages with a US audience.”

Zifkin is at MIPCOM with Vibrant TV for the third year and is pleased at the response: “This year proves we have staying power,” he said. “We are now established in the marketplace as good partners — reliable and consistent and destined to grow.”

B.Smart show is devil of a good idea B.SMART Productions has optioned a feature-film script for a new comedy-drama by Mark Terry and added it to its production slate for 2015.

Interview With A Demon is the story of a television talk-show host, Bradley Gibb, who is torn between saving his demonically possessed wife and exploiting her fiendish tormentor in a groundbreaking TV interview.

After agreeing to de-possess Bradley’s wife, the demon consents to a studio interview in which he will explain the mysteries of life and death, heaven and hell, angels and demons, and God and Satan.

B.Smart producer Abigail Pinto Correia said: “It’s hilarious and thought-provoking at the same time. Intelligent comedies are hard to come by.”

Terry said that representing the controversial issues featured in the screenplay “respectfully and with humour” was a challenge. “I’m excited about the production plans that B.Smart has for this story.”

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B.Smart’s demon team: Screenwriter Mark Terry (centre) with Abigail Pinto Correia and Boyan Stergulc

Interview With A Demon marks Terry’s return to feature films after a successful career as a documentary maker focusing on climate issues.

His credits include The Antarctica Challenge: A Global Warning and The Polar Explorer.

mipcom

No boundaries for buyers as television goes everywhere

L

EADING buyers from around the world gave MIPCOM delegates an insight into the kind of content they are looking for during the Acquisition Superpanel: What Do Buyers Want? They also debated trends including the pros and cons of output deals, the importance of catch-up rights and relative merits of shows that have pilots or go straight to series.

Les Sampson, head of acquisitions at Stream Co (Nine), a new VOD platform in Australia, said he is in the process of acquiring 10 thousand hours of content for the start up service: “We’ve bought a lot of movies and kids content over the last four to five months but we are still finalising the last few hundred hours before launch. Mainly we want shows that give us a point of difference and can be used as a marketing tool.”

ITV head of acquired series Sasha Breslau said her company’s flagship free-to-air commercial channel commissions a lot of its own content “so generally I ac-

quire series for our digital channels. We’ve just launched a new channel aimed at young women called ITVBe and are looking for glossy shows with larger than life characters that can sit alongside The Only Way Is Essex and US Real Housewives.”

SundanceTV senior vice-president of scripted programming

Christian Vesper said his company mainly focuses on around four co-productions a year, recent examples being Carlos and The Honourable Woman. “Because we are a small channel in a competitive market it’s important that we have our input, so we will try to influence casting and stay across the scripts with detailed

TV Globo’s Paulo Mendes

notes. In the case of The Honourable Woman, a key condition for us was that the lead was an actress of stature.”

TV Globo Brazil director of acquisitions Paulo Mendes is one of the most powerful buyers in Latin America, “acquiring a lot of content from studios like Fox, Disney and Sony. We also have a partnership with Endemol.”

With Globo’s domination in its domestic TV market, Mendes said: “Our channel gives a lot of value to the content we acquire. I think we do a good service in the exploitation of content rights.”

ITV’s Sasha Breslau

Menu will ‘make or break’ business “COPYCATTING is the big mistake that everyone makes when creating their User Interface (UI),” said Rose Adkins, CEO of Screen Hits at yesterday’s session on the User Interface Challenge. “But we were never going to be a Netflix with thousands of titles. We have 200 curated titles, which we renew each month. It’s easy and it’s quick.”

Fellow panelist Stephen Hodge, managing director of US-based kids’ SVOD platform Toon Goggles, explained why content owners need to understand the UI experience. “YouTube and Vimeo allow content own-

ers to customise their UI,” said Hodge. “How you design your UI will make or break your business,” he added, warning content owners not to talk down to their users.

“Some of our competitors kidify every aspect of the UI [user interface] and UE [user experience],” said Hodge. “But we find kids don’t want that. Toon Goggles is for self-directed six-to 12-year-old kids, and they prefer to search using the categories they’re accustomed— boys, girls, action comedy, etc.”

Toon Goggles has 300 titles, and customises its UI to the device

19

the user is accessing it from.

“For mobile users, we make the short-form easy to access, and for TV users, we foreground the longer-form content.”

Steve Gibbons, head of user experience and design at the BBC, is working on how to make the iPlayer UI so intuitive that it is effectively invisible. But while the rise of the responsive interface is a good thing, he said, personalisation can go too far.

“We find that if we personalise the service too much, users get anxious about missing stuff, so we have to bring our editorial curating role as well.”

ScreenHits’ Rose Adkins

NEWS Stars in Cannes Film and TV stars braved the changeable weather at MIPCOM to walk the red carpet and meet with press and industry executives to promote their latest projects

Elizabeth Hurley, in Cannes for Lionsgate’s The Royals

Matt Dillon, at MIPCOM with 20th Century Fox’s Wayward Pines

Donald Sutherland, in town promoting his animation project Pirate’s Passage, with Tandem Communications

Louis Gossett Jr (left), Aunjanue Ellis and Cuba Gooding Jr, stars of eOne’s The Book Of Negroes, the MIPCOM World Premiere TV Screening

James Nesbitt, came to MIPCOM this year with All3Media to showcase the thriller series The Missing

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mipcom

Gene Simmons faces the camera in Cannes where with Sierra/Engine he launched reality show Coliseum

Actress Nicky Whelan, walked the red carpet into the Opening Night Party, here with the eOne series Matador

Harlen Coben (left) and Sydney Gallonde, in Cannes with VAB Production’s No Second Chance, based on Coben’s best-selling book

Hypnotist Messmer performs on the streets of Cannes to promote his latest show Hyp-Gags With Messmer, from producer Group Entourage

21

Eddie Marsan, at MIPCOM with Endemol’s period drama series Jonathan Strange & Mr Norrell

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NEWS Zodiak Kids acquires Amazon originals in pre-school deal

Zodiak Kids’ George Witheridge (left), Karen Vermeulen, Cecile Cau and Jean-Philippe Randisi

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ODIAK Kids has closed a MIPCOM deal with Amazon Studios to distribute the latter’s first two original preschool series and first live-action children’s show in selected territories. All three (13 x 30 mins) series — Tumble Leaf, Creative Galaxy and Gortimer Gibbon’s Life On Normal Street — launch in the third quarter on Amazon Prime Instant Video in the US and UK. Karen Vermeulen, Zodiak Kids’ senior vicepresident of global sales and co-production, said the collaboration with Amazon would “strengthen our digital strategy and footprint as we move forward into new and existing markets”.

Tara Sorenson, head of kids programming at Amazon Studios, added: “Zodiak Kids is a leader in distributing high-profile global kids properties and Karen combines exceptional business acumen with strong relationships.”

Pre-school series Tumble Leaf, which won the

Jury Award at this year’s Annecy Animation Film Festival, follows a blue fox called Fig and his caterpillar friend Stick on a series of fun, nature-filled adventures. The animated series was created by Bix Pix Entertainment and Emmy Award-winning director Drew Hodges.

Also aimed at pre-schoolers is Creative Galaxy, billed as an interactive art adventure.

Produced by Blue Entertainments and created and executive produced by Angela Santomero, the action centres on Arty and Epiphany, who travel through the galaxy solving problems and inspiring creativity through crafts, music and dance.

Gortimer Gibbon’s Life On Normal Street is a coming-of-age tale created by David Anaxagoras, a teacher and first-time writer discovered via Amazon Studios’ open-door submission process. The series, aimed at kids between six and 11, features three best friends who live in an ordinary suburban street that has a hint of something magical under the surface.

The Daltons

GERMANY SAYS YEP! TO THE DALTONS KIDS AND youth programming block YEP!, broadcast on Germany’s ProSieben MAXX, is a new destination for animation The Daltons (78 x 7 mins), produced by France’s Xilam, following a MIPCOM deal. The Daltons are outlaw characters who regularly appear in the Lucky Luke comic book series. Broadcast is expected early next year.

“The Daltons are witty and very entertaining. The series will superbly fit the current spectrum of programming available and will add a nice and fresh comedy touch to it,” YEP! CEO Karola Bayr said.

Xilam president and series producer Marc du Pontavice added: “The Daltons is a slick new family comedy, which brings a fresh look and burlesque style to the famous characters. We’re very excited to be premiering this family animated series in Germany at YEP!”

Figures add up for business model LOVE the show? Buy the merchandise! And do it from the comfort of your own home.

That’s the philosophy of Finnish entrepreneur Kari Voutila, whose new company Launzer allows fans to order, print and buy single 3D figurines from their favourite game or TV show on-demand. Each piece is printed and shipped within days, or can be manufactured immediately on a customer’s home 3D printer.

Brand owners upload their 3D designs, and control the look of the product. They can choose pricing and geographic availability to suit their marketing plan, and use the site to

test batches or release limited edition products. And for those that don’t currently have 3D models, Launzer can create the design.

“This is B2C, not B2B,” said Voutila. “If you’re a brand owner and you want to massproduce your L&M, there are factories that do that for you. This allows you to sell individual figurines easily, with minimal risk, and full control.”

Launzer attracted widespread interest at MIPJunior, including from Belgian animation house Contentinuum, a finalist in the MIPJunior International Pitch.

Eyes on the merchandise; Launzer’s Kari Voutila

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NEWS HOT SHOWS ON SHOW FROM PROEXPORT COLOMBIA COLOMBIA is one of the hottest production markets in Latin America and the country is well-represented at MIPCOM 2014.

All told, there are 22 TV and digital companies at the market with a range of programming targeted at all age groups. Examples include kids animation series The Crazy Ball, a factual transmedia project about emerald mining called La Veta, and a documentary that profiles whales, entitled Ruta de Gigantes. There is also content for teens including animation series Cuentos de Viejos and video game Pocket Planet.

Colombian producers have a good track record internationally, with shows selling to around 80 countries worldwide.

Telenovelas in particular do well, with the most famous example being global hit Ugly Betty.

At MIPCOM, Colombian companies are supported at Proexport Colombia, a government-backed organisation, which also uses MIPCOM to promote Colombia as a production location.

According to Proexport Colombia, the country is an increasingly-popular place to shoot because it has “great technical production and postproduction, tax benefits for international co-productions and a geography offering all types of landscapes, with a stable climate for filming throughout the year.

International companies, including Fox and NBC Telemundo International, are currently producing projects in the capital Bogota.”

Iran’s IRIB is back on the hunt for content and co-pro deals Poster from the IRIB TV production, This Is Iran

I

RIB Media Trade, the sole distributor of IRIB (Islamic Republic of Iran Broadcasting) productions with responsibility for programme acquisitions for IRIB local channels, is back at MIPCOM to secure more content.

IRIB is the largest broadcaster in the Middle East, producing documentaries, feature films, TV series and animations.

“We have 15 national TV channels, 32 provincial TV channels, four overseas channels and about

70 radio stations,” said Changiz Hasani, general director of IRIB. “We are the largest buyer of foreign programmes in the Middle East. 50% our foreign acquisitions occur at MIPCOM or MIPTV.” “We do co-productions, we do festivals, but the main job is acquisitions,” Hasani added. “We can meet all the people from East and West here. So there’s no need to go, for example, to the Philippines or Thailand, Malaysia, Australia or Holland. Every-

body’s here.”

IRIB Media Trade, which announced a documentary co-production deal with the Austrian Broadcasting Corporation at MIPCOM, and has co-produced Wild Life Of Iran with the BBC, is always searching for reliable partners at the Cannes TV markets. “When we have a meeting face-to-face it’s a good time to talk about co-production, and it’s a good time to talk about other media activities,” said Hasani.

KIPA leads inspirational school trip THE KOREAN Independent Productions Association (KIPA) has sponsored 12 promising students to participate at MIPCOM. KIPA, which is supported by the Ministry of Culture, Sports and Tourism, is dedicated to promoting culture, arts, sports, tourism and religion, as well as providing cultural opportunities to Koreans.

For a decade, KIPA Director School has been supporting young, aspiring professionals to learn about the international content market so that they can wield more influence when they enter Korean independent production companies. After a lengthy application process, Gahee Kim was awarded a delegate’s badge and she said the experience had been “immersive”.

“I now have a better understanding of UK-based independent producer models after meeting

KIPA Director School students with Professor Park (far left)

members of Pact, the UK’s indies’ trade body,” said Kim. “It is important that we see a shift in power structures in Korea as currently our main broadcasters are dominant and have more control of programme content.”

Kim is keen to return to Korea and start work on helping to de-

velop Korean independents.

“This has been an enormously important learning curve for us,” added Kim. “I came to MIPCOM two years ago as a translator but this time I have been given the freedom to learn about the global marketplace and how we might instigate change in our own country.”

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mipcom

RLJE finds The Missing for UK

home-entertainment market

© New Pictures & Company Pictures with All3Media International

R

IGHTS-management company RLJ Entertainment (RLJE) has acquired the UK homeentertainment rights from All3Media for eight-part thriller The Missing, which is set to air on BBC One. The characterdriven drama, produced by New Pictures and Company Pictures in association with Two Brothers Pictures and Playground, stars James Nesbitt (Murphy’s Law) and Frances O’Connor (Mansfield Park) in the lead roles.

Written by Harry and Jack Williams and directed by Tom Shankland (Ripper Street), The Missing follows a man devastated by the abduction of his son during a family holiday in France, and his obsessive quest to find him.

In a second deal for a BBC One series, RLJE has acquired Jonathan Strange & Mr Norrell from Endemol Worldwide Distribution. The seven-part series, which airs next year, is based on the

James Nesbitt stars in BBC One’s The Missing

2004 novel by Susanna Clarke and stars Eddie Marsan (The Best Of Men; Ray Donovan; Filth) and Bertie Carvel (Restless; Hidden; Matilda) in the title roles. Adapted Peter Harness (Wallander; Is Anybody There?), directed by Toby Haynes (The Musketeers; Doctor Who) and produced by Nick Hirschkorn

(Five Children And It), the drama is set during the Napoleonic Wars in an England where magic once existed — and is about to return.

With a portfolio of more than 5,300 titles, RLJE owns, develops, licenses and distributes entertainment content, primarily in North America, the UK and Australia.

ADASTRA Development’s Mellie Buse (left) and Toon Boom Animation/CANUK Productions’ Lindsay Watson at the UK Indies cocktail at which Pact launched its new free app, a database of UK production and distribution contacts.

Global seals Ultimate format deal GLOBAL Screen has finalised a number of deals for its German primetime music show, The Ultimate Chart Show. The format rights have been sold to Slovakia (Markiza), the Czech Republic (Nova) and Croatia (RTL). The Czech-language adaptation of the first two episodes is currently in post-production.

Airing since 2003, The Ultimate Chart Show is a top-performing

series for Germany’s RTL in

The Ultimate Chart Show (Global Screen)

which celebrities recall their personal music stories from chart history and includes segments that profile stars of the past.

Alexandra Heidrich, Global Screen format sales manager, said: “It has been extremely successful in Germany for more than 10 years now and I am convinced it will also get excellent ratings abroad. The show offers an ideal mix for the whole family.”

25

Zhejiang Versatile Media’s Lian Li (left) with TV4You’s Alberto Cardoso

TV4YOU’S KIDS GET A SECRET EDUCATION ZHEJIANG Versatile Media from China has signed a distribution agreement with Portugal’s TV4You that will place new pre-school series Secret Y on the VOD and SVOD platform in Portugal and Spain.

Alberto Cardoso, managing director of TV4You, said: “The parents in Portugal and Spain are willing to pay the subscription fee to let their children watch educational entertaining programmes on mobile devices. This is the trend.”

Lian Li, CEO of Zhejiang Versatile Media said: “Our programme teaches pre-school children general knowledge in a funny way.

We are very glad to bring the content to the kids directly on the mobile platform.” He added: “It is transparent to track the user behaviour and generated revenue.”

NEW ANIME SHOWS SET FOR VIEWSTER VIEWSTER has announced MIPCOM deals to carry 10 Japanese animated series across Europe, Australia and New Zealand soon after their original broadcast on TV in Japan. The titles will be available to view free with ads through Viewster, with territories varying by title.

Shows include: Cross Ange and Tribe Cool Crew from Sunrise; Trinity Seven and Girlfriend from TV Tokyo; Log Horizon (NHK); Fate/Stay Night (Aniplex); and Laughing Under The Clouds (Nippon TV).

mipcom

NEWS

Home Choice fills 4K void with move into production

H Juliette Squair

AUDIO NETWORK’S SOUND STRATEGY AUDIO Network, which has been licensing music content to TV and film producers since 1999, is at MIPCOM to present its new strategic direction. Juliette Squair, Audio Network’s new chief strategy officer, said that after 10 years at MIPCOM, the music company was growing at 40 percent per annum, employs 500 composers, and has 75,000 tracks available online for content creators, whether it’s for TV or digital short-form.

“We now have over 200 staff globally,” said Squair. “We’re headquartered in the UK but now have offices in London, New York, LA, Munich, Sydney and Amsterdam. So we’re now a big, well-recognised global brand.” This, she said, was important for understanding the different content needs in each territory.

The last decade has seen a fundamental shift in the way content is created and distributed, meaning that music rights are licensed without the traditional restrictions. Audio Network has responded with a customer-focused approach delivering a straightforward subscription model fit for the current media landscape.

“We spotted that there wasn’t a music product in the market that was really high quality and that people could use in their programming and not need to clear by using a simple licensing system,” said Squair.

OME CHOICE is a leading player in the South Korean VOD market, available to 6.5 million cable homes. In the last year it has also led the way in UHD/4K broadcasting with the launch of its UMAX channel.

That decision has meant building up its own catalogue of 4K content, as Home Choice CEO Dr Choi Jungwoo, said: “It was difficult to find enough high-quality content, so we have started producing it ourselves. Our main areas are people-based documentaries, travel and lifestyle though we are moving into film.”

The company is producing around 40 hours of 4K content annually, much of which is available to buyers. Examples include The Pro, Soft City, Cat Funeral, Cheer Up, Travel Bucket List In Brazil and Clara’s Beautiful Color Yoga. “We see the market for 4K content expanding,” said Choi. “We have started to do business with China and see opportunities in Europe and Japan.”

In terms of its broader VOD service, Choi said Home Choice offers a mix of film, drama, animation and educational content from a range of domestic and international suppliers.

Home Choice’s Dr Choi Jungwoo

New developments include plans for a mobile version of the service.

At a time when US VOD platform Netflix is expanding aggressively around the world, Asian markets like Korea and Japan are sure to be targets. But, commenting on the prospect of competition from Netflix, Choi said: “Korea is not an easy market to operate in.”

Ro*co makes rights Simple RO*CO FILMS has launched its new international documentary distribution portal, Simple Cinema, at MIPCOM. By simplifying the film licensing process, ro*co films gives individuals from any territory the ability to buy Annie Roney

26

rights to screen a film at their local school, theatre, bar or church through its new website, www.simplecinemafilms.com.

Simple Cinema allows the general public to license the public performance rights of any film that is both hosted on the site and available in their territory, and order anything needed to create and market a screening event. Materials include the film, poster, stills and trailers and there is also the opportunity to promote a screening through the Simple Cinema website and via Simple Cinema’s social media sites such as Facebook and Twitter.

“Simple Cinema was created in response to an increasing demand for our films to be screened in communities outside of a commercial theatrical release,” said Annie Roney, founder and CEO of ro*co films.

“Our documentary films are being licensed for semi-theatrical screenings by museums, libraries, universities, non-profits, corporations, cafes and churches around the world.

We are giving cinema-lovers the power to dictate when, how and where they screen and share these cinematic and award-winning documentary films.”

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THURSDAY 16 OCTOBER OFFICIAL CONFERENCE & SCREENINGS FACEBOOK WORKSHOP: BEST PRACTICES LEVERAGING FACEBOOK & INSTAGRAM IN BROADCAST 9.30-12.00 I Californie, Palais 5

MIPCOM PRESS CONFERENCE: END OF MARKET ROUND-UP 12.00-13.00 I Blue Lounge (Press & News Hub) Speaker Laurine Garaude, Television Division Director, Reed MIDEM, France

Speakers

Laurine Garaude

Vanessa Bakewell, Head of Entertainment, EMEA, Facebook, UK

Vanessa Bakewell

MIPCOM TRENDING TOPICS

Karla Geci, Head of Media Partnerships, EMEA, Facebook, UK Will Guyatt, EMEA Head of Communications, Instagram, UK

14.00-15.00 I Californie, Palais 5

Karla Geci

Speakers

Glenn Miller, Head of Sports and Entertainment Partnerships, EMEA, Facebook, UK Will Guyatt

Jocelyn Johnson, Founder, VideoInk and Principal, JJPR, USA Sandra Lehner, Commercial Manager, The Project Factory, UK

Jocelyn Johnson

Ali May, Presenter, Mayhart, UK, Glenn Miller

THE VERY BEST IN 4K CONTENT

Moderator James Martin, Social Media Manager, MIP Markets, France

Sandra Lehner

Ali May

10.00-15.00 I Sony 4K Theatre, Auditorium I, Palais 4 The SONY 4K THEATRE will be showing a continuous programme of the best in 4K material. Content from independent producers as well as broadcasters will be featured and will include: FIFA’s World Cup in 4K Atlantic Productions’ “Conquest of the Skies” BBC Natural History Unit “One Planet” NHK’s “International Space Station” 4KMediar4U’s Europe’s Concert Halls Red Bull Media’s “Underwater Cave” RAI/DBW’s “La Boheme in 4K” DBW’s “Palladio: The Angel of Beauty” Kropac Media’s “The Big Five”

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