Mipdoc 2016 preview magazine by MIPMarkets

MARCH 2016

mipdoc

www.mipdoc.com The official MIPDoc magazine

PREVIEW INTERNATIONAL PREMIERE SCREENING

The Story Of God SEE PAGE 6

MIPDOC KEYNOTE

Morgan Spurlock

SEE PAGE 10

MIPDOC COPRODUCTION SUMMIT

Doc Spinners’ Ann Julienne SEE PAGE 11

Also inside:

• Original content online • What do buyers want? • The Japanese Pitching Showcase • Nordic docs • Documentary Campus: producers’ programme • and more...

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DOCUMENTARIES History . Current affairs . Science . Nature . Culture . Travel & Adventure . Sport

Highlights

A WORLD WITHOUT FORESTS – 52’ Science

BLACK BRAZIL – 52’ Current affairs - History

THE FUTURE OF CANCER, CLOSER TO A CURE – 52’ Science

THE QUEEN’S HUSBAND – 52’ History

REVERED ANIMALS – 3x52’ Nature

SCIENCE HACKERS - 52’ Science

CYBER APOCALYPSE – 52’ Current affairs

VERSAILLES’S DIRTY SECRETS – 52’ History

MORE PROGRAMS/GENRES AVAILABLE IN OUR MIPDOC’S VIDEOLIBRARY !

TOMORROW’S WORLD HD – 20 x 52 ’ - AWARD WINNING SCIENCE SERIES

Pariscience International Science Film Festival Gold Panda - Sichuan TV Festival Two awards at Prix Roberval and +20 festival selections COPRODUCED BY

AB PRODUCTIONS & DOCLAND YARD

CONTACT

VISIT US AT

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MIPTV Stand P-1.L51

Contents News 6 MIPDoc special screening: The Story Of God; Morgan Spurlock gives the MIPDoc keynote; The MIPDoc Co-Production Summit; Focus On Germany; the best of Nordic reality

Product News

Features

What the buyers want ................................................21 Factual for the next generation .................................26 Reality in ultra-high deﬁnition ..................................30

Documentary and factual programming from around the world on sale in Cannes

Barbarians Rising (A&E Networks)

14 Out Of The Maya Tombs (PBS International)

Also inside : 34 Tips & services

19 Conferences

mipdoc PREVIEW The official MIPDOC preview magazine March 2016. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designers Jordan Carel, Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinator Yovana Filipovic Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude MIPTV Conference Director and Director MIPDoc and MIPFormats Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch TV Division Sales Director Géraud de Lacombe Managing Director (UK / Australia / New Zealand) Simon Rhodes Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez Senior Vice President Sales & business development Robert Marking VP Sales - TV Division José-Luis Sanchez Director of Visitors Sales Matthew Rosenstein Sales Manager Panayiota Pagoulatos Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi, Cyril Szczerbakow Sales Managers, Buyers Cyriane Accolas, Deborah Carella, Yi-Ping Gerard Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek Spain Representative Maria Jose Vadillo South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu 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 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2016, Reed MIDEM Market Publications. Publication registered 1st quarter 2016. ISSN 1963-2258. Printed on PEFC Certified Paper ®

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News

The Story Of God FOX and the international sales division of National Geographic Channels are hosting the world premiere of National Geographic’s series The Story Of God with Morgan Freeman at MIPDoc. Produced by Revelations Entertainment and National Geographic, The Story Of God sees Freeman embark on an ambitious global journey to explore the ﬁve great world religions and to seek an understanding as to how faith has shaped our lives. Freeman hosts and narrates the series and is executive producer with Revelations Entertainment CEO Lori McCreary, with whom he co-founded the company. The idea for the series came during a visit to Istanbul in Turkey. “Morgan and I were touring different sites one of which was the Hagia Soﬁa in Istanbul — which was a mosque, then a church, then a mosque again and now it’s a museum.” Among the frescoes in the building was one depicting the story of Jesus. “The guide who was taking us around was a Muslim and I asked him if, while this was a mosque did they cover over these images? And he said, ‘Well, no actually, the story of Jesus the prophet is in our

tradition. And Morgan and I looked at each other and I actually felt a little embarrassed. I feel like I’m fairly educated and fairly worldly and I actually didn’t know that that was part of the story and the tradition of Islam.” An in-depth conversation developed about what each of them knew about other religions and how, if we all knew more about the subject, we might be able better to understand what’s going on around the world right now. “We started thinking, maybe we should do something that answers those questions instead of us just sitting in our ofﬁce talking about it.” The series follows Freeman as he travels the world in his quest to learn more about the faiths that guide people’s behaviour. “We go to Rome with him, then Vatican City and further east to heart of India and beyond — wherever he goes we get a peek into the lives of many people through Morgan and his conversations with them.” A key aim of the series is to ﬁnd the similarities between people and their religions in a world where the tendency is to dwell on the differences. “I think that there is no better preview magazine I March 2016 I www.mipdoc.com

time, at least in my lifetime, to have this kind of project come out,” McCreary said. “You can’t turn on the news these days without seeing some kind of war categorised as a religious conﬂict and it makes it seem that all of these battles are around religious divides. I think that, quite frankly if you look at our show, we’re seeing that we have so much more in common with each other and perhaps there’s an ignorance about our own beliefs. If we start looking at each other through the eyes of what we do have in common that might help tear down some of the barriers that allow someone else to be thought of as ‘the other’. Because we’re not so much ‘the other’ we’re very much the same in a lot of ways.” • The MIPDoc International Premiere Screening will take place on Sunday, April 3 at 17.00 in the MIPDoc Conference Room in the Grand Hyatt Cannes Hotel Martinez and will be followed by a cocktail reception. Fox International Channels and National Geographic are also sponsors of the MIPDoc Networking Lunch which takes place on Saturday April 2 at 13.00 at the Grand Hyatt Cannes Hotel Martinez Beach

Wildlife. Science. History. MIPTV stand no. P-1.L2, P-1.M1 zdf-enterprises.de

News Q NORDIC DOCS ON SHOW A MIPDOC Snack & Screen session is being held on Sunday, April 3. A 30-minute screening showcase of The Best Of Nordic Documentaries is followed by a snack lunch.

Johanna Karppinen Among the supporters of the event is Audiovisual Finland, back after a successful event in 2015. Audiovisual Finland CEO Johanna Karppinen said that collectively the region is “proud of its track record” in factual content. “Nordic documentaries have a reputation that is hard to beat — from collecting Oscar nominations to acclaim at international festivals, as well as high TV ratings around the world, which show that the audiences, as well as the industry, like what we do.” She added: “We always presume that the delegates at MIPDoc and MIPTV have seen it all. But last year the powerful trailers that we showed during the session had an audience of professionals bursting with joyous laughter as well as shedding a few tears. I trust this year will be no different.”

• The Nordic Snack & Screen is on Sunday, April 3, in the MIPDoc Conference Room at 12:30

High-end docs head Cannes roster for NatGeo channels FOX International Channels (FIC) is in high profile this MIPDoc. The sales division of National Geographic Channels and host of the MIPDoc International Premiere Screening The Story Of God, is also sponsor of Saturday’s MIPDoc Networking Lunch. The company’s primary goal is to bring its roster of big-budget factual programming to the attention of the international market, particularly three titles: The Story Of God with Morgan Freeman; science series Breakthrough; and He Named Me Malala, which NatGeo brought to MIPCOM last year. The Story Of God gets special attention with a MIPDoc screening on the same day that it launches on NatGeo channels in 171 territories around the world. “We’re excited that we’re able to have it screened in Cannes on the same day that NatGeo is airing it for the ﬁrst time,” said Connie Hodson, vice-president,

content and marketing at FIC Content Sales. Hodson said that while the company is “really driving the high-end, blue-chip factual shows”, it is also focusing on formats. “Our show School For Husbands for example, it’s a kind of reality show that is very popular with a lot of our regional ofﬁces that have made local versions,” she said. “We’re out there exploiting the format rights to create a franchise for that.” Hodson added that a number of new partnerships the company has established are now bringing new platforms into play. “Courteney Monroe [National Geographic Channels CEO] really wants to be commissioning shows that are suitable for different platforms and that’s absolute music to our ears,” Hodson said. “We’re a distribution business that wants to monetise our content and actually we have a lot of opportunities to do that because of the range of programming that we’ve got.”

Opportunities to partner with Japan THE MIPDOC Japanese Pitching Showcase is an opportunity for Japanese filmmakers to pitch their most compelling new factual and documentary projects to a jury of international decision-makers. The Showcase is held in association with Tokyo Docs, the documentary film festival that provides filmmakers from Japan and other parts of Asia with opportunities to develop and realise international co-productions of documentary films. The festival, which commemorated its fifth anniversary last year, is held annually with support from Japanese TV broadcasters, government organisations and other entities. “The key goal of Tokyo Docs is to develop and realise as many international co-productions of documentary films as possible by providing filmmakers from Japan and other parts of Asia with opportunities to pitch their projects to the decision-makers from around the world,” Tokyo Docs chairman Yukihiko Amagi said. He added that the festival has partnered with MIPDoc “to make professionals from around the world aware that Japan and Asia have the potential to co-produce quality documentaries on a wide range of subjects, from pop preview magazine I March 2016 I www.mipdoc.com

culture to history”. Amagi said that with the rapid growth in OTT services around the world, the demand for quality documentaries is also growing. “The documentary market is going to depend both on OTT and conventional television in the coming years.”

Tokyo Docs’ chairman Yukihiko Amagi • The Japanese Documentary Pitching Showcase is at 14.30 Saturday, April 2, in the MIPDoc Conference Room

Visit MipTV stand C16.B q )(. (.- & -} )'

News

‘It’s an exciting time for people like us’ WRITER, director and producer Morgan Spurlock gives a keynote speech at MIPDoc 2016 on Saturday, April 2. Founder and president of the Warrior Poets production studio, Spurlock has directed, produced and distributed multiple film, television and digital projects and has been at the forefront of digital content creation over the last few years. His more recent digital projects include Connected, the first long-form series for AOL, and Smartish, a premium branded content channel for Maker Studios. One of the subjects he will touch upon during his MIPDoc presentation is branded content. The scourge of one particular brand — McDonald’s, which was not shed in a good light in Super Size Me, the feature-length documentary that made his name — Spurlock is nonetheless a master at bringing brands together with content. His 2011 film The Greatest Movie Ever Sold, about branding, advertising and product placement, engaged some 22 different brands who supported the production, the distribution and the promotion of the film. His recent production Crafted — a beautiful film about master craftspeople — was made in partnership with ice cream brand HaagenDazs. Haagen-Dazs’ agency Ketchum contacted Spurlock through artists’ agency CAA and according to Spurlock, the pitch was just eight words: “We want to make a film about artisans.” His reply was similarly brief and to the point: “Great, this is how we want to make it.” The film debuted at the LA Film Festival in June 2015, was available at amazon.com the following day “and it played through the roof”. Haagen-Dazs then pushed it out to airlines, hotels “wherever people consume content. I think they created a smart strategy to have a large footprint around that piece of content,” Spurlock said. “And you know you don’t see one pint of ice cream in the whole thing. You don’t see anybody making ice cream, there ‘s no product placement in it. It’s an alignment of ideology. It’s like, here are people who are real

craftsmen and lovers of what they do which I think is rooted in the ethos of what HaagenDazs stands for — high quality, attention to detail — and I think you’ll now find more brands that will think wait, what does our brand stand for?” He added: “I think it’s an exciting time for people like us, for creators to know that there’s now another outlet of people who are going to kind of let you continue on with your creative vision and they’re going to support that. I think it’s awesome, that brands want to be part of a conversation that’s valuable and I think they’ve seen that this type of content can generate that dialogue. The best content is when the brands kind of become a production partner and not a driver of creativity. That’s when real innovation happens.” Spurlock’s career started online, with the game show I Bet You Will. “We launched it in the spring of 2000 and on our very first day we had a million unique visitors. By the end of the first week we had five million unique visitors, on a crummy little website that would keep crashing so we had to keep adding servers so people could watch.” After two weeks CBS called and bought the show — but ended up sitting on it, unsure where to place it in their schedules. Spurlock bought it back and sold it to MTV — and with the proceeds made Super Size Me. “So this little web show was what enabled us to do everything else that we’ve done since, and that’s why I feel like coming back to the digital landscape where we began is a completion of the journey.”

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Which he has done with his new project Smartish, a “new type of channel for brands to partner on clever content that will exclusively be curated by ‘smartish’ talent across platforms”, packaged in a variety of formats and produced by Maker Studios and Spurlock’s Warrior Poets production studio. Spurlock’s MIPDoc keynote will include a screening of his new female-focused Smartish series What We Teach Girls, Present Tense & Sexish. • Morgan Spurlock’s MIPDoc Keynote is on Saturday, April 2 at 17.30 in the Conference Room at the Grand Hyatt Cannes Hotel Martinez

News SHOWING THE BEST OF NORDIC REALITY

CO-PRODUCTION SUMMIT

Summit to discuss role of co-pro in the new television ecosystem T H E M I PDO C I nter nat ional Co Production Summit & Breakfast promises to be a gathering of the most influential decision-makers in the business of documentary co-production. The invitation-only event is designed to enable open discussion with significant industry players in the industry. Ann Julienne, managing director of consultancy Doc Spinners — and formerly head of co-production at France Televisions — was moderator at what began last year as a breakfast for European broadcasters and is back for 2016 as the event expands to a fully international two-hour Summit bringing together key professionals including rights owners, producers and broadcasters. Among the key topics that are likely to be discussed is how new players are putting the emphasis on branding, Julienne said — citing Netflix and HBO as examples. “It’s probably truer for fiction but it affects documentaries just as much. I come from public broadcasting and it’s always been the case for public broadcasters because we have to show our viewers that, even though they’re getting us for free, we’re giving them something that maybe someone else isn’t,” she said. “I think a lot of the traditional broadcasters haven’t really got their heads around that yet. They still think ‘What can we do to get people watching our channel?’ I would say that you have to forget that. We’re going very, very fast in the direction where people are simply watching what they want to watch, when they want.”

Doc Spinners’ Ann Julienne: “people are watching what they want, when they want” Central to discussions will be the need to adapt to a new environment. “So, instead of thinking, for example, ‘What can we as a public broadcaster do to fight Netflix ?’ we should instead be asking ‘Who would be the co-producers that we should be partnering with?’.” And as viewers increasingly decide when and where to watch programmes, new approaches to financing will also be under discussion: “How much of our budget can we put to funding programmes that aren’t going to fill that big slot on Sunday night? I think that’s a huge issue.” • The MIPDoc International Co-Production Summit & Breakfast is on Sunday, April 3, at 08.30

Experts share ideas with producers MIPDOC this year includes a series of special presentations by Documentary Campus. A body which provides European documentary producers with training and advice, the Munich-based non-proﬁt organisation is presenting six workshops and panels, which it says are “designed to inform, engage and provoke”. Documentary Campus is inviting MIPDoc delegates to “explore non-traditional ﬁnance options through private investment, grants

and philanthropy in Where The Money Is; to join a group of producers who will share new ways to produce factual in The Content Makers; and to get involved in What Makes Distributors Tick, an inside look at the mechanisms behind the challenge to market and sell your content.” Other sessions include The Future Is Wild, a case study on what’s required to create a lasting brand; Nobody Does It Better, where preview magazine I March 2016 I www.mipdoc.com

FOLLOWING MIPTV’s successful Focus On The Nordic’s series of events last year, the Nordic territories are out in force in Cannes again this year — including at MIPDoc where delegates will get the opportunity to taste some of the best factual programming from the region. The MIPDoc Snack & Screen will feature a 30-minute screening of excerpts from a selection of documentaries, followed by a snack lunch. The strength of the documentary output of the region is in part down to the collective social conscience that characterises the region. The genre has also typically enjoyed the support of public broadcasters wherever they exist in the world and in the Nordic territories the national pubcasters have long had a strong influence on the TV landscape. The Nordic territories also benefit from a pan-regional fund, The Nordisk Film and TV Fund that was established in 1990 to provide additional financial support to film and TV producers in the region. A partnership between 11 of the region’s public and private broadcasters and five national film institutes, the fund allocates around €1m a year to factual productions benefitting around 20 projects. To be eligible productions must have at least two Nordic broadcasters from different countries on board. The fund also considers artistic merit and broad audience appeal. The MIPDoc Snack & Screen will show excerpts from six recent productions from the Nordic territories. The event is being held in the main MIPDoc conference room at Grand Hyatt Cannes Hotel Martinez, on Sunday, April 3 at 12.30.

producers offer new models for factual series distribution; and a session focusing on true crime documentaries and series. Documentary Campus was launched in 1998 by a collection of German media enterprises and was joined in 2003 by selected European non-fiction companies. Member companies support the initiative financially and benefit by gaining access to new ideas and projects, qualified professionals and high-quality training and advice on how to develop their film ideas. The Documentary Campus has helped to develop a number of award-winning productions.

Product News We highlight some of the factual programming from around the world for sale in Cannes

HG DISTRIBUTION THE BEST Markets On Earth (8 x 50 mins) explores the artisans,

CINEFLIX RIGHTS THE QUEST For Gold (1 x 120 mins/HD), from Cineﬂix

producers and characters working in markets around the world, including Qatar, the Sultanate of Oman and Cambodia. The Quebec, Canada-based distributor also brings: Street Jungle (24 x 30 mins), a series that captures the vibe of the city with a focus on the difﬁcult work of parking-law enforcers; L’Adn Du Ceviche (1 x 86 mins), a gastronomic journey to discover the rich culture and history of Peru, using the theme of ceviche, one of Peru’s favourite dishes; and Nikolay Przhevalsky: The Lifelong Road (1 x 52 mins), about the 19th-century The Best Markets On Earth (HG Distribution) explorer in central Asia.

Productions for National Geographic Channel US and International — brought to Cannes by the UK’s Cineflix Rights — recounts key moments in the often violent story of gold. Combining CGI with archive footage and drama, the documentary revisits significant events from the past and also reveals today’s techniques for finding, mining, and refining gold. People interviewed include Donald Trump, experts at Barrick Goldstrike Mine in Nevada and London art and antique The Quest For Gold (Cineflix Rights) dealer Wartski.

EARTH TOUCH WILDLIFE and factual producer and

TRICON FILMS & TELEVISION FACTUAL titles from Canada’s Tricon

ABC COMMERCIAL TWO ONE -hour HD specials top the

distributor Earth Touch is debuting Diana: The Truth (2 x 45 mins/1 x 90 mins), which investigates the circumstances around the death of the UK’s Princess of Wales. In the aftermath of the fatal car crash in 1997 which killed Diana along with her companion Dodi al-Fayed and driver Henri Paul, there were conspiracy theories, conflicting witness accounts and murder allegations. Detective Colin McLaren initially watched the story from his home in Australia, then flew to Paris in an attempt to unpick the false leads, treachery and bungled official investigation. The documentary is a record of his findings and has been commissioned by Reelz Channel in the US and pre-sold to Foxtel in Australia. Earth Touch is handling global sales, excluding the US, the UK, New Zealand and Australia.

include the feature-length HD special Satan Lives. The film is an investigation into the influence that the ideas and culture surrounding Satan has on modern-day life. The film features interviews with satanists, Vatican officials, exorcists, psychiatrists, philosophers and artists including Linda Blair, Kenneth Anger and Zeena Schreck. Revolution (1 x 85 mins), from filmmaker Rob Stewart, focuses on crucial environmental topics; Lost & Found (1 x 82 mins) gives exclusive access to the efforts to track and return what was lost following Japan’s tsunami; and in On The Record With Mick Rock (6 x 30 mins), the legendary music photographer explores musical legends through their home cities.

factual slate for Australia’s ABC Commercial. In #Blacklivesmatter reporter Sally Sara goes to Baltimore and Chicago to investigate a reawakened civil rights movement. #BlackLivesMatter is a leaderless movement harnessing direct protest and social media in protest at the mounting death toll of unarmed civilians killed in encounters with police. How To Save The World follows reporter Eric Campbell as he crosses continents to see what is being done to cut carbon pollution and the potential solutions to global warming, from thermal power in Costa Rican jungles to giant North Sea wind farms and California’s solar startups.

Satan Lives (Tricon Films & Television)

#BlackLivesMatter (ABC Commercial)

Diana: The Truth (Earth Touch)

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Product News NPO PROGRAMMING offered in Cannes by the

DCD RIGHTS NEW THREE -part documentary Empire Of

CONTENT TELEVISION DOCUMENTARY series Repo Man Uncut

Netherlands public broadcaster NPO includes three programmes from the Backlight documentary strand. Negotiator In Times Of War (1 x 48 mins) focuses on UN Special Representative for Lebanon Sigrid Kaag, and profiles how the Lebanese deal with the influx of refugees. Fossil Free (1 x 48 mins) explores the financial sector’s reaction to climate change; and Race To Space (1 x 48 mins) considers the complex legal issues of space exploration. Other specials from NPO include: My Cancer (1 x 55’), following filmmaker Meral Uslu as she documents the treatment for her breast cancer; and Paolo Ventura — Vanishing Man (1 x 47 mins), about the artist’s work and inspirations.

The Tsars: Romanov Russia is brought to the international market by the UK’s DCD Rights. Produced by BBC Productions for BBC Four, the 3 x 60 mins HD series follows historian and author Lucy Worsley as she travels in the footsteps of the Romanovs, the powerful dynasty that ruled Russia for more than three centuries. Characters include Peter the Great, Catherine the Great and the last Tsar, Nicholas II, the loving father and husband who provoked a revolution. Stories of betrayal, scandal and murder are unveiled against the backdrop of a series of spectacular palaces.

(9 x 60 mins) is brought to Cannes by London-based Content Television. The series from SnatchBacks Productions features debt-collecting veteran Sean James, and follows the highs and lows of a job that is sometimes sad and sometimes funny.

Repo Man Uncut (Content Television)

PBS INTERNATIONAL PBS INTERNATIONAL’s new HD slate for

Empire Of The Tsars: Romanov Russia (DCD Rights)

Backlight: Negotiator In Times Of War (NPO)

ZED PARIS-based Zed has boosted its science catalogue with 30 hours of programmes from producer Mona Lisa. Included in the deal are: Urine Superpowers (1 x 52 mins), a global investigation into the many virtues and facets of urine and its potential curing properties; Life In Hell (4 x 52 mins), looking at how species manage to survive extreme environments; and Life On Us (2 x 52 mins), exploring the bugs that live, thrive, compete, feed, breed, are born or die on the surface or in the depths of the human body. Other new science programmes include Immortality (1 x 52 mins), produced by What’s Up Films and Secret Life Underground (2 x 52 mins), produced by Transparences Production.

Urine Superpowers (Zed)

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Cannes includes the latest installment of The Choice 2016 (1 x 120 mins), examining the personal and political biographies of the 2016 US Presidential candidates through interviews with those who know them in private and as public ﬁgures. The Nazi Games: Inventing The Modern Olympics (1 x 60 mins) looks at how many of the grand themes from the 1936 games still underscore contemporary Olympic Games — architectural grandiosity, ﬁnancial shortfalls, corruption, bribery, collaboration with dictators and autocrats and an overblown emphasis on heroism. Out Of The Maya Tombs (1 x 55 mins) explores Mayan royalty and mythology, discovers a number of unearthed Mayan vases and focuses on the issues involved in the collection and study of looted art. Surviving Alcatraz (1 x 53 mins) examines one of the most mysterious prison escapes from this famous fortress.

Out Of The Maya Tombs (PBS International)

Product News RIVE GAUCHE TELEVISION ULTIMATE Homes (11 x 60 mins) is a

FRANCETV DISTRIBUTION FOUR documentary projects about World

NEWEN DISTRIBUTION FRANCE’s Newen Distribution is

lifestyle series that features some of the most amazing homes imaginable and proﬁles the men and women who go to great lengths to build their dream home in the most unlikely and challenging places. The series is brought to the international market by California-based Rive Gauche Television.

War 1 and World War 2 are priorities for Francetv Distribution this year: Apocalypse: The Battle Of Verdun (2 x 45 mins), produced by CC&C/ECPAD, is the last part of a series that revisits one of the biggest battles of all time; Varian Fry’s List (1 x 52 mins), produced by Mano A Mano, proﬁles a man who saved over 1,800 people from deportation; and I Betrayed Hitler (1 x 52 mins) and Drancy’s Camp Escapees (1 x 52 mins). The distributor also brings Champions Factory (6 x 52 mins), about how a country can become a source of champions in a speciﬁc sport. The series includes interviews with sports icons and spectacular sports footage.

showcasing the first images of its film Terror Studios. Commissioned by Canal+ the film offers an in-depth decoding of ISIS propaganda and reveals how the terrorist organisation produces its video clips using popculture techniques. Other programmes on offer include: Migrants Children, an emotional film about migration through the words of children; High Tech Borders, a worldwide investigation about how borders are becoming more technology driven; The Roads Of Kalachnikov, looking at European gun trading; and new episodes of crime series Who’s The Killer.

Apocalypse: The Battle Of Verdun (Francetv Distribution)

Terror Studios (Newen Distribution)

Ultimate Homes (Rive Gauche Television)

PILOT PRODUCTIONS PILOT Productions, the travel and adventure programming specialist, is offering two HD lifestyle documentaries this year. The Story Of Coffee (2 x 26 mins) traces the popularity of coffee from its early cultivation to the trends in consumption of the last hundred years. In the last few decades coffee culture has been revolutionised by the success of Starbucks and other international coffee corporations, and in the 21st century the return of the boutique coffee houses. Judith Jones and Dean Cycon uncover how coffee spread from Ethiopia to the Muslim world and into Europe and beyond. The Story Of Chocolate (1 x 52 mins/3 x 26 mins) looks at the history of a product that for nine-tenths of its long history was drunk, not eaten. In this ﬁlm Judith Jones reveals how our love affair with chocolate began in Mesoamerica, present-day Southern Mexico and Central America, where people living deep in the tropical rainforests discovered the edible properties of Theobroma cacao. Today, the making of chocolate has evolved into an industry so large that 40 to 50 million people depend on cocoa for their livelihoods.

DW TRANSTEL FARMING For The Planet (7 x 30 mins) suggests that we may need to rethink how the world is fed. The negative impacts of industrial food production are straining the environment and affecting farmers and consumers. The series covers political issues and the importance of community engagement in improving farming, with portraits of local projects including the reclamation of tea gardens in Darjeeling and community-led strategies for collecting and preserving precipitation in arid regions. The series is brought to Cannes by Germany’s DW Transtel. Farming For The Planet (DW Transtel)

The Story Of Coffee (Pilot Productions) preview magazine I March 2016 I www.mipdoc.com

Product News BALANGA A PACKAGE of 15 hours of business and economy programming tops the priority list for Paris-based distributor Balanga. Programming includes: Business Revolution (10 x 26 mins), about new global business trends; Better Energy For Climate Change (50 x 3 mins), a series investigating energy innovations to improve the way we live and work; and the third season of Face To Face with business duels including Airbus vs Boeing and LVMH vs Kering.

Business Revolution (Balanga)

LAGARDERE STUDIOS DISTRIBUTION FRANCE’s Lagardere Studios Distribution is launching a wide slate of ﬁlms in Cannes. A series of documentaries about planes includes: Do Planes Need Pilots? (1 x 52 mins), looking at how risks of human error can be overcome; and The Secrets Of The Rafale (1 x 52 mins), making the case for why the Rafale is the best ﬁghter plane in the world. The distributor also presents the factual entertainment series At Your Own Risk (13 x 45 mins), following Canadian strongman Hugo Girard as he explores dangerous neighbourhoods in America, and natural history show Wild Albania (1 x 52 mins).

Do Planes Need Pilots? (Lagardere Studios Distribution)

NHK TWO TITLES head the NHK factual catalogue this year. A co-production between NHK and US producer Curiosity Stream — Deep Ocean, The Luminous Bay: Life In The Twilight Zone (1 x 60 mins) — is due for completion later this year. In 2012 NHK captured images of a giant squid in the Bonin Islands. Now the same team has ventured into another mysterious sea area to the west of California. The target depth is around 1,000 metres below the surface. Their mission is to capture never-beforeseen images of a light show performed by deep-sea bio-luminescent organisms. With a newly developed camera, the team filmed in Monterey Bay with biologists from Monterey Bay Aquarium Research Institute (MBARI). The chances were limited, but they finally succeeded in capturing the phenomenon. The company also brings The Origins Of Land – Nishinoshima, A Scientific Adventure (1 x 50 mins), coproduced with Curiosity Stream and ARTE. The documentary profiles the birth of a new island in Japan’s waters. After volcanic eruptions the island grew at tremendous speed for more than two years and merged with the neighbouring Nishinoshima Island. It Deep Ocean, The Luminous is now the biggest new Bay: Life In The Twilight island in recorded Zone (NHK) history.

ARTE FRANCE FACTUAL and cultural specialists ARTE returns to Cannes with a varied slate including: Quest For The Perfect Athlete, a timely and intriguing investigation into the science behind the mental faculties of high-performance athletes, aimed as a potential companion piece to programming around the 2016 Olympic Games; and a range of surprisingly uplifting environmental documentaries including The Young Girl And The Typhoons — with the participation of Marion Cotillard; Bhutan, In Pursuit Of Happiness; and Biopesticides, A Revolution In The Making.

DISTRIBUTION360 BRITAIN’s Ultimate Pilots: Inside The RAF (4 x 60 mins), produced by Archie Productions for the UK’s BBC2, follows four RAF (Royal Air Force) display teams leading up to the 75th anniversary of The Battle of Britain. Each hour focuses on one team’s preparation, and teams featured are the Red Arrows, the Chinook Helicopter Team, the Fast Jet Display, and the Battle of Britain Memorial Flight. With exclusive behind-the-scenes access to the airshow, the Royal International Air Tattoo, plus footage of the Queen’s birthday ﬂyover at Buckingham Palace from inside the cockpit; GoPro cameras provide action shots never seen before. Britain’s Ultimate Pilots: Inside The RAF (Distribution360) preview magazine I March 2016 I www.mipdoc.com

Product News OCTAPIXX WORLDWIDE TORONTO -based documentary distributor, Octapixx Worldwide premieres Looking For The Wild in Cannes. The 1 x 53 mins HD ﬁlm features Unai, a 10-year-old boy — and narrator of the programme — who travels with his family across the world’s continents on a quest to ﬁnd and photograph seven iconic animals. Accompanying his father, a professional nature photographer, he photographs wolves, mountain lions, penguins, crocodiles, bison and elephants.

Looking For The Wild (Octapixx Worldwide)

ABOUT PREMIUM CONTENT (APC) PARIS - and London-based APC is in Cannes with a range of programming, including Dream The Future (10 x 52 mins), commissioned by Planete+ and produced by Update Productions and Bonne Pioche, which explores the near future in key areas of everyday life. Freightened (1 x 52 mins), written and directed by Denis Delestrac, director of the documentary Sand Wars and produced by La Compagnie des TaxiBrousse and Polar Star Films, explores the shipping business, revealing a powerful, secret and unregulated industry important to the global economy and environment. .

AB INTERNATIONAL DISTRIBUTION PARIS -based producer and distributor AB

Megalocity — The Architectural Megalomania Of Dictators (AB International Distribution)

International Distribution brings a new HD documentary series to Cannes. Megalocity — The Architectural Megalomania Of Dictators (3 x 52 mins) gives an insight into dictators’ towering egos and architectural imagination. Characters featured include Mussolini, Kim Il Sung, Mobutu, Ceausescu and Saddam Hussein, who all shared a fascination with architecture as a powerful tool expressing their supremacy.

ZDF ENTERPRISES (ZDFE) CELTS — Age Of Blood And Iron (3 x 50

SAINT THOMAS PRODUCTIONS MARSEILLE-based Saint Thomas

mins/HD) looks at the origins and beliefs of iron-age Celts using artefacts and human remains across Europe. What emerges is a highly sophisticated tribal culture that inﬂuenced vast areas of the ancient world including Rome. Germany’s ZDFE’s HD documentary highlights also include: natural-history special The Lesser Caucasus — Between Ararat And The Caspian Sea (1 x 50 mins); Why Size Matters (2 x 50 mins) about the universe; Human Limits (2 x 50 mins), focusing on people with extraordinary skills that go beyond what is thought humanly possible; and Evolution Of Evil (10 x 50 mins), about some of the most notorious despots in recent history.

Productions brings a range of factual programming to Cannes. Shot in 4K in often hostile and dangerous situations, the first episode of Disaster Diaries profiles some of the major natural disasters of 2015. The company’s crews are continuing to unravel the mysteries of the planet’s mood swings by traveling the world and filming footage for the 2016 edition. Giant Sea Serpent, Meet The Myth features previously unseen footage of repeated encounters with several ribbon-shaped Giant Oarfish off the coast of the French Riviera. Shot in Ultra HD the film reveals many unknown aspects of the Giant Oarfish’s biology and habits. Chicken Planet aims to shed light on the unprecedented success of the most abundant and diversified feathered species in the world.

Celts — Age Of Blood And Iron (ZDFE)

Disaster Diaries (Saint Thomas Productions)

preview magazine I March 2016 I www.mipdoc.com

Product News TERRANOA SHOT in Northern Iraq close to ISIS-

ALL3MEDIA INTERNATIONAL NEW TRUE-crime series The Innocence Network, from Pernel Media, is brought to

controlled areas and in several research institutes around the world, Mesopotamia: Archaeology On The Frontline (1 x 52 mins/ 90 mins) sheds new light on the Assyrian Empire and highlights the key role played by archaeologists in this race against time to save a common heritage. The film is due at the end of this year for ARTE and Terranoa is seeking prebuyers at MIPDoc. The French factual specialist also brings: The Clintons & The Obamas, The Secret Story Of A Rivalry (1 x 52 mins) in Cannes, recounting a decade of political rivalry within the US Democratic party; Rio, The Great Saga (1 x 52 mins/ 90 mins); and Berlin 1936, The Final Illusion (1 x 52 mins/ 90 mins). Also, three 52-minute episodes of five-part series On The Cities’ Rooftops have been shot in New-York, Paris and Tokyo. The series is due soon for ARTE, with Buenos Aires and one other episode in production.

Cannes by all3media International. The series profiles the lawyers, journalists, ex-police officers and prosecutors who battle to exonerate those wrongfully imprisoned, giving problematic criminal cases a second chance at justice through The Innocence Project. Established in 1992, the project has grown into a global network, successfully reversing more than 300 convictions worldwide to date. Using a combination of interviews, archive footage and dramatic reconstructions, The Innocence Network profiles those most closely involved.

The Innocence Project (all3media International)

DISCOVERY NETWORKS INTERNATIONAL LIFE Of Dogs (working title) is Discovery Networks International’s ﬁrst major

Mesopotamia: Archaeology On The Frontline (Terranoa)

natural-history commission. The 5 x 60 mins series observes dog breeds from across the world in their native settings, and their lives in homes with humans. The series focuses on dogs at all four stages of domestication from wild dogs to worker dogs, domesticated pet dogs and to the dogs released back into the wild. Life Of Dogs is produced by Plimsoll Productions, with multiple award-winning natural-history ﬁlmmaker Dr. Martha Holmes at the helm.

COFITES TV FRANCE-based channel operator Coﬁtes TV

Artist Studios (Cofites TV)

brings programming from its channels to Cannes. A highlight from The Museum Channel is new series Artist Studios, looking at the trials and inspirations that take place in the workshops of artists, including Annette Messager, Geneveve Claisse, Christian Lapie, Robert Combas and JonOne. MyZen TV, which has recently had a design makeover, features a range of wellbeing programming covering light sports, relaxation, meditation, Zen philosophies and cultures; available in English, French, Russian, Spanish and Turkish. New shows on the Melody music-themed channel include a fund-raising concert at the Olympia, a Celine Dion special and the second Melody Cruise. preview magazine I March 2016 I www.mipdoc.com

ORANGE SMARTY ORANGE Smarty is in Cannes with distribution rights to ITN Productions’ documentary How The Rich Live Longer. The show, which aired on the UK’s Channel 4, features Dr Christian Jessen (Embarrassing Bodies), and explores the health industry that focuses on keeping the wealthy ﬁt and healthy. Subjects includes high-end detoxes, medical MOTs and new-fangled therapies. The Brighton, UK distributor is also highlighting sixpart series Stop! Roadworks Ahead, made for the UK’s Channel 5.

Conference & Events Programme

2-3 APRIL 2016 GRAND HYATT CANNES HOTEL MARTINEZ, CANNES

2016 HIGHLIGHTS ‘THE STORY OF GOD WITH MORGAN FREEMAN’ SCREENING

MIPDOC KEYNOTE Morgan Spurlock Writer, Director, Producer President & Founder Warrior Poets

Exclusive MIPDoc preview from the Sales Division of National Geographic Channel

Saturday 2 April 17.30-18.00

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8.30-10.00

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10.00-10.45

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9.30-10.15

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THE RISE OF ONLINE ORIGINALS WHAT DO PLATFORMS WANT? CONFERENCE ROOM

10.45-11.15

VIEW FROM THE TOP: WHAT DO BUYERS WANT? In Association with World Screen 11.30-12.15

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WHAT MAKES DISTRIBUTORS TICK? MAKING THE PRODUCER / DISTRIBUTOR RELATIONSHIP WORK 12.15-12.45

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FAST TRACK DOCS: OPPORTUNISM OR VALID REPORTAGE?

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VIRTUAL REALITY: FROM STORYTELLING TO STORYLIVING 16.15-16.45

GRAND HYATT CANNES HÔTEL MARTINEZ BEACH

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AMAZON’S ‘THE NEW YORKER PRESENTS’

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KEYNOTE: MORGAN SPURLOCK, WRITER, DIRECTOR, PRODUCER, PRESIDENT & FOUNDER, WARRIOR POETS

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Programme as of February 19, 2016. Subject to change.

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Feature

Murder Rap: Inside The Biggie And Tupac Murders (Content TV)

MIPDOC: BUYERS

It’s all about the drama As factual programming moves away from traditional documentaries and behind-the-scenes reality shows into docudramas and scripted reality, the audience’s appetite for such multilayered storytelling is growing. Gary Smith reports.

HE TV industry is enjoying an unprecedented boom thanks to an endless stream of quality drama productions that have, in turn, created a virtuous circle attracting ever more and better acting, directing and writing talent. And that dramatic sensibility is affecting the way that a growing number of factual shows are produced, packaged and marketed — always with the underlying intention of helping broadcasters cut through media clutter. “This is a good time in factual,” says Pilar Perez, DCD Rights’ head of acquisitions. “Because viewers are searching for premium content and the genre is delivering more series that ﬁt that need. As a distributor we are buying for multiple markets and selling to broadcasters who have to attract and retain audiences, so they

are looking for content that is well crafted and relatively light with layered storytelling such as the BBC’s Mumbai Railway. Equally popular currently are Marriage Bootcamp: Reality Stars and Marriage Bootcamp: Bridezillas, which as the title suggests, features couples whose marriages are in trouble.” Perez points to a yet-to-be-delivered series

“I believe that this year will be a great opportunity to sort out a lot of these socalled disruptive phenomena” Pilar Perez

preview magazine I March 2016 I www.mipdoc.com

that she believes will be a good fit for today’s market: “Deals In The Desert is basically property porn,” she says. “It’s based in Bahrain and is about the incredible properties on sale there and the larger-than-life characters who sell them. And when you look at series like Marriage Bootcamp and Deals In The Desert, their core appeal is the drama that those situations generate. And that also explains the enduring popularity of crime shows such as Real Detectives, which although based on true stories, is 90% scripted and cast. Equally blue-light shows [featuring the emergency services] remain a popular staple, as do lifestyle and cookery shows. But what concerns me most currently is where DCD’s shows ﬁt on the new platforms like Vice and Curiosity Stream, and how virtual

Feature reality (VR) will develop as we start to see more cases where it is being used to add value to broadcast shows through short complementary VR segments. I believe that this year will be a great opportunity to sort out a lot of these so-called disruptive phenomena.” Another example of the growing overlap between drama and factual comes in the form of powerful and often controversial documentaries, for example Going Clear and Deep Web. “A show like Going Clear, which is about Scientology, was sold to pretty much every country in the world and both it and Deep Web — directed by Alex Winter of Bill & Ted fame — attract the same audience as quality dramas,” Jonathan Ford, executive vice-president, sales and distribution at Content TV, says. “What we look for in our acquisitions is event shows that feature huge storytelling such as the Janis Joplin biopic and the recent Frank Sinatra two-parter All Or Nothing At All. Generally speaking we want shows that feature a previously unknown edge and as a result we often tend to acquire content that has been commissioned and that often therefore tends to have a big budget, because there’s a robust market for it. The ratings may not be on the same level as drama, but they’re higher than other forms of non-drama and when they also generate a buzz in the media, it’s extremely useful. The buzz around the 100th anniversary of Sinatra’s birth was very productive for us.” There is another, very different kind of documentary that can also attract good audiences, a sub-genre that Ford calls ‘passion projects’: “These are shows usually made on a smaller budget by highly passionate people who have

Hunting Hitler (A&E Networks)

“What we look for in our acquisitions is event shows that feature huge storytelling” Jonathan Ford

managed to use that passion to uncover a compelling story,” Ford says. “Mike Dorsey’s Murder Rap: Inside The Biggie And Tupac Murders, is a good example of that genre which does really well for us, and we have just acquired Mr Calzaghe, the story of a Welsh/ Italian boxer who was a true British Rocky. In

the same vein we picked up Atari: Game Over, made by Microsoft’s XBox Entertainment Studios, which looks at the short but dramatic life of the ET video game. Atari rushed released the cartridge for the Christmas market, and the game rapidly came to be known as the worst in history, leading to hundreds of thousands of copies being used as landﬁll in Mexico. And of course, in such a case the brands involved really help to sell it.” Content TV has also just picked up The Nightmare, about the effects of sleep deprivation.” Sally Habbershaw, vice-president, international programming, production and operations at A&E Networks, is looking to expand the network’s crime offering: “Following the success of C&I (Crime & Investigation) I will be looking to acquire more anthological crime series over the coming months,” she says. “C&I is a signiﬁcant brand and we’re keen to build on its success. But it doesn’t have to be crime series. We have also Hunting Hitler which performed amazingly well, drawing an audience 100% above the average for that slot, so we are looking to develop that investigative, historical and controversial aspect of our offer. In that vein, Barbarians Rising is a co-production across all our international networks, which looks at Rome and the Roman Empire from the perspective of the people who were subjugated by — and who fought against — Rome.” A&E has regularly been associated with docudramas over the last few years, and a raft of recent shows point to another area the network

Going Clear (Content TV) preview magazine I March 2016 I www.mipdoc.com

Feature

DCD Rights’ Pilar Perez Content TV’s Jonathan Ford

Barbarians Rising (A&E Networks)

“Platform proliferation is driving factual production, making this an interesting time in reality and factual” Sally Habbershaw

is keen to pursue. “The World Wars was originally made for H2, but it was moved across to The History Channel when we realised how strong its appeal was. The premise of the show is that the core characters of WWII were hugely influenced by their experiences of WWI,” Habbershaw says. “It’s a fascinating area which has great potential, as indeed does the novelisation of crime as exemplified by the recent Netflix hit The Making Of A Murderer. Other recent A&E shows that have performed well are The Knights Templar and The Men Who Built America.” The Curse Of Oak Island and Billion Dollar Wreck are both shows that are as much about the obsessive nature of the people hunting the buried treasure as they are about the history behind that treasure and the allure of huge, hidden wealth: “The Curse Of Oak Island features the Lagina brothers and their multiple attempts to find the treasure buried on an island off the coast of Nova Scotia, and Billion Dollar Wreck follows Captain Martin Bayerle

as he hunts for the wreck of a ship from Tsarist Russia,” Habbershaw says. “Both he and the Lagina brothers are charismatic obsessives who refuse to give up. Audiences warm to that.” As ITV’s head of acquired programming, Sasha Breslau rightly points out, one of the underlying factors behind the current popularity of factual shows is simply the sheer number of platforms needing content. “Platform proliferation is driving factual production, making this an interesting time in reality and factual,” she says. “Factual series have always borrowed dramatic devices and you can see that clearly in the sorts of shows we acquire. On ITVBe we have Mob Wives, Real Housewives and Ladies Of London and on ITV4, Storage Wars, all of which provide plenty of drama in their own ways. We have also just acquired a show that, unusually for a documentary, wasn’t commissioned — quite a rare thing in the genre these days. It’s called The Ivy, about the famous restaurant/club. It’s not what I’d describe as a typical factual acquisition as we generally look for glossy, female-skewing shows including property porn. We moved away from the blue-light shows because we felt that the area has been exposed enough, and these days for ITV4 especially, we tend to also go for transactional shows like Storage Wars and Pawn Stars. Our audience also likes pretty much anything that deals with the royal family or British institutions. We haven’t identiﬁed a home for the preview magazine I March 2016 I www.mipdoc.com

CCTV’s Tian Yuan

De Agostini Editore’s Massimo Bruno

Feature In Colour, The Man Who Built America and Life Force II did very well in 2015. The good news is that our factual audience is growing and our ratings are getting better every year, which is gratifying because building a bigger factual audience has always been our longterm aim. This year we’re looking to acquire high-end documentaries with strong production values. In terms of genres, it can be natural history, history, science, culture, more or less anything, but quality is important. And we’ll have a bigger budget for co-productions in 2016, so we aim to work on a range of topics with reliable, talented partners. And of course, Chinese stories are always welcome.”

Marriage Boot Camp: Reality Stars (DCD Rights)

high-end documentaries, although personally I’d love to acquire something like that, but it’s just not ITV’s thing.” Ac c ordi ng to Dav id A m iel, Franc e Televisions’ commissioning editor, factual & documentary unit, the broadcaster has built some powerful factual brands, which are popular both in linear and catch-up ratings. “The audience grows when the show is positive, inspirational, accessible, authentic, and preferably when it follows a familiar format,” he says. “For primetime scheduling, our sister channel France 2 has developed travel and adventure show Rendez-vous En Terre Inconnue (Adenium) which reaches ﬁve-to-eight million viewers. The channel can also draw a massive audience around blue-chip natural history shows like Boreales’ Wild France/Le Plus Beau Pays Du Monde.” The continuing success of France 5 as a factual-skewing channel is more evidence that the French audience has a big appetite for factual and documentary. “Two prominent primetime

slots are devoted to documentaries,” Amiel says. “Our Sunday evening strand — Doc du Dimanche — deals with investigative pieces about consumers; our Tuesday evening strand — Le Monde en Face — covers current affairs and social issues. Both strands regularly reach one million viewers. In terms of the most popular factual entertainment show in France, it’s L’Amour Est Dans Le Pre — a local adaptation of The Farmer Wants A Wife — on M6, which has been running successfully for nearly a decade. We’re also seeing that the new DTT channels have created a new audience for factual entertainment, most of it acquired from US cable networks. But what we’re looking for this year is high-end 50-minute series or 90-minute specials in archaeology, paleontology, popular science, plus wildlife and nature, as well as current affairs and contemporary history.” According to CCTV’s head of international acquisitions and co-productions Tian Yuan, the Chinese audience also loves factual programming. “History and natural history are the most popular. Shows like WWII preview magazine I March 2016 I www.mipdoc.com

Massimo Bruno, head of TV channels at De Agostini Editore, sees an Italian audience that loves reality shows above all else. “There is a clear inclination, not only in Italy, but globally, towards scripted reality and fiction shows, which means that there is not much space for classic documentaries or old-style factual. In the last year we have seen several channels that were 100% factual slowly beginning to include different genres like films and mini-series.” That observation is borne out in the crowded Italian factual landscape where the majority of the most popular factual shows fall into the reality category: “Across the free-to-air and pay TV platforms the most popular factual shows in Italy are Hardcore Pawn, Timber Kings, Unti E Bisunti, World’s Weirdest Restaurants, How It’s Made, Wheeler Dealers Gold Rush, Mega Jurassic, Killing Jesus, Pawn Stars, Dog Whisperer with Cesar Millan, Vado A V Vivere In Campagna and Giorgione: Orto E Cucina. Generally speaking, there is a good balance between international programmes and local titles in the local factual market. This year Bruno will be focusing on acquiring shows that can consolidate De Agostini’s success in reality programming: “We’re looking for auction shows, like Hardcore Pawn which is one of our best performing shows. We also intend to update our offer on motoring shows, which perform really well for the channel,” he says. “Equally we’re looking for shows in new areas like magic tricks since our first series in that area, Illusion Of Grandeur, is currently getting very good ratings. Also, for this year our goal is to increase the volume of original productions for the channel. We regard that as key to building a closer relationship with the audience and standing out from the competition.”

MIP *

doc

You are invited to the MIPDOC OPENING PARTY Saturday 2 April 2016

Grand Hyatt Cannes Hotel Martinez â&#x20AC;&#x201C; from 19.00

Feature ONLINE DOCUMENTARY AND FACTUAL

New ways to deliver the facts Spoilt-for-choice Generation Z and millennials are big consumers of factual programming. Juliana Koranteng looks at how talent, brands and online native storytelling are being used to engage younger viewers

OUNGER viewers are demanding more immersive experiences when it comes to documentaries and factual content. Yes, they want their documentaries and factual shows, but the linear storytelling is no longer accepted as the only way to present the facts. “We want to reach millennial audiences on their own terms — and they like to go digital ﬁrst,” says Stuart Wettenhall, commercial director, VOD, at BBC Worldwide, the global commercial division of the UK public broadcaster. “When they watch shorter formats, they get really engaged.” Since the BBC — famous for its high-end TV documentaries and natural history — first started delivering content to YouTube in 2007, it has noted an accelerating demand for shortform factual content among millennial and Generation-Z viewers. “The format is well suited to young audiences and to consumption on mobile devices,” Wettenhall says. “Mobile consumption has formed a new type of viewing behaviour. It’s no longer bound by schedules, by primetime or by being at home. You can watch while commuting, at a friend’s place or even with the TV on in the background.” At a time when the BBC has decided to discontinue BBC Three, the terrestrial network dedicated to youth entertainment, and replace it with an online-only service, the way featured factual and documentaries shows are made is being re-evaluated. A signiﬁcant amount of new BBC Three commissions will be short 10- to 15-minute items. “As the short

Beauty and lifestyle MCN StyleHaul: “authentic emotional link”

“We want to reach millennial audiences on their own terms — and they like to go digital first” Stuart Wettenhall form matures, it’s creating its own editorial standards and style,” Wettenhall says. “There is even a different use of talent and camera angles during production.” With this in mind, Wettenhall has commissioned two new series for the new online BBC Three. The five-part series Mission Selfie, produced by UK ﬁrm The Narrative, follows preview magazine I March 2016 I www.mipdoc.com

the adventures of two good friends, explorers Ben Brown and Steve Booker, as they take travel photography to adventurous new heights. Both are online vloggers with a large following on YouTube and Instagram, and their ﬁve- to 10-minute shows are designed with those fans in mind. The second commission is Isms+Schisms from UK-based Burning Bright Productions. Fronted by author Owen Jones, an online celebrity famous for his witty political commentaries, Isms+Schisms mixes reportage, animation and infographics. It examines the actual and hidden meanings of the terminologies and jargons — ageism, nationalism, multilateralism — that affect young people’s daily lives without them fully understanding why. “Millennials are into people living the

Feature experience. For them, it’s about authenticity,” Wettenhall adds. This newly created content is aimed at an international audience. “We also have our own channels abroad and we’re going to work with our partners globally [third-party networks], who might want to use similar content for their viewers,” Wettenhall says. In today’s digitally driven media and entertainment market, BBC Worldwide has also noted the emergence of potential new clients for short-form factual — some from the most unlikely places. An example is Spotify, the leading international music-streaming platform. Until recently, its content was audio only but, since it announced plans to introduce video to the service, it is expected to start licencing audiovisual content as well. “These short documentaries enable us to reach new avenues as well as provide new types of content to existing customers. We don’t see this as the future of TV, but it is definitely a part of it,” Wettenhall says. It is not only the BBC and BBC Worldwide that are restructuring their output to better reflect the demand for next-generation nonscripted content. As a brand, A+E Networks’ History focuses on high-end documentaries and fact-based shows. But Amanda Hill, A+E’s chief creative officer, international, says it would be a mistake to presume young consumers are not interested in historical facts and figures. In Europe, she points out, the average age of a History viewer is 20. “History has always been battling this idea that it is about dry subject matters,” Hill says. “But we’ve always covered stories that transform lives. And young people are part of this, living and breathing and shaping lives today and in the future. Factual is one of the most exciting areas for us.” There are also misconceptions about what teenagers and young adults want from media content, she adds: “They are curious and very inquisitive. The question is how to deliver those stories to them in the digital-first format.” Whether it is an historical documentary or a crime docudrama, “the stories don’t start and end with the linear TV show”, Hill says. She notes that young people are interested in what happened before and after the onscreen action and that this is inspiring changes to the format used for telling these stories. These include what to do with the excess but relevant facts, figures and footage that the TV audience never sees.

Survivalist reality series Alone

“Fans don’t disappear. Their conversations continue online. So as a brand, you have to be always engaged” Amanda Hill

“Factual shows can take two to three years to make, and yet you only use what you need for one TV show,” Hill adds. “You can create additional but equally engaging content, including footage about the location, for example, for digital platforms — content that draws young people to the TV experience.” Furthermore, digital media and technology have instigated new approaches to production. “We now have to think about how to start a story on social media before it goes on air,” Hill says. “You encourage the writers to think of social from the get-go, especially when you have young viewers in mind. When thinking of millennial viewers, writers are already preview magazine I March 2016 I www.mipdoc.com

beginning to think about how a story starts and from which platform to start telling it.” Hill believes another skill that TV networks should develop is social marketing. “Some people call it content marketing. I call it storytelling,” Hill says about the way in which A+E Networks’ channels reach out to unpredictable youths before a programme goes on air. “Instead of me broadcasting out, I now have to be socially engaged with the audience. Those viewers are not a mass collective; they are people to have a relationship with. They are fans, but they are not just fans for Christmas.” She refers to broadcasters’ traditional trailers that communicate messages about forthcoming new shows. And once the shows are over, so does the communication. “In the past, many broadcasters would communicate with the audience and then abandon them after a show had ended,” she says. “But fans don’t disappear. Their conversations continue online. So as a brand, you have to be always engaged.” Examples of digitally engaging campaigns for

Feature

BBC Worldwide’s Stuart Wettenhall

Discovery Communications’ Karen Leever

History shows include survivalist reality series Alone, reality cookery show Man Vs Child: Chef Showdown, Die Legion in Germany and History’s ﬁrst-ever foray into scripted, Vikings. The accompanying promotional campaigns are made to grab young viewers’ attention before they even know what the show is about. Before the launch of Alone in Asia, for example, A+E decided to involve the Oculus Rift, Facebook’s much-heralded virtual reality (VR) headset that ofﬁcially goes mass market this year. The show follows the challenges faced by contestants who are dropped into harsh terrain and left totally alone, with no crew or producers present. They are forced to survive using only their wits. The last man literally left standing gets to walk off with a $500,000 prize. One pre-show campaign invited viewers to Sunway Pyramid, a shopping mall not far from Kuala Lumpur, to feel the rollercoaster-like thrill of re-enacting the isolation and fear experienced by Alone’s participants. A+E basically turned the anticipation for the TV show into actual experiences for fans in Asia, who then chatted about it on social media. Alone is now a hit across the region, and is doing particularly well in Singapore and Thailand. “We were learning from the gaming industry how to make people feel and be part of the experience with fans participating in a way that was relevant to them,” Hill says. The promotion around Vikings, meanwhile, was inspired by how to introduce the actual lifestyles of ancient Nordic warriors to contemporary young viewers. Such endeavours have also brought A+E Networks’ content creators and marketing departments closer because of what they have learned together. “Brands must learn when to shut up,” Hill says. “Sometimes, they feel they

A+E’s Amanda Hill

“Our content is created for millennial audiences who are curious about the world, but who often engage with content in shorter sessions and on their mobile devices” Karen Leever

have to respond to everything taking place on social. But they shouldn’t just talk — they also have to listen.” Online or on mobile, young people devour media and entertainment that informs and educates them about worlds and cultures they hardly know or with which they are unfamiliar. YouTube multichannel networks (MCNs) such as Vice Media and social news service BuzzFeed have prospered by offering edgy, some would say even dangerous, factual video shows. Vice Special Report: Fighting ISIS, for example, has its journalist following actual forces at war against the extremist group. It is not surprising that A+E, an investor in Vice, is supporting the launch of Viceland, a new round-the-clock North American TV network packed with Vice-made and commissioned factual content. Bu zzFeed is now par tly ow ned by NBCUniversal, illustrating how heritage media corporations are keen to learn what next-generation audiences want from factual entertainment. Discovery Communications, the pioneering creator of dedicated documentary TV channels, was one of the ﬁrst legacy multinational media companies to invest in a YouTube preview magazine I March 2016 I www.mipdoc.com

StyleHaul’s Mia Goldwyn MCN, now called Discovery Digital Networks (DDN). Having recognised that young viewers would not watch documentaries, no matter how thrilling the subject, it embarked on what it calls the “smart content strategy”, according to Karen Leever, Discovery Communications’ executive vice-president and general manager, digital media. “Smart content strategy must take into account both target audience and the platforms where viewers will watch — from linear TV to websites and apps offering ondemand viewing,” she says. “Our Discovery Digital Networks content is created for millennial audiences who are curious about the world, but who often engage with content in shorter sessions and on their mobile devices.” The strategy also involves working with nonYouTube online platforms like Vessel and making videos available on social networks such as Facebook. “As a result, the [DDN] team has developed new types of content and continued to invest in brands and IP that complement the company’s robust linear business,” Leever says. DDN’s in-house dedicated creative team and studio are able to quickly create compelling videos, such as a scientiﬁc explanation for a doppelganger or a visit to a snowboarder’s very tiny house. “That being said, we are also busy partnering with the [TV] network teams to develop innovative, custom web videos to complement key on-air initiatives, like our recent Racing Extinction collaboration,” Leever adds. Mia Goldwyn, chief content ofﬁcer at beauty and lifestyle MCN StyleHaul, makes it clear that the online network’s popularity is not because young people are only interested in fashion and contemporary culture. “I don’t think anything is easy to sell to any audience, particularly millennials,” she says. “There is

Feature so much great content out there that finding your voice is getting more and more difficult.” Unlike beauty and lifestyle shows on linear TV, StyleHaul aims to offer an authentic emotional link with its audience. “YouTube has changed the face of fashion,” Goldwyn says. “It is no longer about the huge billboard on the road with the image of someone you aspire to look like. Now, you can speak to someone who’s in your age group [and] your ethnicity about a diversity of styles and price points you can relate to.” Goldwyn also says the commissioning of Vanity, the 11-minute short-form series that became StyleHaul’s first original scripted content, illustrated how digital media and technology left the MCN free to produce a variety of content relevant to its core millennial viewers. More recently, StyleHaul has commissioned scripted shows, which include the second season of supernatural series Storytellers, starring US YouTube celebrity Joey Graceffa. The 12-part dramedy Relationship Status has been created exclusively for a third party, go90, the new millennial-targeted mobile platform from US telecoms group Verizon.

“YouTube has changed the face of fashion. It’s no longer about the huge billboard with the image of someone you aspire to look like” Mia Goldwyn

Although 90% of StyleHaul’s audience consists of young women, “their interest is not only fashion and beauty”, Goldwyn says. “We’ve explored other issues, such as coming of age, travel and technology.” The company’s ﬁrst-ever European production is also in the pipeline. Talpa, the Dutch reality entertainment specialist now owned by UK TV conglomerate ITV, has used YouTube to connect The Voice, its global singing talent format that is now in 180 territories, to young spectators. The company recently announced it had launched The Voice Global YouTube channel, making it one of the world’s biggest

YouTube MCNs, with more than 100 channels and 1 billion-plus views. Although The Voice is clearly not factual, the same principles apply when it comes to launching an MCN. Maarten Meijs, managing director of Talpa Global, explains why a digital presence is crucial for any youth-skewed content. “One of the most pressing issues in the current media landscape is the distance between the TV and the viewers,” he says. “With MCNs, this distance is much smaller. The talents are approachable since their fame is directly related to their social-media presence and interaction with their fans.” The days of two-way TV, with distributor and viewer directly engaged with each other, are here for documentaries and factual and young people are embracing them. As Meijs puts it: “The distance now experienced by broadcasters between their content and viewers needs to be made smaller, because this powerful target group values a direct connection to the content they consume and the talent they watch by following them on Snapchat, Twitter and Instagram.”

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preview magazine I March 2016 I www.mipdoc.com

Feature

Life Of Dogs (Plimsoll Productions)

HIGH-END DOCUMENTARY

Is this what the future looks like? After talking up 4K for the best part of a decade, is the entertainment world ﬁnally ready to embrace ultra-high-deﬁnition television? Well almost, writes Marlene Edmunds

HERE’s no question that documentary is where 4K or ultra high definition (UHD) really shines. Not surprisingly, therefore, players including NHK and Discovery Networks International (DNI) are churning out 4K content as never before. “Especially in natural history, UHD allows you to push resolution a lot further,” says Ed Sayer, DNI vice-president of production and development for factual content. “It enables you to get to places and see things that HD can’t, and to do it in a cost effective way. Sharpness of image is absolutely crucial and 4K deﬁnitely brings that to the party.” But even for the biggest producers and broadcasters, the business of generating 4K content holds considerable challenges. Money, trained people, facilities, universal broadband

availability and spec agreements are but a few. “The biggest difference between 4K and 2K [HD] is that 4K requires much more in terms of people, facilities and money,” says Keisuke Tsutsumi, deputy head of NHK’s program-

“Broadly speaking, 4K production costs at least 50% more than 2K production” Keisuke Tsutsumi

ming department. The Japanese public broadcaster is indisputably the world leader when it comes to pioneering new technology and programming. Nevertheless, Tsutsumi points out, preview magazine I March 2016 I www.mipdoc.com

there are still not that many camera operators who are skilled in 4K. He adds: “It’s vital to increase the number of people who have experience and to build up a base of production knowhow.” He says there is also a pressing need for more 4K equipment, including cameras and monitors. The same is true for postproduction, with more 4K edit suites, mixing rooms and studios required. There is no question that, for producers and broadcasters, 4K programming is expensive and time consuming to create. “The exact difference depends on the programming but, broadly speaking, 4K production costs at least 50% more than 2K production,” Tsutsumi says. Between May 2015 and May 2016, NHK will have produced 77 programmes, or a total of some 60 hours, in 4K. From May 2016

Feature

NHK’s Ring Of Civilizations: Rediscovering Ancient Asia to May 2017, the Japanese broadcaster plans to increase 4K production by 50% to 100%. Among the 4K titles that NHK is bringing to MIPTV are Tawaraya: House Of Secret Codes, Meltdown: The Fateful 88 Hours and Ring Of Civilizations: Rediscovering Ancient Asia. Broadcasters and producers engaged in 4K are without a doubt in the business of future-proofing. UHD or 4K faces the same catch-22 that plagued the introduction of HD. Japan’s Ministry of Internal Affairs and Communications predicts 100% 4K penetration by 2025. But the reality is that, even while the push is on for more UHD programming, most content is still being ﬁnished in post-production in 2K. Among the 100 hours of 4K in 2016 to be showcased at MIPTV by DNI is Life Of Dogs. Produced by Plimsoll Productions, the series is being directed by multiple award-winning natural history ﬁlmmaker Martha Holmes.

The projects DNI has in development “are big, epic and will have a long shelf life”, Sayer says. DNI, which launched the ﬁrst 24/7 HD global channel, is committed to being at the forefront of TV innovation. “From a business and commissioning point of view, we’re looking for what lasts the longest in the market and

“It’s a question of which comes first — the content or the hardware to deliver the content?” Ed Sayer

that is natural history,” Sayer adds. The driving force behind the industry’s romance with pixels is the presumption that the consumer will always want to go higher def. “It’s a safe bet from what has been seen preview magazine I March 2016 I www.mipdoc.com

in the past,” Sayer says. But, he adds, the tipping point with 4K will depend on “how much the consumer is willing to pay for the hardware when there is not that much content out there”. Certainly, this is not new. “It’s exactly what happened with HD,” Sayer says. “It’s a question of which comes ﬁrst — the content or the hardware to deliver the content? For us, our guiding principle, either way, is to be at the forefront of content development. Consumers drive and the hardware always catches up.” For DNI, there are other issues out there that have to be resolved when it comes to 4K, among them bandwidth. “Some markets need more bandwidth before they are ready for 4K,” Sayer says. “Until the specs are agreed and the issues around bandwidth are resolved, 4K going forward is still going to be held up a bit.” BBC Worldwide is currently involved in multiple UHD projects, including some 10 hours per year currently being delivered. “We expect this number to grow,” says Mark Reynolds,

Feature INSIGHT INTO 4K FACTUAL 4K FACTUAL entertainment channel Insight was launched on Astra in October 2015 by Televison Entertainment Reality Network (TERN), headquartered in the Netherlands. The new linear and non-linear channel aims to reach 60 million homes in Europe and India in partnership with satellite operators SES, India’s iTV Network, Russia’s Tricolor DTH platform, and broadcast facilities company United4All. It will feature original UHD content, co-created with producers including Zodiak Media, Strix and Kiem. Insight’s start-up crew is an interesting mix of experienced players, including exFox International Channels’ Qunita Baars, ex-Tuvalu Media’s Marjolein Duermeijer and ex-2waytrafﬁc/SPT’s Natalie Boot. “Insight goes beyond simple viewer interaction to incentivise and reward audience engagement,” says Mariam Zamaray, CEO of TERN, announcing the launch. “By putting viewers at the centre of the action, we believe broadcasters and advertisers now have more opportunities to attract and retain audiences.”

Wild Japan from the BBC’s Natural History Unit

preview magazine I March 2016 I www.mipdoc.com

BBC Worldwide’s director for factual content. Recent projects include Wild Japan and Shark from the BBC’s Natural History Unit and The Hunt from Silverback Films, with Planet Earth II and Wild West, both BBC Natural History Unit productions, set to be delivered later this year. Reynolds points out that high-end natural history has always embraced breakthroughs in technology, from colour cameras through HD and, now, 4K. UHD is one of the many techniques, along with advances in thermal imaging, and moving slow-motion and highspeed camera technology, that filmmakers are now using to tell “new stories and reveal new insights into animal behaviour”, he adds. “Our role at BBC Worldwide is to partner with producers to help them realise their creative ambition and we see UHD as increasingly important in future-prooﬁng content. The producers we’re working with also welcome the new ﬂexibility that UHD offers in

Feature “We see UHD as increasingly important in future-proofing content” Mark Reynolds

Around The World In 80 Tricks, commissioned by UHD entertainment channel Insight the edit. This is particularly relevant in making nature films, where there are no rehearsals. For example, you can capture a dramatic sequence such as a hunt in a wide shot without losing the detail of a close up.” The Hunt was shot in 4K, with BBC Worldwide working closely with Silverback Films from the outset to get the project funded. “The deal was done in 2012 and, about six months later, we discussed the ideal cameras and equipment for [Silverback] to capture their material and took the decision to film in UHD,” Reynolds says. “They were travelling to some of the most inaccessible locations on the planet with the ambition to film new and neverseen-before behaviour. We wanted that footage to have the longest shelf life possible so that it will still be relevant 20 years from now.” Reynolds admits that the use of UHD is not as yet set in stone: “We are not using UHD as a standard yet, as there are some situations in which it may not be the optimal choice. For instance, a lot of the most interesting animal behaviour takes place in the dark and there are as yet no true UHD night cameras. The point is that, in the planning, you need to consider the most appropriate kit to film with. That’s where the craft comes in — knowing and working with the best technology to capture the most compelling material.” Derren Lawford, joint creative director at Woodcut Media, agrees that 4K entails a completely different approach. “The technology needs to evolve to enable longer, continuous shoot times before it becomes worth investing in future-proofing,” he says. “It’s a new

standard of production that is more expensive and more time consuming in the edit. It has more storage requirements and also requires special handling for data storage.” Woodcut was one of the ﬁrst factual producers in the UK to do 4K with its Around The World In 80 Tricks, commissioned by global factual UHD entertainment channel Insight. The 10 x 60 mins series follows magicians Magical Bones and Pete Heat as they travel across Europe and Asia showcasing their

“At the moment UHD is not a TV format that can sustain a factual producer” Derren Lawford

street-dance and magic skills. Lawford adds that UHD was the perfect format for this project: “Close-up shots of the magicians aren’t necessarily something that goes hand in hand with big UHD TV sets. But one of our magicians was incredibly acrobatic and that allowed us to create larger set pieces of magic sequences. We also thought really carefully about countries and cultures with lush landscapes, and rich and colourful urban areas to make it feel visually distinctive.” Because the talent is quite young and different, Lawford adds, “they attracted a more diverse range of contributors, so visually we were able to make [the series] a treat in lots of different ways”. Lawford says the commissioning process for preview magazine I March 2016 I www.mipdoc.com

UHD content is currently a bit of a waiting game. “At the moment UHD is not a TV format that can sustain a factual producer,” he adds. “It’s a question of considering the ratio of HD to UHD commissioning opportunities you pursue as a business.” But he believes that there is bound to come a tipping point. And in the meantime, he says, Woodcut would deﬁnitely consider doing another 4K project should they be approached: “It’s good to future-proof your IP and be abreast of the latest production developments.”

GOING BEYOND 4K WHILE getting 4K off the ground is the immediate challenge, 8K is not far behind. “From the perspectives of mobility and cost, 4K is enough quality wise for documentaries for the time being,” says Keisuke Tsutsumi, deputy head of NHK’s programming department. “But it’s only a matter of time until we adopt 8K. If people who have only seen 2K are amazed when they see 4K for the first time, people who have only seen 4K will be lost for words when they see 8K. Images with four times the resolution of 4K are seriously impressive. Once people see them, they won’t be satisfied with 4K. Plus 8K allows 22.2 surround sound, so it delivers a level of realism that’s beyond compare. The time and equipment needed to process the large amounts of data are presently significant, but technological innovation is surprisingly fast — the cameras are already roughly the same size as those for 2K; editing systems that can handle both 4K and 8K are available; and speakers that easily enable people to experience 22.2 surround sound are being developed.”

Tips & Services

Welcome to MIPDoc! Thank you for attending the show this year. There is much to think about to be fully prepared, so we’ve designed this section to help you make the most out of MIPDoc

Inside

1• USEFUL TIPS To ensure you start on right foot, please refer to our Quick Checklist Things to do before the Show: O Have you prepared your transportation?

Have you arranged your transfer to Cannes? O Have you booked your accommodation? If not, book now at www.miptv.b-network.com and choose from a wide selection of hotels and apartments at special rates O Remember to print out your e-ticket before the show to save time on your badge collection at Registration

1• USEFUL TIPS GETTING TO THE FRENCH RIVIERA BY AIR The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Promotion code (Air France and KLM): 27053AF www.airfranceklm-globalmeetings.com BY TRAIN The Cannes train station is a short walk away from the Palais des Festivals. T: +33 (0)8 92 35 35 35 www.tgv-europe.com SPECIAL OFFERS Nice Airport benefits Present your MIPDoc badge to benefit from a 10 % discount in the Nice airport stores. For more information visit www.my.mip.com Special Deals in Cannes Discover a variety of exclusive offers in and around Cannes, selected by our partner cannes-i-get. com (spas, restaurants, golf and more). For more information go to my-mip.com/cannes-offers

O Have you connected the Online Database on Mymip to ﬁnd out in advance who else is attending the show, to set up meetings and discover projects? O Have you checked the full show programme of MIPDoc conferences, screenings and events not to be missed?

Find answers to all these questions on the following tips & services section. For more details please refer to my-mip.com

GETTING TO MIPDoc TAXI T: +33 (0)4 93 99 27 27 or book online: www.taxi-cannes.net/en/reservation BUS FROM THE AIRPORT You have several options for bus travel. Tickets must be bought beforehand. Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0. Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00 • The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. A one-way ticket costs €22 and a return ticket costs €33. Where to catch it: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 • Bus N°200 also goes to Cannes from Monday to Saturday at 20.45 and 21.55. Where to catch it: Terminal 1: platform 3 preview magazine I March 2016 I www.mipdoc.com

GETTING TO THE FRENCH RIVIERA GETTING TO MIPDoc UPON YOUR ARRIVAL

2• SERVICES SCREENINGS LIBRARY CLUBS & CONFERENCE ROOMS FACILITIES • Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 4.10 every hour and a half. Where to catch it: Terminal 1: platform 3 TRAIN FROM THE AIRPORT To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1,50). Buses depart every 5 to 12 minutes. Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 30 minutes. A one-way ticket costs from €5,90. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL If you wish to rent a car, our ofﬁcial partner Sixt Rent a Car can provide you with preferential rates. Promotion Code (up to 10% discount): 9963828* T: +33 (0)1 44 38 55 55 www.sixt.com *Please note that this reduction is subject to availability.

HELICOPTER Our ofﬁcial partner Azur Helicoptère operates regular 7-min ﬂights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination.

Tips & Services Show participants beneﬁt from a negotiated rate of €160 per person. T: +33 (0)4 93 90 40 70 www.azurhelico.com / info@azurhelico.com

REGISTRATION OPENING HOURS • Friday 1 April: 16.00-19.30 • Saturday 2 April: 8.00-19.00 • Sunday 3 April: 8.30-19.00

PRIVATE TRANSFERS For short or long trips, from 1 to 8 people, rent a private car with driver and save over 20% with our ofﬁcial partner Chabé.

MARKET OPENING HOURS • Saturday 2 April: 8.30-19.00 • Sunday 3 April: 8.30-19.00 Save time, Pick up your MIPTV badge at the MIPDoc’s Registration area.

Airport shuttles from Nice to Cannes: €120 (sedan) or €140 (luxury van – up to 8 pax) Evening offer* (4 hours): from €340 *For quotes and bookings, visit www.chabe-limousines.com/en/events/miptv For more information: riviera@chabe-grandsud.com T: +33 (0)4 93 43 90 91 FREE SHUTTLE SERVICE • Free shuttle service to and from our partner hotels if you are staying outside Cannes during the market. Timetable available on my-mip.com • A non-stop shuttle service between the Grand Hyatt Cannes Hotel Martinez and the Palais des Festivals. Saturday 2 and Sunday 3, April: 8.30 – 19.00

UPON YOUR ARRIVAL USEFUL INFORMATION ABOUT CANNES Address: Grand Hyatt Cannes Hotel Martinez 73 La Croisette – 06400 Cannes T: +33 (0)4 93 90 12 34 or visit cannesmartinez.grand.hyatt.com Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz Round two-pin plugs are standard Measurement system: Metric Currency: Euro YOUR BADGE Your badge is your primary means of identiﬁcation during the market. It provides access to the conference sessions, networking events and the Screenings Library (buyers only) during opening hours. Please carry it at all times, and be ready to show it at entry points and security checks around the area. Do not exchange your badge with anyone. Even if your photo does not appear on the badge, it will appear on security guards’ monitors when they scan it. Shared badges will be conﬁscated and not returned. REGISTRATION All participants & press representatives can pick up their badges at the Registration area. Important – E-ticket holders: E-tickets will be sent to you via email a few days before the show. They include a barcode for ID recognition. Print it out to collect your badge at a self-service delivery point or scan the QR Code on your smartphone and save time at the Registration area.

PLAN YOUR SHOW Make appointments and contacts before arrival. Connect to the Online Database, the best way to schedule meetings in advance! Visit my-mip.com to: • Identify and contact the right people to meet among all attendees • Increase your own visibility by completing your company and personal proﬁles • Showcase and identify projects of interest • Schedule and plan meetings • Select the conferences and events you want to attend EVENTS FOR ALL DELEGATES

You can review a list of the programmes & projects you have screened during the event. This list is available at the dedicated stations in the Delegates Lounge. It will be sent to your mail box (if you have filled it in in the contract) at the end of each day. SELLERS Receive the list of the buyers who screened your programmes/projects at the end of each day by email. If you wish to check on-site your buyer’s list, please log in to the dedicated stations in the Delegates Lounge with the login & password indicated on your badge: Login: use the 6 digits displayed on the top left corner after @ Password: use the badge number on the bottom right corner under the barcode. This list will also be sent to your mail box (if you have filled it in the contract) at the end of each day. Important: At MIPTV, final lists of buyers who have screened your programmes and/or projects during MIPDoc and Programme/project lists for buyers will be available by request at the Palais des Festivals (Help Desk – Palais 0).

New Visitors Tour Saturday 2 April, 8.45-9.45, MIPDOC Lab

CLUBS & CONFERENCE ROOMS

MIPDoc Networking Lunch Sponsored by Saturday 2 April, 13.00-14.30 Grand Hyatt Cannes Hotel Martinez Beach

DELEGATES LOUNGE Open to all participants. Features include a meeting area and email stations.

Opening Cocktail Party Saturday 2 April, 19.00-21.00 Grand Hyatt Cannes Hotel Martinez Beach

REGISTRATION LOUNGE Open to all participants. Features include a meeting area.

The Nordic Snack & Screen Sponsored by Sunday 3 April, 12.30-14.00 Conference Room MIPDoc International Premiere Screening Sponsored by Sunday 3 April, 17.00-18.00 Conference room

2• SERVICES SCREENINGS LIBRARY Access the unique Screenings Library of international Factual and Documentary programming. All “Co-production projects seeking funding” are now included in the MIPDoc Screenings Library. Saturday 2 April: 8.30-19.00 Sunday 3 April: 8.30-19.00 BUYERS Log in to the Screenings Library with the login & password indicated on your badge: Login: use the 6 digits displayed on the top left corner after @ Password: use the badge number on the bottom right corner under the barcode. preview magazine I March 2016 I www.mipdoc.com

CONFERENCE ROOM See schedule page MATCHMAKING LOUNGE See schedule page MIPDoc LAB See schedule page

FACILITIES CONNECTIVITY Wi-Fi: Free Wi-Fi is available inside the Conference Room, Delegates Lounge, Matchmaking Lounge, MIPDoc Lab, Registration Lounge and Screening Room. Connect to: “Palais des Festivals Wi-Fi” network. You can connect one device at a time. Email stations: Located in the Delegates Lounge. To check and send email free of charge. BUSINESS CENTRE Provides a complete range of secretarial & administrative services (fax, printing services) located on the ground ﬂoor facing the reception. FREE COFFEE BREAK Located in the Screening Room and the Delegates Lounge, from 8.30 to 11.30 and 14.00 to 17.30 CLOAKROOM Free of charge, located in the lobby.