MIPDoc 2011 Preview

March 2011

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MIPDoc Preview magazine

www.mipdoc.com INSIDE MIPDOC MAGAZINE

T H E

PATRICIA BOUTINARD ROUELLE

FOCUS ON CO-PRODUCTION

Inside, page 6

Inside, page 12

O F F I C I A L

M I P D O C

MIPDoc Co-Production Challenge • Financing For New Co-Production • Content for sale at MIPDoc • What are buyers looking for? • Multi-platform docs

M A G A Z I N E

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2011 CONFERENCES & EVENTS PROGRAMME

Tell your story to the world.

The story continues at MIPTV. The largest trade show in the world gathering all the key players from the documentary and factual programme industry.

Major co-production initiative for 2011 Move your business forward with new partnerships that begin at MIPDoc.

Commissioning Editors and Speakers will include:

MIPDOC COPRODUCTION CHALLENGE

Axel Arno, SVT, Sveriges Television Daniela Bagliani, RTI SpA, Mediaset Group Tracy Beckett, National Geographic Channel Jean-Philippe Ceppi, TSR Clive Edwards, BBC News & Current Affairs Mauro Fabbricotti, RTI S.p.A. Pat Ferns, Pat Ferns Productions Frédéric Fougea, Boréales Olaf Grunert, ARTE GEIE Kristina Hollstein, ZDF

Jury Chair

HAMISH MYKURA, Head of Documentaries, Channel 4/More4

AM 9.00

MIPDOC MENTORSHIPS: ENTORSHIPS: o Pitch?

How to

10.45

Grand d Salon

10.45

INTERVIEWS WITH COMMISSIONERS OMMISSIONERS

11.45

Followed by Matchmaking Co-production Lounge

11.45 1.00

Grand Salon

10.45

INTERVIEWS WITH COMMISSIONERS

11.45

Followed by Matchmaking Co-production Lounge

11.45 12.45

PM 2.30

INTERVIEWS WITH COMMISSIONERS

3.30

Followed by Matchmaking Co-Production Lounge

Grand Salon

PM 2.30

INTERVIEWS WITH COMMISSIONERS

3.30

Followed by Matchmaking Co-Production Lounge

3.30

MIPDOC CO-PRODUCTION CHALLENGE 7TH EDITION Jury Deliberation & Results

CROWDSOURCING The Frontier of Documentary Funding

4.30

Grand Salon

Grand Salon

4.30

INTERVIEWS WITH COMMISSIONERS

3.30

5.00 5.15

6.00

FINANCING FOR NEW CO-PRODUCTION

BREAK

MIPDOC TRAILBLAZER LUNCH Sponsored by AlJazeera Documentary Channel Salon Croisette - Majestic

MATCHMAKING AT MIPDOC Where New Ideas Meet Their Match

10.45

BUYERS SUMMIT: What do buyers want?

Grand Salon

Lorenzo Hendel, RAI Marijke Huibregts, AVRO Tabitha Jackson, Channel 4 Dinah Lord, BBC/Channel 4 Karen Michael, Arte France Leila Monks, TVF International Pasa Mustafa, East London Productions Simon Shaps, Mercury Media/Joining the Docs Mark Starowicz, Canadian Broadcasting Corporation Iikka Vehkalahti, YLE TV2 Documentaries

SUNDAY 3 APRIL

SATURDAY 2 APRIL AM 9.30

7th Annual Co-Production Challenge.

Financing seminar for new co-productions.

Crowdsourcing: The Frontier of Documentary Funding.

Business pitching workshop.

Matchmaking sessions with commissioning editors.

Buyers’ Summit.

MIPDOC KEYNOTE

5.30

Stay Tuned to discover the key address of your MIPDoc week-end!

Grand Salon

7.00

Followed by Matchmaking Co-Production Lounge

CLOSING COCKTAIL Carlton Beach

Programme as of 17 February. Subject to change.

Partners:

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CONTENTS

MIPDoc Preview magazine — March 2011 Director of publications: Paul Zilk Editorial Department – Editor in Chief: Julian Newby – Deputy Editor: Debbie Lincoln – Sub Editors: Phil Sommerich, Joanna Stephens; – Contributors: Andy Fry, Juliana Koranteng, Rachel Murrell, – Technical Editor in Chief: Herve Traisnel – Deputy Technical Editor in Chief: Frederic Beauseigneur – Graphic Designer: Carole Peres – Editorial Management: Boutique Editions Ltd. Production Department – Content Director: Jean-Marc Andre – Publications Production and Development Manager: Martin Screpel – Publishing Product Manager: Chealsy Choquette – Publishing Coordinators: Amrane Lamiri, Bruno Piauger – Production Assistants: Emilie Lambert, David Le Chapelain, Veronica Pirim – Production Assistant, Cannes Office: Eric Laurent – Printer: Riccobono Imprimeurs, Le Muy (France) Management, Marketing & Sales Team – Director of the Television Division: Laurine Garaude – Director of Digital Media: Ted Baracos – Sales Director: Sabine Chemaly – Brand Manager: Dee Perryman – Programme Director: Karine Bouteiller– Managing Director (UK / Australia / New Zealand): Peter Rhodes OBE – Sales Manager: Elizabeth Delaney – Vice President Sales and Business Development, Americas: Robert Marking – Vice President Business Development, North America: JP Bommel – Executive Sales Director, North America: MJ Sorenson – Sales executive: Panayiota Pagoulatos – Sales Managers: Paul Barbaro, Nathalie Gastone – International Sales Manager: Fabienne Germond – Sales Executives: Liliane Dacruz, Cyril Szczerbakow – Sales Manager: Samira Haddi – Digital Media Sales Manager: Nancy Denole – Australia and New Zealand Representative: Natalie Apostolou – China Representative: Anke Redl – CIS Representative: Alexandra Modestova – English speaking Africa representative: Arnaud de Nanteuil – India Representative: Anil Wanvari – Israel Representative: Guy Martinovsky – Japan Representative: Lily Ono – Latin America Representative: Elisa Aquino – 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 www.mipdoc.com Published by Reed MIDEM BP 572 – 11, rue du Colonel Pierre Avia – 75726 Paris Cedex 15 – Contents © 2011 Reed MIDEM Market Publications – Publication Registered: 1st quarter 2011 Printed on 100% recycled paper ISSN 1963-2266

Great Migrations (NGTI) DISTRIBUTOR National Geographic Television International (NGTI) comes to MIPTV with what it claims to be the most ambitious project in its 45-year production history. Narrated by US actor Alec Baldwin, Great Migrations (4 x 52 ) follows the migration habits and behaviours of hundreds of species. There are three companion programmes: a 52minute music video is narration-free; Great Migrations: Behind The Scenes (52 mins) looks at the work of the show’s crews; and The Science Of Migration (52 mins) shows how scientists learn from these investigations. More MIPDoc product news on page 7

NEWS 4

What’s happening at MIPDoc

7

PRODUCT NEWS Factual content for sale FEATURES

12

Documentary co-production

16

Documentary buyers

21

Multi-platform documentaries

25

MIPDOC USEFUL TIPS

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MIPDOC: NEWS

THE DECISION MAKERS THE FOLLOWING professionals make up the jury for the 2011 MIPDoc Co-Production Challenge.

HAMISH MYKURA is head of documentaries at Channel 4 in the UK. Mykura is president of the MIPDoc Co-Production Challenge jury

THE JURY

AXEL ARNO is commissioning editor at Sveriges Television (SVT) in Sweden

KAREN MICHAEL is commissioning editor at ARTE France

IIKKA VEHKALAHTI is commissioning editor, documentaries, at YLE TV 2

Co-production: the way forward for funding factual programmes PAT FERNS, president and CEO of Canada’s Ferns Productions, is moderator of the MIPDoc Financing For New Co-Production session at 11.45, Sunday, April 3. Ferns said that genuine co-production, as opposed to co-financing behind a single filmmaker, is the way forward for the funding of factual programming.

“I think now that in certain places — even the US — they can’t do it all on their own. They can’t fully commission projects, and they’re actually having to take co-production seriously,” he said. “And the reason they do take it seriously is that there are attractive tax credits in Canada for example, or a producers’ offset in Australia, or other funds in other jurisdictions. These usually demand that a certain amount of the production is done in that country, or uses labour from that country — so now you have to say that you are going to share creative roles on the production.”

That is exactly what Ferns did with the last two projects from Ferns Productions — Captain Cook: Obsession And Discovery, and Darwin’s Brave New World. Captain Cook was a co-production with De-

Ferns Productions’ Pat Ferns: “Now you have to say that you are going to share creative roles on the production”

cember Films in Australia and Ferns Productions in Canada, through the co-production treaty between the two countries. “Then, Hans Robert Eisenhauer (commissioning editor for ZDF/ARTE) came in with a German and French sale and the thing did extremely well for them. And we got a small sale on cable in the UK too,” Ferns said.

With the next project, Darwin’s Brave New World — produced with ScreenWorld in Australia — Eisenhauer came in again, with a major contribution from Germany.

“What's interesting is that the Australian version was 3 x 55 minutes, the Canadian version was 3 x 43 minutes but the German-French version was 5 x 43 minutes. So you have to start thinking that what the

digital age gives you is the ability to make personalised, customised versions. But then you have to really re-think the story arcs of a five-part drama against a three-part drama and if you can find those solutions, it’s then about trying to find those slots that are available. And Hans Robert had a slot, five days a week, Monday to Friday, so the only thing he could have was something in five parts. Fortunately we found a way through the series that could give you that cliff-hanger at the end of each of the hours.”

Financing for new Co-Production Sunday, April 3 — 11.45 - 12.45 Grand Salon

Full Conference Programme Inside

The MIPDOC Co-Production Challenge THE MIPDoc Co-Production Challenge offers a look into the future of documentary and factual programming, as leading-edge film-makers from around the world compete to win the prestigious annual prize.

Each year producers are invited to pitch their most adventurous and inspiring documentary programmes to an international jury of

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the industry’s top commission editors, in front of an audience of broadcasters, producers and distributors.

The winner is guaranteed press coverage of the winning project; a one-on-one meeting with a jury member; free entry to MIPDoc 2012, and free submission of the winning project into the MIPDoc

2012 digital library; a pass to the 2012 Realscreen Summit in Washington DC; and a one-year subscription to Realscreen Magazine.

MIPDoc Co-Production Challenge Saturday, April 2 — 15.30 - 17.00 Grand Salon

Full Conference Programme Inside

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MIPDOC: NEWS

SECOND YEAR FOR CO-PRODUCTION INITIATIVE AFTER a successful debut in 2010, the MIPDoc Co-Production Initiative, designed to help facilitate new documentary partnerships, returns for a second year. The initiative is also designed to enable documentary producers to find production and financing partners. The MIPDoc Co-Production Initiative includes the seventh Annual MIPDoc Co-Production Challenge (see previous page), the Co-Production Bureau, and a conference on Financing For New Co-productions.

The Co-Production Bureau is a dedicated lounge that will feature the Conversations With... sessions and lecture series, along with one-onone meetings with more than 80 commissioners and broadcasters, designed to foster new co-production partnerships.

The Financing For New Co-productions conference focuses on co-production as an important source of production financing. It will feature the newest ventures that are being put together around documentary projects and will discuss the new finance models that are behind them. The session is moderated by Pat Ferns of Ferns Productions (see previous page), and among the panelists are Kristina Hollstein of ZDF who will speak on the subject of Dawn Of The Ocean, and Frederic Fougea of Boreales who will discuss the series Volcano Devils.

Patricia Boutinard Rouelle gives the MIPDoc keynote address A LEADING figure in French television documentary, independent producer Patricia Boutinard Rouelle will give the MIPDoc keynote in the Grand Salon of the Carlton hotel on Saturday, April 3 at 17.15.

In her former role as director of documentaries at France 2, France 3, France 4 and France 5, she played a key role in bringing high-profile factual programmes to TV screens the world over. Titles including L’Odysee De L’espece, Homo Sapiens, Ete 44 and Les Survivants have served to bring the world’s attention to the high quality of documentary programming that comes out of France.

A chance to meet the commissioners MIPDOC 2011 offers a programme of events designed to enable delegates to pitch their ideas to comissioners to maximum effect.

MIPDoc starts with the MIPDoc Mentorships: How To Pitch session in the Grand Salon of the Carlton hotel on Saturday, April 2 at 09.00, where delegates can learn how to make their pitch count when talking to key decision makers.

Simon Shaps, chairman, Mercury Media, chairs the Buyers Summit session titled What Do Buyers Want? at 11.45 on April 2, also in the Grand Salon.

The MIPDoc Accelerator Matchmaking Breakfast is an exclusive matchmaking event offering a unique opportunity for content creators to pitch projects to the commissioners and buyers from the documentary industry during over one hundred personal face-to-face meetings, at 09.30 on Sunday, April 3, in the Grand Salon.

Frederic Fougea

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Commissioners and developers attending the event include: Axel Arno, commissioning editor, Sveriges Television; Jean-Philippe Ceppi, commissioning editor, Television Suisse; Clive Edwards, executive editor & commissioning editor, BBC news & current affairs; Mauro Fabbricotti, factual acquisitions executive, RTI; Olaf Grunert, head of programme development and events, ARTE GEIE; Lorenzo Hendel, commissioning editor, RAI; Mette Hoffmann Meyer, commissioning editor documentaries, Danish Broadcasting Corporation; Marijke Huijbregts, commissioning editor, AVRO; Tabitha Jackson, commissioning editor, arts, Channel 4; and Iikka Vehkalahti, commissioning editor, YLE TV 2 documentaries.

Meetings are scheduled on a caseby-case basis to guarantee an effective match for each participant.

A Sunday afternoon session, Crowd-

sourcing: The Frontier Of Documentary And Funding, looks at how crowd sourcing through social media enables the film-maker to make contact with millions of potential investors, collaborators and artists.

Moderator is Pasa Mustafa, founder, East London Productions.

MIPDOC PAVILION THE MIPDoc Pavilion at MIPTV gives documentary professionals a dedicated area to follow up on leads generated during MIPDoc. To enable MIPDoc delegates to meet with the wider entertainment community, a special presentation of the Best Of MIPDoc will take place on Monday, April 4 to highlight the 30 most requested programmes.The Pavilion also features a workshop organised by EDN.

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MIPDOC: PRODUCT NEWS

Factual for sale The MIPDoc Preview highlights some of the factual content from around the world, for sale at MIPDoc and onwards on the exhibition floors in the Palais des Festivals

Aung San Suu Kyi profile

Designs on outdoor living

Aung San Suu Kyi – Lady Of No Fear (First Hand Films)

DECKED Out (13 x 30 mins/4 x 60-minute specials) is a lifestyle construction show hosted by Paul Lafrance who runs a boutique construction company – something he achieved without any formal training. His style is more rock star than construction worker, and with his knowledgeable and dependable crew each project reveals the creative process of designing and building impressively intricate outdoor decks and beautiful backyard spaces. The series is brought to MIPTV by Canada’s Tricon Films & Television.

AUNG San Suu Kyi – Lady Of No Fear takes an in-depth look at the Burmese icon and Nobel Peace Prize winner — the wife, the politician, the mother, the daughter, and the friend, with contributions from family, friends and colleagues. For the suppressed Burmese population she represents freedom and democracy; in the West she stands out as a symbol of peace and reconciliation — but why does she voluntarily choose to stay in captivity instead of going into exile? The documentary is brought to MIPTV by First Hand Films.

Just a pretty face?

Taking care of baby

Dolphins – Beauty Before Brains? (Earth-Touch)

Nature’s re-birth

ABC COMMERCIAL, which represents the catalogues of the Australian Broadcasting Corporation as well as Opera Australia and Screen Australia’s factual catalogue, is at MIPTV with Out Of The Ashes (53 mins), a documentary that tells the miraculous story of nature’s resilience after catastrophic bushfires. Shot in high-definition, it examines the Black Saturday fires and chronicles the regeneration of the native plants and animals.

Wild Orphans (ZED)

WITH a production base in Durban, and offices in Washington and London, Earth-Touch is a specialist in natural history documentary series and films. At MIPTV Earth-Touch is highlighting Dolphins - Beauty Before Brains?

(6 x 52 mins) which investigates the facts surrounding neurology professor Paul Manger’s assertion that dolphins are not as smart as previously thought. The film looks at pod dynamics, communication skills, hunting, selfawareness, creative response and self entertainment such as wave-riding. The company also brings five new HD documentaries: Boteti – The Returning River; the natural history of the Pomene tidal zone is captured in Lost Lagoon; Deep Blue Dive follows the world record attempt of free diver Trevor Hutton; Phantoms Of The Forest focuses on the threat to the Silky Sifaka Lemur in Madagascar; and kids’ show Survival Stars mixes documentary and animation for kids aged six to 11.

FRANCE’s ZED, producer and distributor of HD documentaries, is spotlighting four new wildlife and nature programmes at MIPTV. Wild Orphans (4 x 52 mins) features Olivia, a young journalist who travels around the world meeting orphans of endangered species and investigating the reasons behind their abandonment. The Titans Of The Savannah (52 mins) studies the unusual behaviours of a group of hippo, elephant and rhino youngsters who have not been raised by their parents. Sex Under The Sea (52 mins) includes rare footage of every type of sexual behavior under the water. Finally, Amyu, The Army Of Wasp Men (52 mins) is set in the depths of the Amazon where a giant wasp is feared by the bravest Kayapo warriors.

Brazil on show GLOBO TV International returns to MIPTV with GloboDOC (9 x 45 mins), a documentary series produced under the supervision of TV Globo’s experienced team of journalists. The Emmy-nominated series highlights Brazil’s vast cultural and geographic diversity and renowned local personalities that have left their mark on the world, as seen through the eyes of Brazilians themselves.

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MIPDOC: PRODUCT NEWS

Battle of the bugs

Exploring deep waters

HEADLINING Beyond’s slate of new factual titles at MIPTV are Monster Bug Wars (6 x 60 mins), Design DNA (13 x 30 mins) and SAS: The Search For Warriors (2 x 60 mins). In Monster Bug Wars the weirdest and most fearsome bugs battle for survival. Design DNA tells the stories of beautiful and essential household items, from conception to creation.

And finally, SAS: The Search For Warriors lifts the veil of secrecy on what it takes to pass the toughest military selection course.

TARA Oceans (4 x 60 mins) features a threeyear oceanic expedition around the world in which an international scientific team studies marine biodiversity, and more specifically plankton and its effect on climate. The HD series, brought to MIPTV by Ampersand, also uses CGI modeling of plankton life.

Tara Oceans (Ampersand)

History in the making TAGLICHT Media brings its latest history productions to MIPTV. Charlemagne (3 x 52 mins) is a docu-drama about the most powerful ruler of the Middle Ages, filled with cinematic re-enactments and CGI. First On Everest (100 mins) tells the story of the first men ever to attack the world’s highest peak. Miss Stinnes Motors Round The World (90 mins) is a docu-drama about the first woman ever to circle the globe by car in 1927. Death In The Dark (52 mins) is about the looming extinction of bats in North America. Hitler Inc. (3 x 52 mins) takes a provocative look at some of the largest corporations in the world today and their complicity with the Nazis.

Pills to make you better FRANCE’s Java Films brings two new documentaries to MIPTV, the first productions born from a new collaboration with Germany’s A&O Buero. Bigger, Faster, Stronger, Better: Brain Doping, examines a new trend that sees human beings taking pills to increase intelligence. The second film, Songs Of War: Music As A Weapon is an investigation into what makes music such a potent weapon.

It will broadcast on ARTE, SBS, Planete Poland and Pramer. A&O and Java are also working together on a film about the Queen of England’s relationship with all her Prime Ministers, from Winston Churchill to David Cameron, which will be ready in time for the 60th anniversary of the Queen’s coronation next year.

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Monster Bug Wars (Beyond)

Close-up on Janine NETHERLANDS Public Broadcasting (NPO) brings Janine (89 mins/54 mins) to Cannes — a portrait of Dutch violinist Janine Jansen.

Claimed to be the most frequently downloaded classical artist, the programme chronicles the musician’s hectic life, recording sessions and concerts. NPO also brings Inside The Metaverse (52 mins), about people who use virtual worlds.

Janine (NPO)

Bigger, Faster, Stronger, Better: Brain Doping (Java Films)

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MIPDOC: PRODUCT NEWS

Building on Ground Zero

Science and technology

REBUILDING Ground Zero (60 mins/HD) was shot over two years with behind-the-scenes access that captures the worldwide effort to construct the Freedom Tower and World Trade Center Memorial. The documentary is brought to MIPTV by PBS International, which also brings: A Daughter’s Death (60 mins/HD), which chronicles a father’s effort to find the truth about his daughter’s death while deployed in Iraq; Making Stuff: Stronger, Smaller, Smarter, Cleaner (4 x 60 mins/HD), that takes viewers to the frontier of material science; and Prohibition (6 x 60 mins/HD), depicting the characters and dilemmas faced during the period from 1920-1933 when America banned alcohol for consumption.

INNOVATION Nation (6 x 30 mins) is a new factual series looking at the ground breaking scientific discoveries shaping the future, from cutting-edge research labs to ingenious backyard inventors. The series is brought to international buyers at MIPTV by Canada’s Breakthrough Entertainment. Also on Breakthrough’s roster is Crackberry’d: The Truth About Information Overload (1 x 60 mins) which takes a look at how modern communications technology is changing the way we live.

Rebuilding Ground Zero (PBS International)

Portraits of dictators ITALY’s Digidoc is at MIPTV with its new series Dictators Of The 20th Century (6 x 52 mins) that looks at Hitler, Stalin, Mao Zedong, Francisco Franco, Mussolini, and Ceausescu. Other programmes from the company include Secret Italy, Sailing Women and Big Fish Adventures.

Dictators Of The 20th Century – Mussolini (Digidoc) Innovation Nation (Breakthrough Entertainment)

Bird’s-eye view NATURAL history series The Secret Life Of Birds (5 x 30 mins) is brought to MIPTV by Fireworks International. From wild coastlines to urban habitats the series explores the behaviour of birds, from surviving harsh winters and avoiding predators, to living alongside humans in towns and cities. Host Iolo Williams researches how birds adapt to changing landscapes, studying their ability to fly, as well as uncovering their courtship and nesting rituals and finding out how and why they communicate.

The Secret Life Of Birds (Fireworks International)

Getting inside the gangs Hells Angels: Bikers’ Gangs (GAD)

PARIS-based GAD brings a wide range of programming to MIPTV covering social issues, current affairs, travel, environment, the arts, and culture. Documentaries include: Hells Angels: Bikers’ Gangs (52 mins), focusing on gangs in Dakota, US, and the European Bandidos group who agreed to open their doors to the cameras; USA From The Sky: East & West Coast (2 x 26 mins), looks at the coastlines of the US from the sky; Female Customers (52 mins), a report on the escort business designed for female customers; river travel show The Adventurers Of The Upper Mekong (52 mins; Women From Another India (52 mins); and The Austral Road (52 mins), an exploration of Chilean Patagonia.

The well-travelled road ALBATROSS World Sales brings new documentary mini-series Marco Polo Reloaded (4 x 52 mins) to MIPTV, which follows Bradley Mayhew, a senior writer for Lonely Planet, who travels the Silk Road through Turkey, Israel, Syria, Iran, Afghanistan, the Central Asian Republics and China on the tracks of the mediaeval traveller and writer. Another highlight from Albatross is the feature documentary Chandani – The Daughter Of The Elephant Whisperer (52 mins/ 87 mins).

Marco Polo Reloaded (Albatross World Sales)

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MIPDOC: PRODUCT NEWS

Dreaming of Bollywood

Writing history

Take it away!

NEW FROM France’s AndanaFilms comes Bollywood Boulevard (52 mins/73 mins), a Quark Productions film in co-production with France Televisions, which tells the story of 22year-old Sanjay who lives in a tent with his parents on a sidewalk of a suburb of Delhi.

Sanjay teaches in a shantytown school, but dreams of being an actor or a model, so he goes to Bombay to try his luck. AndanaFilms also brings In The Name Of God (52 mins/102 mins), a documentary that moves from 1979 to the present day looking at the social and geopolitical aspects of wars fought in the name of God.

TURKISH Radio & Television Corporation (TRT) is highlighting its four-part documentary The Confidant Of The Hidden City at MIPTV. The series follows the history of man through the story of paper and pen, the spread of knowledge and the art of writing, and the spread of divine inspiration.

REPOSSESSED! (9 x 50 mins) follows agent Larry Pittman and his crew at JAM Recovery who work in the repossession industry. In this often dangerous and under-appreciated work Larry and his agents face personal and professional challenges while searching for their client’s collateral. The programme is brought to MIPTV by ZDF Enterprises.

Bollywood Boulevard (AndanaFilms)

The Confidant Of The Hidden City (TRT)

Repossessed! (ZDF Enterprises)

Focus on a community NORTH From Calabria (67 mins) is a new documentary from Poland’s Studio Munka and Andrzej Wajda Master School of Film Directing. During one summer a film crew mingles with the inhabitants of a small town to enact A Midsummer Night’s Dream. The ensuing, intriguing film concerns a dream place to live, where living is easy and people know each other, tolerate each other’s faults, and enjoy meeting, talking and being together. All they needed was a few classes in Italian cuisine for this Polish province to turn into Calabria.

Exploring world cultures SPAIN’s Explora Films brings a slate of HD documentaries to MIPTV. Programmes include: The Pilgrims Of The Ganges (52 mins), premiered in Cannes, a journey through the North of India along the basin of the Ganges, the sacred river for Hindus; The Celtic Legacy (52 mins) looks at the history of the ancient forests of Galicia and birth of celtic culture; The Water Factor (52 mins) tours communities over the world, whose lives are affected by access to water; Peruvian history special The Lady Of Cao (52 mins); The Spirits Of Congo (52 mins); and 3 Rhino Stories.

Spotlight on monarchy

North From Calabria (Studio Munka/Andrzej Wajda Master School of Film Directing)

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DAVID Finch Distribution (dfd) brings an expanded catalogue of factual programming to MIPTV after a recent distribution agreement with UK-based production company, Delta Leisure Group. Heading Delta’s list of titles is a selection examining the British royal family — timed for the build-up to Queen Elizabeth II’s 60th anniversary in 2012 — including Royal Romances, Royal Scandals & Conspiracies and Royal Heritage. Other productions include biographies of authors C S Lewis and JRR Tolkien.

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MIPDOC: PRODUCT NEWS

What’s childhood without nature?

NORDIC World focuses on the environment in two new documentaries. Play Again (80 mins) casts a critical eye on the modern era to look at the consequences of a childhood removed from nature. In this documentary six teenagers are taken on their first wildlife adventure without electricity or cell phone coverage. The company also brings Aurora Sugoi- A Love Story (30 mins), in which young newlyweds from Tokyo travel to Spitsbergen in Norway to fulfill their dream of seeing the Northern Lights.

Tails of the deep OFF THE Fence (OTF) brings 200 hours of new programming to Cannes for MIPTV 2011.

Titles include: Sperm Whale: Titans Of The Deep (60 mins) following the deepest-diving mammal in the ocean; Quest (38 x 30 mins), covering developments in astronomy, biology, chemistry, engineering and the weather; Shark Night (60 mins/ 90 mins) featuring Mike Rutzen as he attempts to survive a night in the water with Great White sharks; and Stan Lee’s Superhumans 1 (9 x 60 mins), hosted by the co-creator of Spider-Man and X-Men, which looks at people with genuine superpowers.

Play Again (Nordic World)

The art of faking it

Modigliani’s Genuine Fake Heads (Chinephil)

ISRAEL’s Cinephil Distribution and Co-Productions (Israel) brings the story of an amazing art hoax to MIPTV. In Modigliani’s Genuine Fake Heads (60 mins) three young students carve Modigliani-like heads one night with an electric drill. Before long critics and art historians are raving about this exceptional discovery, which according to them sheds a new light on the master’s work.

After the earthquake

Mind-blowing science

UK DISTRIBUTOR Electric Sky’s factual titles for MIPTV include: The Battle For Haiti (60 mins), an HD documentary focuses on the story of the thousands of escaped convicts that broke out of the National Penitentiary when the earthquake struck; Guilty Pleasures (52 mins/86 mins), a light-hearted look at the writers of romantic books, launched at MIPTV; Customs — Series 3 (12 x 30 mins), a look at the Australian Border Agency; and two 3D programmes (also available in 2D), The Wildebeest Migration (60 mins/ 90 mins) and Wonders (4 x 12 mins) a tour of great cities, engineering projects, festivals and natural landmarks.

The Battle For Haiti (Electric Sky)

Changing Your Mind (Octapixx Worldwide)

CHANGING Your Mind (60 mins), is the sequel to The Brain That Changes Itself, about the pioneers of Neuroplasticity, a revolutionary brain science. The new film goes deeper, looking at new cases of mental patients previously thought incapable of rehabilitation.

Both programmes are represented at MIPTV

by Octapixx Worldwide. In contrast the company also brings The University Of Nuclear Bombs (60 mins), exploring the intimate role that the University of California (UC), has had in the development of the American military nuclear programme.

Sperm Whale: Titans Of The Deep (OTF)

Theatres of war THE EXTREME Tourist: Afghanistan (6 x 60 mins), from Afghan producer Kaboora Productions in association with UK producer Speak It Productions moves through war-torn Afghanistan with Australian presenter Sabour Bradley as he travels across epic and dangerous landscapes. Baker Boys — Inside The Surge (4 x 60 mins) examines what the surge in Iraq looks like on the ground — as told by the soldiers fighting there. The series is documented and narrated by award-winning journalist Jon Steele. Both series are available in HD and are brought to MIPTV by the UK’s Target Entertainment.

The Extreme Tourist: Afghanistan (Target Entertainment)

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PA RT N E R S H I P P O W E R

Close-up on co-production

Partners In Crime (Singapore MDA)

Tight budgets make co-production of factual programmes ever more attractive.

And, as Andy Fry discovers, it is becoming an increasingly complex science

I

NTERNATIONAL co-production has always been an important part of the factual financing landscape, because sharing the price of a programme is such an obvious thing to do. While an alliance of more than three broadcast partners is usually regarded as too many, a North America/Europe/Asia co-pro with a 10-20% contribution from a programme distributor invariably means big savings for all.

This is particularly true in high-end areas such as wildlife, history and science, where the cost of research, travel to exotic locations, time in the field,

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CGI and dramatic reconstructions can be prohibitive for any one company. But how has the co-production model been affected by recent changes in the broadcast market?

Digital fragmentation, public-sector funding cuts and economic stagnation have had an impact.

For Japanese public broadcaster NHK, the co-production is an essential option. "International co-productions are very important for NHK," says Sayumi Horie, senior producer, international product development. "NHK is always looking for event programmes which

will have new discoveries and a big impact. Our viewers expect NHK to offer grand-scale innovative series, and to satisfy them in the current budgetary environment, co-pro is essential."

Examples where co-pro is critical, Horie says, include Discover Science (NHK, NHK Educational and Al Jazeera Children’s Channel); Life Force (NHK, NHNZ, France Televisions, Science Channel and Animal Planet) and Legends Of The Deep (NHK, NHK Enterprises and Discovery/Science Channel). The last title is, she says, "a big project now in

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MIPFORMATS: THE BIG SHOWS

lessly extendable. “Millionaire doesn’t just work on TV — it also has a life in areas as diverse as gaming and education,” says SPT’s Abrahams.

“As for spin-offs, Hotseat is currently one of the most successful shows on Nine Network Australia.”

CBS’ Gilbert says of Wheel Of Fortune: “I’ve seen 30-minute, 60-minute and 90-minute versions — even a three-hour show in Turkey. As for ancillary, you can’t walk into a casino in the US without hearing the Wheel Of Fortune theme tune piping out of some machine or other.”

As Clark and Toumazis both observe, the creation of multi-seasonal spikes in the schedule is an important consideration for broadcasters.

"It's also the case in France," says Jane Millichip, managing director of Zodiak Rights, the commercial arm of the Italian-owned group Zodiak. Millichip is currently in the market with Family Explorer, a new primetime elimination-based adventure show from Zodiak's French subsidiary ALP, best known as producer of Fort Boyard and the French version of Survivor.

"TF1 does well with Survivor and wanted a companion for the spring,” Millichip says. “ALP produced Family Explorer and we are showing it to buyers at MIPTV." Millichip adds that the show is different to other adventure competitions: "It's not a classic survival show because of the family element, which gives it a more col-

be ‘must-watch TV’ for viewers in Korea. We are extremely excited to work with BBC Worldwide on one of their most successful brands."

The ability of big brands to transform any schedule is well illustrated by various deals. In Asia, Hallmark Channel ordered The Biggest Loser Asia and has been rewarded with strong ratings. On Denmark’s DR1, series three of The X Factor gained a share of 72.2% in the 15-50 demographic — three times above the broadcaster’s primetime average.

Colors, the Hindi general-entertainment channel launched by joint-venture Viacom18 group, has a similar story to tell. Rajesh Kamat, CEO of Colors, says: "When we launched the channel, we introduced formats like Bigg Boss [Big Brother] and Fear Factor. It was part of our strategy to reach younger audiences and helped make us one of the top two in India's Hindi generalentertainment sector."

Not only that, it has brought Indian popular culture more into alignment with international audience tastes. "An important secondary audience for us are third- and fourth-generation Indians living abroad,” Kamat says. “This kind of entertainment show, with its Bollywood flavour, is more effective at reaching them than the traditional dramas that used to dominate Indian TV." Back at Endemol, Tom Toumazis gives another reason why content creators and broadcasters lavish so much TLC on their big brands: "It's not just their impact across territories but within territories that makes them so important. When they perform well, it creates the opportunity for on-screen and off-screen extensions."

In the case of Endemol properties, successful on-screen extensions have included Extreme Makeover: Home

Dancing With The Stars: R&B singer Mario and professional Karina Smirnoff

Nigerian Idol judges Audu Maikori, Yinka Davies and Jeffrey Daniel.

(Photo, courtesy Nigerian Idol)

Edition, Celebrity Big Brother and, most recently, ABC US' decision to order a run of Winter Wipeout to complement the existing version of the madcap physical contest.

"The debut series of Winter Wipe-

out rated really well, so ABC can now have two ratings peaks a year," Toumazis says. “For us, it means we can extend the time during which we use our set in Argentina."

Indeed, great formats seem to be end-

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You can’t walk into a casino in the US without hearing the Wheel Of Fortune theme tune piping out of some machine Paul Gilbert

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with international subject matter.

Current examples involving OTF include Stan Lee’s Superhumans (8 x 60 mins; History US/OTF); Wildest Africa (13 x 60 mins; Discovery, ARTE, Oasis HD, Wind Dancer Films, Africa HD); Slaveship Mutiny (60 mins); WNET, ARTE, DTI — a South African fund providing 30% of qualifying productions) and Running With Wolves (60mins; Smithsonian TV, ORF, NDR and Animal Planet International).

According to Stehmeier, budgetary pressures have a positive impact on the desire to do co-pro, though not necessarily the ability to do them properly: “There are a lot more projects looking for co-production partners. But, due to internal resource constraint on the channel side, there has been an increase on pre-sales with less editorial control, as many channels do not have the staff to fully oversee the delivery of their co-production investment.”

According to Stehmeier, the benefits of co-pro diminish as budgets get lower. However, there are situations where co-pro is not just about sharing financial risk. "Projects that either have exclusive access or a fast turnaround also have a good chance of finding partners." Echoing Horie, he says: "It is important for channels to offer something exclusive and/or topical."

This is certainly a consideration for Daniela Bagliani, documentary acquisitions and co-productions manager of RTI SpA — Mediaset Group, the largest commercial broadcaster in Italy. When asked about co-production, she does not

❜

One of the ways to make co-pros as efficient and effective as possible is to develop some longestablished partnerships Leona Connell

The History Of The Oceans (ZDF, ARTE, NGC)

Life Force (NHK, NHNZ, France Televisions, Science Channel and Animal Planet)

talk about the money. "There are two main reasons for us to co-produce a project: we want to secure the title or there is a strong Italian element in the story. Editorial control becomes really important only in the second scenario."

In other words, Bagliani enters coproductions, as opposed to pre-sales or tape sales, when she spots a gamechanging project: "We don't do many co-productions and we are selective. We'd rather fund a restricted number of projects well than put small amounts here and there."

Recent examples include Life, a BBC-initiated project where Mediaset has "in association" status: "We are currently working at the same level with another big broadcaster/distributor for a 2012 show and are also involved as an ‘in association’ partner with Darlow Smithson on a 9/11 show. In terms of my second category, we are work-

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ing on a co-production with Istituto Luce on Mussolini's Body. Here, we believe the importance of the subject for our audience meant it was right for us to be really involved."

Danmarks Radio head of documentaries and factual programming Mette Hoffman-Meyer also stresses the editorial dimension of co-pro. "I commission and acquire around 800 hours of factual content for a range of DR channels, ranging from major primetime series to one-off films.

But for me, co-pro isn't just about the high-end films, it's about supporting talent in territories where producers need financial backing in order to tell compelling stories."

Hoffman-Meyer says some of her most pioneering projects have come about as a result of backing talent in this way. "We don't really have to coproduce, because we have a good production pool in Denmark and access to quality international ac-

quisitions. But co-pro has allowed us to collaborate with amazing production talent in China, India, Africa and the Middle East. When you co-produce with some of these territories, you get films with have an authenticity that has disappeared from parts of the business in more established TV markets."

For Hoffman-Meyer, this pursuit of new talent doesn't conflict with the necessary pursuit of audiences: "Some of our biggest risks — like Chinese film Please Vote For Me — have actually turned out to be our biggest successes."

That film was co-produced as part of the Why Democracy strand, which also involved producers from India, Japan, Pakistan, Liberia, Egypt, Denmark, Russia, Bolivia and the US. It was a huge international effort involving public broadcasters from around the world. Now, Hoffman-Meyer is involved in a follow-up called Why Poverty?, a series of films which explores ways to tackle the pervasive and corrosive influence of poverty. Due to be broadcast in late 2012, its aim is to reach 400 million viewers via the partners, which are: BBC (UK), DRTV (Denmark), YLE (Finland), VPRO (Netherlands), SVT (Sweden), NRK (Norway), ZDF/ARTE (Germany/France), ORF (Austria), NHK (Japan), SUN TV (Hong Kong), Taiwan Public TV, Futura (Brazil), SABC (South Africa), Al Arabiya (UAE).

As some of the above examples demonstrate, the combination of established expertise in Japan and emerging talent in China is making Asia-Pacific a compelling and exciting proposition for factual co-producers, both in terms of financial and editorial partnerships.

OTF, in response, has established a base in Singapore, under Tony Chow. "We have been active in Singapore since 2007 and are in a

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partnership with NHK,” he says.

“This involves OTF re-versioning 12 hours of wildlife produced by NHK's team, primarily for sales to France and Germany."

At the same time, OTF is in the final year of a co-pro venture with Singapore Media Development Authority and National Geographic Channel, which has resulted in seven 60minute films. According to Chow, the venture has been a huge success "not only in establishing OTF's footprint in Asia – it has also provided us with an opportunity to identify producers that have what it takes to produce for the international market".

If there's one question of concern for western co-producers, it is whether Asian partners are compatible from an editorial perspective. Chow admits: "Cultural differences can pose a challenge. For example, US audiences are used to a dramatic approach that may not work for the viewers in Asia, who are more reserved and less open to showcase their private lives. But companies like ours can act as a bridge. The NHK relationship is a good example. Through our experience and skill-set as filmmakers, we can help re-edit and re-package programmes that will resonate with European and US viewers — through the music, graphics and script, etc."

NHK is one of those organisations that proves east-west partnerships can work. Horie cites Volcano Dev-

Planet Egypt (ZDFE)

Seeking partners: Secrets Of The Third Reich (ZDFE)

ils (French production company Boreales and NHK) and Nano Revolution (NHK, CBC, Doc Side/ARTE France) as “true co-productions”. The first is a docudrama about a French couple who died in the eruption of Mount Unzen in Japan in 1991. “The script, the shooting, the directing, the postproduction is all being made together. After years of discussion and patience in mutual understanding, we are proud of its completion. The programme is to be aired on NHK, France Televisions, RTBF, Planete, National Geographic Channel, RAI, and much more to follow.”

Singapore has emerged as a key copro market in Asia, thanks to an active public strategy spearheaded by the Media Development Authority. Yeo Chun Cheng, MDA director of broadcast and music, explains: "The MDA acts as a

facilitator, linking Singapore companies with potential co-production partners, including BBC Worldwide, Discovery, FremantleMedia Enterprises, AETN All Asia Networks and National Geographic. By playing a meaningful role in co-productions, Singapore companies get to co-own IP and enhance their distribution networks. They also develop valuable business relationships, networking links and track records, which can open up new opportunities."

Yeo says there has been an increase in co-production activity in his region and cites two reasons. "First, companies producing content with Asian elements are able to save on costs for talent, equipment and post-production work by partnering with an Asian production house. Furthermore, Singapore is a natural stepping stone to a richly diverse Asia."

It also helps that Singapore is a pioneer in next-generation production: "An example is the partnership between AAA Networks and the MDA to support Singapore-based media companies in the production of TV series with digital media components. Two programmes, Hidden Cities and Partners in Crime, have been produced under the collaboration. The MDA has also embarked on its first non-traditional media partnership, with Singapore's MediaCorp xinmsn online platform."

There are a number of arguments in favour of non-traditional partnerships.

Aside from the funding stream that ancillary services such as new media can provide, there are technological factors such as the rise of 3D, Sattin says. It is an area Parthenon is exploring closely. “Because it’s a young area, it is attracting interest from non-traditional partners – ranging from facilities houses to entrepreneurial City funds. With its ability to work across TV, cinema, Imax and new-media platforms it’s open to new co-pro models.”

TARGET 400 MILLION! Why Poverty?, a series of films which explores ways to tackle the pervasive and corrosive influence of poverty is due to be broadcast in late 2012. Its aim is to reach 400 million viewers via partners the BBC DRTV, YLE, VPRO, SVT, NRK, ZDF/ARTE, ORF, NHK, SUN TV, Taiwan Public TV, Futura, SABC and Al Arabiya.

Stehmeier also talks of “brands stepping up to the plate more, especially with topical/current co-production where the subject matter is in line with their brand aspiration and positioning”.

He has a warning for producers, though, which is not allow the appeal of co-pros to encourage unsustainable risk-taking: “For smaller production companies, managing the cash flow of a co-pro is an art form. More producers are looking for the best distribution deals to help with their cash shortfall and are coming to us with inflated sales forecast from thirdparty distributors. [To avoid this] producers need to find distribution companies that have a vested interest in their projects.”

Financing for new Co-Production Sunday, April 3 — 11.45 - 12.45 Grand Salon

Full Conference Programme Inside

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If you need to edit out a presenter or take your own presenter on location, it can add complexity and expense

Kristina Hollstein

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W H O WA N T S W H AT ?

Are buyers and sellers in harmony?

Nature’s Great Events: Polar Bears At Play (BBC Worldwide)

The factual market offers quality, choice and innovation. But are buyers and sellers in harmony?

Rachel Murrell asks whether supply matches demand

N

ATHALIE Windhorst, head of documentary acquisitions for public networks BNN, HUMAN, MAX, NTR, VARA and VPRO in Holland, is keen to find one-hour documentaries on art and music for NTR (formerly known as NPS).

“We screen a lot for VPRO Import, a weekly slot on Nederland 2,” she says. “This slot is for the best documentaries around the world, and we air mostly festival favourites in this strand. We also scan the market for accessible popular science and check out the latest investigative reports for VARA’s journalistic brand, Zembla.” And she is a big fan of

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Louis Theroux, whose BBC shows have brought a younger (25-40) audience to Nederland 3.

But supply and demand are out of balance, Windhorst says, and this is a buyers’ market — for those with money to spend. “There’s so much content to choose from,” she says.

“But demand is not getting any bigger, and nor are our budgets.

Naturally, it’s frustrating for buyers to have to turn down so many good projects, but of course this is a much bigger problem for producers and sales agents.”

Like many buyers, Windhorst is looking for one-hour series, and she

finds it odd that producers are so obsessed with longer formats. “The best and most creative, interesting and innovative documentaries seem to be more and more feature-length only,” she says. “But our slots are only an hour, and we spend a lot of time looking for one-hour versions. I believe this goes for most broadcasters, so I think it’s worth the investment for a producer or sales agent.”

Windhorst even goes so far as to say that most documentaries don’t need to be longer than an hour — “with a few exceptions for masterpieces”.

In Canada, CBC’s executive director, factual, Julie Bristow, is also

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WildEarth’s Graham Wallington: devised a very different business model

Galapagos (BBC Worldwide)

NHK’s Kenichi Imamura: “We look for entertaining documentaries for family viewing”

VPRO’s Nathalie Windhorst: “There’s so much content to choose from”

shopping for one-hour shows.

“Large social-experiment programmes and live-event shows work for us in primetime,” she says. “And this year we have a specific interest in new and popular performing-arts shows and variety-show concepts.”

Dragons’ Den, the business/entertainment format from 2WayTraffic, was a big factual hit for CBC Television last year. Now in its fifth season, it is running for 20 hours in primetime, and pulling audiences of over two million.

Ji Zhang, head of international acquisitions at Wuhan TV, buys for two science and educational channels, Wuhan TV 3 and CCTV 10.

But, unlike Windhorst, she struggles to find shows that suit her needs.

“High-quality programmes that fit our interests are hard to find,” she says. “And it's even harder to find ones that are fresh and distinctive.”

Among those that have worked recently are Sport Science and Fight Science (from Singapore’s Bomanbridge Media), Animal Weapons and Nature’s Gladiators (KM Plus Media) and The Year Of The Hedgehog (ORF).

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The Year Of The Hedgehog was also acquired by NHK last year. It was one of about 150 factual titles picked up by the Japanese broadcaster’s senior producer for international acquisitions, Kenichi Imamura, for one of his two big documentary slots, Dramatic Planet. “Dramatic Planet is a weekly, 44-minute slot on NHK’s terrestrial channel,” he says. “We look for entertaining documentaries for family viewing on subjects like ancient history, culture, science, space, adventure, wildlife, etc.”

But the big beast for Imamura is World Documentary, a one-hour current-affairs slot airing four times a week on NHK’s satellite channel.

“Each week has a different theme, like Afghanistan, biodiversity, the Khmer Rouge trials, etc. We look for films that explore a certain subject deeply, have exclusive footage, a clear sense of purpose and which relate to the daily life of Japanese people.”

Programmes that were received well in this slot in 2010 include GasLand (Gasland Productions), Ricejacking (France) and Last Train Home (China). Other favourites were The Lost JFK Tapes - The Assassination

(Tom Jennings Productions) and William & Kate — A Royal Engagement (BBC).

For 2011, Imamura is looking for programming in key areas: “The disintegration of the Soviet Union, the events of September 11, bio-diversity, nuclear issues and Afghanistan.”

Both slots will be on NHK’s new BS Premium channel, one of the two satellite channels to emerge from consolidation following the switch to full HD. And it is HD — and other new filming technologies — that help producers supply NHK’s thirst for programmes which show never-before-seen footage. “Be it the world of space, nature or history, we

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It’s frustrating for buyers to have to turn down so many good projects, but this is a much bigger problem for producers and sales agents Nathalie Windhorst

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want documentaries that reveal new truths and visually entertain us at the same time,” Imamura says.

In Ireland, RTE Two has been doing well with history, wildlife and extreme weather/disaster docs, which it schedules against the soaps that dominate the other channels between 19.00 and 20.30. Brian Walsh, deputy head of acquisitions at RTE, has found Mayday (Cineflix) a consistently good performer.

“Galapagos (BBC Worldwide) and World’s Deadliest Animals (National Geographic) have both performed well for us in natural history,” he adds.

Two history series from Germany, The Wehrmacht (ZDF) and Living With The Enemy (german united distributors), performed above station average on RTE Two. And National Geographic’s Lockdown did well late at night, while Frames, RTE’s long-standing international documentary slot, “brings a more eclectic mix to the schedule“.

But Walsh’s shopping list isn’t as long as it was. “We have had up to seven slots available in the week, but this is decreasing as we substitute reality-based acquired programming in one or two of the slots.” And, with Ireland’s economic downturn taking effect, his challenge is to find — and afford — material that hasn’t already had wide exposure on the UK channels. “My slate is virtually complete for 2011 and so I will be looking for material in all genres for 2012.”

For Ewa Malcuzynska-Wojna,

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High-quality programmes that fit our interests are hard to find. And it's even harder to find ones that are fresh and distinctive Ji Zhang

Czech Television’s Vaclav Kvasnicka: “Our new task is to find personality profiles”

42 Ways To Kill Hitler (OTF)

deputy head of film and documentary at Poland’s TVP, 2010’s most successful factual imports were human-interest films such as The Girl With Eight Limbs (DRG), The World’s Smallest Muscleman (ITV Global) and Tears And Dreams (DR). “At MIPTV and MIPDoc I’ll be mostly looking for human-interest stories for two new slots, as well as programming for our existing current-affairs and wildlife slots,” she says.

Among the challenges she faces are TVP’s own red tape. “Our acquisition procedures cause many delays, and although I try to act promptly, cable and pay channels often beat us to new programmes. Another problem is price. As a public station, we have rigid financial constraints. But the strong relationships we have with most distributors over the years help in overcoming all problems.”

A big contacts book is also a tool of the trade for LIC Beijing screening manager Yunfeng (Max) Li. With more than 100 provincial capital TV stations such as CETV and Shanghai TV Station as his clients, Li comes to Cannes looking for a cool 365 hours of programming.

“This year we will continue to select high-quality documentaries about warfare (including some modern wars), wildlife, history, culture, science and even some popular current-affairs and entertainment titles,” he says.

Among his recent buys are some of the big warfare and wildlife titles: World War II In Colour (IMG), 42 Ways To Kill Hitler (OTF), Honey Badger: Raising Hell (National Geographic) and The Secret Raider In The Dark and Eagle Owl (KBS). Also — in a somewhat different vein — Season 1 of the Criss Angel series Mindfreak (AETN).

Also buying for China is Xin Lu, the Beijing representative of Pan Universe International (HK). Lu acquires foreign TV programmes for CCTV, among them a large number of factual titles. “CCTV recently launched its Documentary Channel, which it is hoped will stimulate domestic documentary production,” Lu says. “But I will still be looking for many hours of programming covering music, nature, discovery, wildlife, biography and history.”

Alongside Chinese viewers’ traditional interest in wildlife, Lu notes a

Pan Universe International’s Xin Lu: “I will still be looking for many hours of programming”

TVP’s Ewa MalcuzynskaWojna: “I’ll be mostly looking for human-interest stories"

LIC Beijing’s Yunfeng Li: “This year we will continue to select high-quality documentaries”

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new development: “We are seeing increasing amounts of docudrama on Chinese TV. Chinese viewers also enjoy natural history. Programmes like Dinosaurs: Return To Life (Discovery Communications) and Predator Battleground (National Geographic Television International) did well last year.“ Vaclav Kvasnicka, head of acquisitions at Czech Television, is also watching tastes change. “CT2 has a new strategy, to aim at the cultureoriented audience, kind of ARTE style. It has 16 one-hour slots weekly on topics ranging from history, nature, science and technology to travel, music, culture, etc. Blue-chip HD documentary series from BBC Worldwide such as Life, Secret Life Of Elephants, Yellowstone or Nature’s Great Events perform well in its wildlife slot. “Our new task is to find personality profiles for CT2, and primetime series about a dramatic moment in the life of an individual for CT1. So far we have purchased the series Final 24 from Cineflix and we are searching for more of similar kind.”

Kvasnicka also seeks to acquire a small number of factual titles for CT1, the general entertainment channel, and some sports docs for CT4. For him, like so many others, the main challenges are financial.

“As a public broadcaster with a static income from licence fees, our

Mayday (Cineflix)

main problem is the steady increase in programme licence fees,” Kvasnicka says. “Thanks to the vast offer by documentary films producers, so far we have been able to find suitable titles at our fixed prices. Unfortunately, however, our traditional partner, BBC Worldwide, has decided to make a general increase in documentary programme fees. We have to consider how to treat the new situation to secure top-level productions for our viewers and balance our budget at the same time.”

It was partly in response to such problems that South African Graham Wallington devised a very different business model for his company, WildEarth.

“WildEarth is a 24/7 3DHD channel,” he explains. “We create

Dinosaurs: Return To Life (Discovery Communications)

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long-term live broadcasts from permanent locations. For example, we produce and broadcast two threehour live, presenter-led safaris per day from South Africa. Last year we streamed a live feed from inside the den of a Minnesota black bear.”

Naturally this is not content you can pick up off a shelf. So instead of seeing MIPTV as a shopping trip, Wallington regards it as an opportunity to find partners for his next endeavour, a daily two-hour live 3D underwater show. “We already have several committed long-term licence deals for this content and I am looking for more co-production partners who want to 'play' in the fast-growing 3D natural history space.”

WildEarth streams live wildlife content on the web, some from its own cameras and some from those of independent producers. Its income comes from licence fees or by displaying advertising over video streams, and among its clients are Dsmart in Turkey and Freebox in France. Net revenues are shared with the producers, who retain ownership of the footage.

For Wallington, this is the key change that documentary producers need to make. “I expect to see more producers asking themselves a key question: ‘Why do I sell my

South African Graham Wallington is at MIPTV to find partners for his next endeavour, a daily two-hour live 3D underwater show for 24/7 3DHD channel WildEarth.

creative output for a fixed price, when the channels use it to make an annuity income and build shareholder value?’ I want them to ask a new question: ‘How can I retain ownership of my creation and share in the annuity income so I too can build wealth?’”

Whether a move such as this can change the balance of power in favour of producers remains to be seen. Until then, as Windhorst points out, it’s still a buyers’ market.

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As a public station, we have rigid financial constraints. But the strong relationships we have with most distributors over the years help in overcoming all problems Ewa Malcuzynska-Wojna

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MIPDOC: MULTI-PLATFORM

FOLLOW THE MONEY

Anywhere, any time…

Digital distribution is opening up new consumer markets and revenue streams for factual programming.

Juliana Koranteng surveys the anywhere, any time landscape Great Migrations (National Geographic Television)

A

FTER going mass market more than two decades ago on thematic TV networks, the once niche genre of documentaries or factual programming is becoming truly ubiquitous, thanks to multi-platform digital distribution.

Busy viewers need no longer miss indepth current affairs coverage of politically troubled parts of the world, natural history programmes confirming Mother Nature’s potential malevolence and magnificence, or human beings’ jaw-dropping personal revelations on reality TV. Thanks to the internet, they can watch non-fiction live on their cinema-size flat-screen TV sets, on their home computers, and their laptops, smartphones and computer tablets, or turn to video-on-demand (VOD) formats should they miss shows at scheduled hours.

Doug Craig, senior vice-president of digital and home entertainment at

factual TV pioneer Discovery Communications, sums up the on-screen evolution of documentaries: “We believe we need to be everywhere consumers are engaged with content, whether on TV, online or mobile VOD. We want to make sure people can touch and consume our content.”

Discovery has been investing in digital distribution for more than 10 years. It operates an extensive dedicated division that includes a digital studio with 12 producers for its various networks. The first of its 30 paid-for, ad-supported and free mobile apps, on iPhone, iPad and Android devices, launched in 2008.

Its commitment to multi-platform digital distribution can be seen in its production strategies. These include installing a digital producer on original shows’ sets.

The popularity of Cake Boss, a reality series centred on American baker extraordinaire Buddy Valas-

tro, led to two new series: Next Great Baker, an American Idol-style contest for the country’s most talented bakers, and Kitchen Boss, a new cookery series in which Valastro offers recipe tips.

By placing a digital producer on the set of Kitchen Boss, to film dedicated sequences, for example, Discovery is able to capture original content for its digital platforms.

“As time has gone by, we’ve been more aggressive with our digital output, especially for audiences on smartphones that feature a lot of social-media functionality,” Craig says.

Other Discovery digital productions can be found for MythBusters, the entertainment show for science buffs, on iPhone, iPod and iPad apps. iPhone and iPod apps for the edutainment website HowStuffWorks have been bestsellers, while an iPad version of the Discovery Channel is scheduled to come out

this month.

Creating multi-platform content also enables networks to reach audiences in between the seasons of programmes. “Even though the show is off air, we use that time to keep the relationship going,” Craig says.

Fans of documentary and factual programmes tend to have a voracious appetite for facts and figures.

Offering extra content across platforms feeds that craving and whets the appetite.

National Geographic Television (NGTV) has built its reputation by meeting that need.

❜

We want to make sure people can touch and consume our content Doug Craig

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Iplex’s Arkadiusz Swierczewski: “The on-demand availability of content can broaden the reach of a documentary”

CNN’s Chris Press: “Users are increasingly consuming fulllength, high-quality video streams on devices”

TPG’s Dominique Lesage: “Closer co-operation with print”

The quest to explore, educate and encourage audience participation with its productions explains why the network spends millions on programmes such as Great Migrations, the new four-part, one-hour series on why a wide variety of mammals, birds, and sea creatures keep moving thousands of miles to feed and breed.

Shot in more than 20 countries over three years and using the latest technologies to acquire more than 800 hours of footage, Great Migrations features never-before-seen drama and suspense as herds, flocks and schools of creatures keep moving in their millions as if their lives depended on it — as they do.

In the digital era, however, even this high-budget TV creation isn’t enough on its own. In addition to three one-hour companion programmes, Great Migrations is accompanied by games on home computers plus paid-for iPad and iPhone apps.

“Not only are these platforms a great way of reaching people and promoting the series, you can use them to generate interest ahead of the series. This is especially important when targeting younger viewers,” says Michael Rosenfeld, National Geographic Television’s president.

“If you want people in their teens and early 20s to know there’s a great series coming, traditional on-air promos might not work: mobile apps are a great way of doing so.”

CNN has had the hallmark of global breaking-news programming since its 1980 launch. It has made forays into documentaries with series that include World’s Untold Stories (a recent high-profile edition being Taliban: Behind The Masks), Revealed and My City My Life. Today you can access CNN news and factual programmes on cable, satellite, mobile TV, IPTV, VOD services, vodcasts (mobile-delivered video

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podcasts) and mobile apps.

And, because a significant portion of its viewers are in the international business-traveller community, CNN and sister service CNN International were among the first networks to understand the relevance of reaching viewers via portable devices.

Chris Press, business development director at CNN International EMEA, offers insights into how mobile distribution of TV-originated content has evolved.

“The argument used to be that you had to create dedicated mobile content, but I believe this was more down to technical limitations than actual user preference,” he says.

“Developments in screen size, resolution, battery life and data bandwidth of portable devices mean that users are increasingly consuming full-length, high-quality video streams on these devices.”

He has been particularly impressed by two developments from CNN’s multi-platform approach. The network is able to syndicate HD-quality programmes to its distribution partners for any platform in any part of the world “within a couple of hours of airing, something that’s been difficult and expensive to do previously”.

Moreover, the mobile element of multi-platform networks enables indigenous consumers to participate in the news-gathering, especially of events that professional foreign journalists have difficulty reaching.

“After the 2004 tsunami [in the Indian Ocean], we had to go to airports and ask passengers for video from their phones. Now, during the

Queensland floods in Australia, iReporters [as CNN consumer contributors are called] have been able to upload their video and pictures directly to CNN’s website.”

Crowd gathering of factual content has also caught the attention of Japanese public broadcaster NHK. It makes programmes available online via sites such as YouTube, IPTV and cable. It operates its own VOD platform, NHK on Demand.

Regulatory restrictions prevent it from distributing TV programmes via mobile. But web content is available through smartphone and tablet computer apps, and even on TV. Share Your Videos, Share Your Stories is its 10-minute weekly TV show comprising viewers’ videos sent in from handsets and PCs. From their contributions, NHK producers create themed programmes shown online and on air. Such multi-platform success has spurred NHK to extend the strategy to its international network, NHK World TV. Junichi Koube, NHK’s head of digital service development division, explains: “This kind of business has just started, and we’re still looking carefully to see if this will grow to generate new income.”

Yet, multi-platform distribution can pose its own challenges. It can be a tough business to acquire digital rights to exclusive on-air content.

“It’s about the rights; they always become an issue,” says Harold Gronenthal, senior vice-president and general manager of Rainbow Media Global, which operates, among others, the Sundance Channel in 39 million US homes, plus France, Bel-

❜

The on-demand availability of content, and matching it with a potential audience outside the broadcasting schedules, can broaden the reach of a documentary significantly Arkadiusz Swierczewski

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gium, the Netherlands, Poland, Korea, Singapore and Canada.

“Documentary makers are becoming cognisant of that fact, and understandably so, because you need to know whether you’re dealing with a separate new or old right. Is it for on-demand or to be streamed to an iPad? The usual suspects are still lingering out on those fronts.”

On the other hand, distributors of documentaries and non-fiction programming have noted how new opportunities can emerge from multi-platform operations.

“Take our show The Fabulous Beekman Boys, about two guys and their organic-farming business. That

❜

The goal is not to produce specific programmes for new platforms, but to find appropriate platforms for existing content

brand can be extended to an app on how to become an organic farmer,” Gronenthal says.

He also argues that multi-platform distribution should attract non-TV programmers such as book publishers, where clicking on a link in an e-book could lead one to a video offering more factual details.

He even foresees the day when factual film-makers will use the independence offered by the various digital platforms to distribute their own creations. “Some producers I’ve spoken to in the last five years are getting savvier with the licensing of their products. It would be interesting to see if these new devices encourage them to self-distribute.”

Dominique Lesage, content director at Poland’s leading telecoms operator, Polish Telecommunications Group (TPG), also foresees “closer co-operation with print publishers to develop hybrid for-

mats of print articles with embedded documentary/factual videos, especially on tablets, smartphones and connected TV”.

In addition, advertisers are warming to multi-platform delivery. “Our viewers consume content on the move and expect to consume CNN content across all their devices,” says CNN’s Chris Press. “Advertisers recognise this and place a premium on our ability to work with them across platforms.”

Even at a national service provider such as Iplex, a major VOD service in Poland, founder Arkadiusz Swierczewski sees greater synergy with brand owners: “The on-demand availability of content, and matching it with a potential audience outside the strict broadcasting schedules, can broaden the reach of a documentary significantly. This means additional revenue sources, such as product placement and other forms of ad-

vertising, may be included in the original production budgets.”

All the same, the TV industry accepts that it is still too early to depend solely on digitally distributed factual programmes and documentaries. “The economics for small screens to pay for documentaries don’t exist yet,” says NGTV’s Michael Rosenfeld.

Gronenthal advises: “Let’s not get too swept off our feet with the zeitgeist and lose the big picture. While we want to grow our business [via digital platforms], we need to let [cable and telecoms] operators know that we won’t undermine theirs.”

Even the infrastructure alone is still expensive, Koube points out. “Although it doesn’t stop NHK from taking advantage of new technologies, expanding content to multiple platforms requires additional work, so it makes the production process complex and costly.”

Dominique Lesage

HowStuffWorks, TLC.com

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these things evolve. You can get some revenue from gaming apps, for example. But, compared with the DVD platform, it is a very rare digital project that you can use to pay for a whole production. In the future, however, these new devices will provide significant ancillary revenues.”

Ultimately, however, Lesage argues: “The goal is not to produce specific programmes for new platforms, but to find appropriate platforms for existing content.”

Discovery Communications’s Doug Craig: “We believe we need to be everywhere consumers are engaged with content”

Rainbow Media Global’s Harold Gronenthal: “It’s about the rights; they always become an issue”

National Geographic Television’s Michael Rosenfeld: “Traditional on-air promos might not work”

Whatever the advantages and disadvantages, the consensus is that digital multi-platform networks stretch the horizons for documentary makers and distributors.

At Discovery, original webisodes for A Conception Story (following the happiness and heartbreak of women

attempting to conceive) produced for the TLC.com website attracted committed advertisers.

And Doug Craig admits the digital performance of The Colony, a reality series that re-enacts a global catastrophe which participants must try to survive, has been known to surpass

the Discovery group’s averages on digital platforms and do better than the ratings for its on-air version.

Rosenfeld believes it is still early days for documentaries on digital platforms alone to be money-spinners.

But he is confident that time will come. “We’re waiting to see how

800 HOURS, 20 COUNTRIES Great Migrations was shot in more than 20 countries over three years and using the latest technologies to acquire more than 800 hours of footage.

The Roy T Roya Royal yal al Barge Bar Ba arg rge ge

Army Navy and Air Force Film Association

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This is where the story begins

USEFUL TIPS The information is divided into eight sections: The entire MIPDoc Team is committed to ensuring your event experience goes as smoothly and efficiently as possible so you can focus on achieving your objectives.

This document is intended to assist you in your preparation for MIPDoc. The following information will provide you with the necessary tools to arrive with a full meeting schedule in place and an in-depth understanding of the market.

1•PREPARING THE MARKET MAKE CONTACTS AND APPOINTMENTS BEFORE ARRIVAL To get the most out of your experience, we encourage you to identify potential business partners and schedule meetings in advance using the MIPDoc database.

BOOK YOUR ACCOMMODATION The Hotel Reservations Service is available to help you address your booking and accommodation requirements. For further information, please contact hotel.miptv@reedmidem.com DON’T MISS MIPDOC CONFERENCES & EVENTS Consult the MIPDoc conference programme details in this Preview Magazine. MIPDoc conferences are open to all participants free of charge on presentation of their badge, depending on venue capacity. Consult our website, www.mipdoc.com, for further details.

ORGANISING AN EVENT If you wish to organise an event during MIPDoc, such as a cocktail party, screening or press conference, our Events Department is available to offer advice and assistance: Tel.: +33 (0)1 41 90 44 96 E-mail: info.events@reedmidem.com

NEED HELP? Reed MIDEM staff members are available to answer questions and provide one-onone assistance before & after the market.

Please do not hesitate to ask their advice or assistance: Tel.: +33 (0)1 41 90 44 41/42 E-mail: customerhelpdesk@reedmidem.com

2 • TRANSPORT BOOK YOUR FLIGHT TO NICE Travel agencies MIPDoc has two official travel agency partners who can help find the best airfares: • Silver Voyages (France and Southern Europe): Tel: +33 (0)1 45 61 90 59 E-mail: silvervoyages@wanadoo.fr • Dovetail Foks (UK and Northern Europe) Tel: +44 (0)20 7025 1515 E-mail: exhibition@dovetailfoks.com Airline and travel discounts

Find the lowest airfares with Air France and KLM Global Meetings. Take advantage of discounts of up to 47% on flights within France, and up to 10% on international flights (conditions apply).

To benefit from these special offers, access

1 2 3 4 5 6 7 8

Preparing the market Transport Packing essentials Accessing MIPDoc How does MIPDoc work?

MIPDoc services Keeping in contact during the market MIPDoc Online Screenings

www.airfranceklm-globalmeetings.com and use event ID code: 11866AF. These rates are valid from 28/03/2011 to 12/04/2011.

For more information about the terms and conditions of these special fares check online at www.miptv.com Airport The Nice Cote d'Azur International Airport (NCE) offers direct flights to many cities around the world. It is situated 24km (15 miles) southeast of Cannes, 30-45 minutes by car or 50 minutes by bus from the city centre.

Tel: +33 (0)820 423 333 Website: www.nice.aeroport.fr AIRPORT TRANSFERS Car rental

Rent a car through MIPDoc partner Sixt for special rates reserved for MIPDoc participants. To take advantage of this deal, use promotion code: 9963828. For more information, consult the transport section under "Prepare" on www.miptv.com, visit www.sixt.com or dial +33(0)8 20 00 74 98.

Sixt has agency locations at Nice airport and in Cannes.

The motorway toll from Nice to Cannes is €2.70. Payment must be made by cash, cheque or credit card. Please call +33 (0)8 92 70 70 30 for further information.

Helicopter travel

Azur Helicoptere makes six-minute flights regularly between Nice Airport and Cannes. A one-way ticket costs €114, per person. A free shuttle service is available in Cannes for transfers between the heliport and your final destination downtown. A minimum of two persons is required for each flight.

Tel: +33 (0)4 93 90 40 70 Email: info@azurhelico.com Limousines

MC Limousine specialises in every aspect of limousine services, including airport transfers and the provision of cars for all occasions. One-way service from Nice Airport for one to three people costs approximately €100.

Tel: +33(0)4 92 18 80 80 E-mail: reedmidem@mclimousine.com Bus

Bus 210 (Xpress Cannes) is an express line from Nice Airport to Cannes’ town hall. Buses run every half hour, with trips taking about 50 minutes. The Nice Airport ticket desk is located in Terminal 1 and

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PRACTICAL GUIDE

Terminal 2. One-way/return tickets cost €15.60/€25.50. A one-way ticket for four people costs €41. Visit www.rca.tm.fr for further information.

Taxis Taxis are available at the Nice Airport, from Terminal 1 (Gate A1) and Terminal 2 (Gate A3).The average taxi fare between Cannes and Nice airport is €80, with trips taking about 30 minutes. A night rate applies between 19.00-7.00.

To reserve a taxi, call the Allo Taxi Cannes 24/7 hotline at +33 (0)8 90 71 22 27, or their daytime number at +33 (0)6 20 26 65 94 (available 9.00-18.00). Visit www.taxicannes.fr for further information.

Train For information about rail travel between Nice and Cannes or for additional destinations, please call 3635 (France only) or +33 (0)8 92 35 35 35 (international number). A one-way ticket between Nice and Cannes costs between €4.50 and €8.00.

IN CANNES Free MIPDoc shuttle bus service The free MIPDoc shuttle bus service is available to all delegates, running between hotels located outside Cannes and the Palais des Festivals throughout the exhibition period. Schedules are available in hotels and at the Registration Desk.

Tourist information The Cannes Tourism Office is located at the Palais des Festivals on la Croisette.

Tel: +33 (0)4 93 39 24 53 E-mail: tourisme@semec.com Website: www.cannes-on-line.com

• Registration opening hours Pre-registration: save time by registering before the market Friday, April 1

3 • PACKING ESSENTIALS YOUR INVOICE Foreign participants are eligible for a refund on French Value Added Tax (VAT) under certain conditions. TEVEA International, the fiscal advisor located during MIPTV at Registration, can organise and process your VAT refund request. Remember to bring the original copies of your invoices with you to the market and to visit TEVEA before you leave Cannes.

YOUR E-TICKET If you have registered in advance, you will receive an e-ticket. Please print your eticket and bring it with you to Cannes.

The bar code will facilitate identification and make collecting your badge faster and easier.

4 • ACCESSING MIPDOC CARLTON HOTEL

Cannes local buses

The Carlton hotel is situated on the famous La Croisette and is clearly signposted throughout Cannes.

The hotel’s address is:

A local bus network services Cannes and the surrounding areas (€1 for a one-way ticket).

58 La Croisette 06400 Cannes France For more information, call +33 (0)4 93 06 40 06, or visit www.intercontinental.com

Car parks Numerous covered public car parks are located within walking distance of the Carlton hotel. These can be paid for with a magnetic card available at the Tourism Office at the Palais des Festivals.

MIPDoc strongly advises you to book well ahead of the market.

OTHER USEFUL INFORMATION

• Equiptech: Chambre de Commerce et d’Industrie, Gare Maritime Fax: +33 (0)4 92 98 70 01 E-mail: equiptech@cote-azur.cci.fr

COLLECTING YOUR BADGE

• Uniparc Cannes SNC Tel: +33 (0)4 93 68 79 02 / 13 E-mail: mgaufillet@interparking.com / jjolly@interparking.com

To access MIPDoc, you will need to collect your official badge and bag at the MIPDoc Registration Desk.

Country code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz, round two-pin plug Measuring system: metric Currency: euro

NEW this year: The new badge, shaped as a credit card, no longer includes a personal photo. The photo is visible on a PDA at each security check. This year, etickets will be sent out a few days before MIPDoc by e-mail with a barcode and will replace the ID card.

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14.00-19.30

Registration during the event Saturday, April 2 Sunday, April 3

8.00-19.00 8.30-19.00

screening booths. This simple and effective system exposes programmes to the largest possible buying audience.

When buyers pick up their badges, they will receive a smartcard to access the digital video library. Once connected to a PC in one of the screening booths, they will be able to start screening. An interface will help them select programmes or carry out advanced searches, according to the criteria and products listed in the Programme Catalogue.

• Screening hours

• If you are a journalist, reporter or photographer, please go directly to the MIPDoc Registration Desk to collect your badge. Please note that you must register as a member of the press before you arrive in Cannes.

Saturday, April 2 Sunday, April 3

8.30-19.00 8.30-19.00

Up to 280 screening booths will be available exclusively for buyers.

• If you are conference speaker, please go directly to the MIPDoc Registration Desk to collect your badge.

Depending on availability, producers and distributors can also accompany buyers who wish to screen their registered programmes. Simply ask the registration staff on site.

• Badge types: badges indicate if the wearer is a participant, buyer, press or official. Please note that only buyers have access to the digital video library.

Lists of Buyers who have screened programmes and Content Lists for buyers

• Please remember to wear your MIPDoc badge at all times.

First-Timer Orientations and Discovery Tours If you have never attended MIPDoc before or would like to meet our team, please join us for one of our First-Timer Orientations and Discovery Tours, taking place Saturday, April 2, 08.30, in the Coproduction Lounge at the Carlton Hotel.

The events will include a welcome drink, orientation session and guided tour of the show. Take advantage of this opportunity to receive one-on-one assistance and advice on how to achieve your goals during the market.

5 • HOW DOES MIPDOC WORK FIND OUT WHO IS AT MIPDOC 2011 When you check in at the Registration Desk, you will receive a MIPDoc delegate’s bag and Catalogue/Guide. This publication lists all the companies and delegates present at the market, as well as the programmes available in the digital video library.

VIEWING PROGRAMMES Buyers can watch a wide range of cutting-edge programmes in individual

• Production and distribution companies with programmes listed in the catalogue and digital video library can view the names and contact information of the buyers who have screened their programmes.

• Each buyer can review a list of the content they have screened during the event.

These lists are available at four stations located next to the Salon Zephyr.

Important: Final lists of buyers who have screened your programmes during MIPDoc and content lists for buyers will be available by request only beginning Monday, April 4.

• If you are a MIPTV exhibitor or participant, lists will be available Monday, April 4 (14.00) Friday, April 8 (12.00), Stand MIPmarkets.

• If you are not a MIPTV participant, lists will be available as from Monday, April 4 , on MIPDoc Online Screenings.

Please note that we no longer return screening materials sent to the digital video library.

6 • MIPDOC SERVICES We offer an extensive range of services to make your stay in Cannes as pleasant as possible.

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PRACTICAL GUIDE

BUSINESS CENTRE Phone, fax, photocopying, typing and printing services are available in the hotel’s Business Centre.

CLOAKROOM Take advantage of the hotel’s free cloakroom to avoid carrying your coat or bag around all day.

THE NEWS Don’t hesitate to contact our News Team during MIPDoc with details of your breaking news and deals.

HOTEL HOTLINE The MIPDoc Hotel Reservation Service offers a 24-hour hotline to help you with issues regarding hotel check in and check out. The hotline can also respond to any accommodation queries.

Tel: +33 (0)6 85 54 30 53 MOBILE PHONES & 3G DATA CARDS RENTAL CellHire, MIPDoc’s mobile telephone part-

ner, can equip you with an international cell phone during the market. You will receive free incoming calls while in France and enjoy competitive international rates.

3G data cards are also available should you need unlimited wireless internet access throughout the event. Reserve your mobile phone, Blackberry, SIM card or 3G data card well ahead of the market at www.cellhire.fr/reedmidem or +33 (0)6 83 58 44 22 E-mail Cellhire for further information: France: paris@cellhire.com UK: york@cellhire.com USA: newyork@cellhire.com

7 • KEEPING IN CONTACT DURING THE MARKET NETWORKING LOUNGE This comfortable and functional meeting place for MIPDoc participants is the ideal place to make new contacts and conduct business.

Assistants will be available to give you the information you need and help

arrange your appointments.

COMMUNICATING WITH PARTICIPANTS BY E-MAIL

9 • THE MIPDOC PAVILION AT MIPTV

Use e-mail to schedule your meetings efficiently before the show and receive messages from other participants before arriving in Cannes. All participants’ e-mail addresses are posted on the MIPDoc online database, unless they have chosen not to publish this information.

Use our e-mail stations to send and check email during the market, free of charge. Stations are located next to the Salon Zephyr.

The MIPDoc Pavilion at MIPTV gives the documentary community a dedicated area to follow up on leads generated during the weekend. To generate buzz among the wider entertainment community, a special presentation of the Best of MIPDoc will take place on Monday morning to highlight the 30 most requested programmes. Extend your business week by four days to maximise your market experience.

8 • MIPDOC ONLINE SCREENINGS MIPDoc Online Screenings will go live April 4, 2011. The service will allow buyers to continue watching MIPDoc programmes after the market closes, and will be free of charge until 29 February 2012.

Discover this new service during MIPDoc by visiting the demonstration booth next to the Salon Zephyr.

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MIPDoc Catalogue now online Login to MIP Online Screenings to access the 2011 MIPDOC Catalogue before the market.

Browse through programme descriptions and create your playlist for screening in Cannes to save time when you get there.

Log in now to prepare for the MIP screening experience.

www.onlinescreenings.com

The world’s largest online library of new children’s, youth, documentary and factual programmes