Mipformat 2017 preview magazine

MARCH 2017

www.mipformats.com The official MIPFormats magazine

formats

PREVIEW KEYNOTE SPEAKER

KEYNOTE SPEAKER

Conrad Riggs Amazon Originals

Paul Gilbert CBS Studios International

SEE PAGE 6

SEE PAGE 6

624_AE NETWORK_PV_FORMAT

MIPFORMATS INTERNATIONAL PITCH

all3media International SEE PAGE 8

Also inside: • Treasure Box Japan • New Generation Of Entertainment Formats • Matchmaking with buyers & commissioners • Formats and Virtual Reality • and more...

STARS ARE NOT BORN THEY ARE MADE

STAND P.3C-10 sales.aenetworks.com

2 01 7 F O R M AT S

651_RED ARROW_PV_FORMAT-p1

65

RED HOT FORMATS

THE HIT SHOW NOW SOLD TO OVER 11 TERRITORIES

NEW ENTERTAINMENT FORMAT: Kiss Bang Love NEW REALITY FORMAT: Look Me in the Eye www.redarrowinternational.tv | MIPTV: Booth P4.C10

651_RED ARROW_PV_FORMAT-p2

THERE ARE TWO SIDES TO EVERY STORY

PREMIERING SOON ON SBS AUSTRALIA, TF1 GROUP FRANCE & SAT.1 GERMANY

4

Contents 6

News

Media Mastermind Keynote speakers; The MIPFormats International Pitch; Treasure Box Japan; and more...

21

Who’s got the best ideas?

With creativity coming from both new and established sources, the market for formats is becoming truly origin-agnostic

12

Product News Spotlight on some of the unscripted content on offer from around the world at MIPFormats and onwards at MIPTV

25

The OTT effect As the OTT platforms move further into creation and commissioning they are looking at formats as a new addition to their offer

What shall we watch next?

15

A look at new approaches to format creation in an increasingly fragmented marketplacee

Also inside : 31 Tips & services

11 Conferences

mipformats PREVIEW The official MIPFormats preview magazine March 2017. 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 Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Andy Fry, Juliana Koranteng Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinators Yovana Filipovic, Emilie Lambert Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude MIPFormats Conference Director 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 Senior Sales Director Entertainment (UK / Australia / New Zealand) Paul Nickeas 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 Director Panayiota Pagoulatos Sales Director Christopher Domenick Sales Manager Hugo della Motta 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 Deborah Carella, Yi-Ping Gerard, Eve Gualbert 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 © 2017, Reed MIDEM Market Publications. Publication registered 1st quarter 2017. ISSN 2108-4246. Printed on PEFC Certified Paper ®

preview magazine I March 2017 I www.mipformats.com

632_BBC_PV_FORMAT

ONE OF THE UK’S TOP 5 NEW ENTERTAINMENT LAUNCHES THIS DECADE “Lives up to all expectations” Dan Wootton, The Sun

Visit us at MIPTV Stand P3.B38 • • • • •

bbcworldwidesales.com

Let-It-Shine-MIPTV-FullPage.indd 1

“The best new talent show we’ve seen in ages” Digital Spy

60’-90’

• • • • •

A BBC Studios production

16/02/2017 16:53

6

News

OTT gives buyers freedom to pick and choose content MIPFormats keynote speaker Conrad Riggs has headed his own production company, served as a partner in Mark Burnett Productions and was formerly an executive at The Walt Disney Company.

He brings this background to Amazon Originals as head of unscripted, where he and his team have created series including All Or Nothing: A Season With The Arizona Cardinals, and Eat The World With Emeril Lagasse.

Riggs said that working for an OTT provider gives him a creative freedom that he wouldn’t experience at other networks. “Amazon’s business model is different from that of a linear broadcast network which must service advertisers in defined day-parts.” He said.

“We are in the fortunate position of being highly selective and only commissioning a series for the right reasons.”

This means that Riggs will sometimes decide not to go with good shows that might

work elsewhere and instead, “look and wait that for truly great show that will give current or potential new Prime customers a specific reason or some urgency to make the effort to come to our service”.

Among shows currently in production is Novak, a series following the life of tennis star Novak Djokovic, and Lore, based on the critically acclaimed podcast about true-life scary stories.

For Riggs there is not just one formula for a hit show. “Some hits are timeless ideas such as Survivor, which I believe would work if it was being pitched and produced today,” he said. “Some tap into a moment in time, such as Novak. Other global hits are purely talentbased, and still others are clever formats that work regardless of on-screen talent.”

But for some shows the on-screen talent is paramount: “My all-time favourite unscripted shows are Survivor and the old Top Gear

Classics still play well for CBS PAUL Gilbert is senior vice-president of international formats at CBS Studios International, responsible for the sales, production and acquisitions of CBS’ nonscripted and scripted formats. The company’s library of non-scripted formats includes lasting classics Wheel Of Fortune, Jeopardy! and America’s Next Top Model, as well as newer successes including Carpool Karaoke.

And while he has had plenty of hits on his hands at CBS and formerly at Sony, he said that finding or creating a winning format is not an exact science. “Whether it be game shows, reality or docu-soaps, it’s a wide open game,” he said. “Any of the genres could easily achieve success and have all proven to do so.” He added: “There’s also a lot to be said for the tried-and-true formats like Wheel and Jeopardy! Quite often broadcasters who come to us to license the shows tell us that over the years their research indicates

Paul Gilbert: “It’s a wide open game”

Conrad Riggs: “Amazon’s business model is different” — so I jumped at the chance to bring Jeremy [Clarkson] and his team to Amazon, and so The Grand Tour is my new favourite show.”

• Conrad Riggs’ MIPFormats Keynote is on Saturday, April 1, in the Grand Auditorium

those two shows have had the most success as a weekly or strip. I’m good with that!”

Audience engagement is one key to longevity.

“Many of the big hits allow the home viewer to play along and feel smarter than the contestants,” Gilbert said.

“The viewers who watch Jeopardy! appreciate the level of intelligence that it takes to be a contestant on the show. And Wheel Of Fortune fits the mould perfectly for play-athome value. On the converse side, Deal Or No Deal — which is a very successful show — really has no viewer participation.”

As the number of platforms increases and competition hots up, Gilbert observes a wider talent base in unscripted. “When I started, I would say the three territories who exported the most shows were the US, UK and Holland,” he said. “In today’s world that list has grown to many more, including Scandinavia, Turkey, Korea, Israel and even Romania.”

• Paul Gilbert’s MIPFormats Keynote is on Saturday, April 1, in the Grand Auditorium

preview magazine I March 2017 I www.mipformats.com

646_ALL3 MEDIA_PV_FORMAT

are the proud sponsors of the MIPFormats pitch.

Wishing all the entries the best of luck.

Come and see us at our new stand: P3.C10

@all3media_int all3mediainternational.com

J10024_MIP_Preview_CORPORATE_AD_chosen.indd 1

16/02/2017 16:41

8

News

Treasure Box brings global success to Japanese formats TREASURE Box Japan (TBJ), a showcase of new programming ideas from all eight terrestrial television broadcasters in Japan, makes its seventh appearance at MIPFormats this year.

Last year it took place in the Grand Auditorium for the first time, a change that resulted in more inquiries and sales, according to representatives of Tokyo Broadcasting Co. (TBS).

Public broadcaster NHK reported that, thanks to TBJ, it is in negotiations with an overseas buyer for the series Fairy Tales In Court; YTV is in discussions with “multiple numbers of clients”; TV Asahi has three formats that have performed well internationally following TBJ; and ABC has sold “several formats” to foreign territories, including Who Is The Real Celebrity?, which was presented at the first TBJ and can now be seen throughout Asia. TBS reports that it is close to a deal for Battle Of The Super Boyz; and TV Tokyo has made several deals with Chinese producers to adapt some of its popular formats. Fuji TV says it received “many inquiries and offers” for a number of its titles “during or after the market”.

This year’s TBJ features world premieres of a number of new formats, while the presenting broadcasters will also introduce classic formats popular in Japan but not yet known to audiences worldwide. NHK brings a show that deals with a universal issue “in a very unconventional way”. Nippon TV and TV Asahi are both offering reality and variety shows: NTV’s “heartwarming” documentary-type

programme charts “milestones in a relationship”; and TV Asahi brings travel format Experts Visiting Experts, in which seasoned professionals visit their counterparts in a foreign country and make surprising discoveries. TBS and Fuji TV are presenting quizshow formats, and TV Tokyo, which has seen great success with its What’s Daddy reality show, will extend the format to mothers.

YTV will present one of its most successful formats in which celebrities are compelled to talk about their private lives.

• This year’s Treasure Box Japan: World Premiere – Brand New Formats! takes place on Saturday, April 1, at 12.20 in the Grand Auditorium, followed by a snack lunch

Eight Japanese broadcasters showcase the latest formats from Japan again at Treasure Box Japan.

Pictured: Treasure Box Japan in the Grand Auditorium in 2016

In search of the next worldwide hit SUPPORTED for the third time by all3media International, the distribution arm of the UK TV production group, the MIPFormats International Pitch is a competition for creators and producers of innovative non-scripted entertainment formats.

Chaired by Stephen Lambert, CEO of all3media production company Studio Lambert, the competition will present five projects at a pitching session on Saturday, April 1, from 16.30 to 17.45 in the Grand Auditorium of the Palais des Festivals.

Selection of the projects began after the February 17 deadline, by a jury including Lambert, all3media International’s Noah Pollack and Rachel Glaister and Optomen USA’s Maria Silver.

The five finalists, announced midMarch, will now face a live jury that includes all3media International’s Nick

the availability of international format rights.

Last year’s winner — of a €5,000 cash prize and a €15,000 worth of help to develop the forSmith, Tower Productions’ Philipp Schmid, mat into a project ready for pitching to broadObjective Media Group’s Layla Smith and casters — was XYZ, a format from Liraz Mediaset RTI‘s Fabrizio Battocchio.

Casting and Y Circus in Israel, presented by The jurors will be looking for creativity, origLiraz Mia Shagrir and Yaniv Swissa. Now inality, innovation and the capacity to return known as The Claw, it is a game show based on for multiple series. Other criteria include the fairground claw-machines, where players have format’s potential to travel worldwide and to grab prizes from a glass case using a robotic claw. Except here, the claw is a Yaniv Swissa (left) and Liraz Mia Shagrir celebrity being manipulated by the conat last year’s MIPFormats International Pitch testants to get hold of money hidden inside big stuffed animals.

Liraz Mia Shagrir said after the win: “The MIPFormats International Pitch was our springboard to the world of TV formats. In one given moment we were able to expose our content to more relevant people than we could have in years of work. We left the conference event with a vast and extensive knowledge and important business connections.”

preview magazine I March 2017 I www.mipformats.com

•C ate Lev

643_TREASURE BOX JAPAN_PV_FORMAT

10

News

Technology takes game shows to the next level THE NEW Generation Of Entertainment Formats and The New Generation of Game Show Formats are two MIPFormats sessions that look in depth at the creation of four new programmes that take entertainment to a new level.

The first focuses on Lost In Time and Stupid Man, Smart Phone. Lost In Time is a format that uses interactive mixed reality (IMR) on TV and mobile devices. Produced in partnership with Norway-based IMR pioneer The Future Group, the show follows three contestants as they are transported into different eras, including the Wild West, the Ice Age, medieval times and the Jurassic period, where they compete in a series of challenges against the clock, with the aim of winning a jackpot prize. Viewers can also be taken to the Lost In Time virtual world via a smartphone or tablet app, which enables them to play against the show contestants in real time, as well as against other players from across the nation.

Petter Testmann-Koch, managing director of FremantleMedia Norway, said the pioneering technology from Norway-based IMR pioneer The Future Group puts the show “at the forefront of future television trends”.

BBC Three and BBC Worldwide have commissioned a brand new series from Objective and Kalel Productions.

MIPFORMATS MATCHMAKING THE INDUSTRY’s top international buyers and commissioners take part in two Matchmaking With Buyers And Commissioners sessions on Sunday, April 2. The sessions offer the opportunity for delegates to pitch their formats, one-to-one, find out what buyers and commissioners are looking for, and make new partnerships. The sessions are in the MIPFormats Lounge, Palais 3, at 11.15 and 16.40. Pre-registration required.

5 Golden Rings Stupid Man, Smart Phone

Lost In Time

The Wall

Stupid Man, Smart Phone sees comedian and presenter Russell Kane joined by a different online star every week. Each is convinced that, even though they have no survival skills or knowledge of the local language or customs, they can be dropped anywhere in the world — from the Arctic Circle with Rose and Rosie to the arid African landscape with Arron Crascall — and survive with only their mobile phone for help.

“We’re breaking new ground over here! I hope it works and their phone brings them home safely.” said Nick Parnes, CEO Kalel Productions.

The second session focuses on 5 Golden Rings and The Wall. Talpa Media describes 5 Golden Rings as “The start of a new gameshow era”. In the show, contestants answer visual questions that are displayed on an interactive LED floor. They do this by placing a ring where they think the answer is. The catch is that the rings get progressively smaller.

Viewers can also connect to the game via smartphone, playing along on a mini-version of the LED floor. “Talpa focuses on reaching viewers on different screens and this is a show that has the connected element built into the

format,” said Maarten Meijs, managing director of distributor Talpa Global. 5 Golden Rings is produced by Talpa Media and ITVbacked independent producer Possessed.

In The Wall, contestants drop balls down a giant pegboard to win money up to $12m.

Excitement builds with the combination of the build-up of cash, and the tension in the contestants as their financial future is decided by the random journey of each ball, a set of quiz questions and a test of will between the team members.

Developing the show involved “real physics and science” according to Paul Telegdy, president, alternative and reality group, NBC Entertainment. “It was phenomenally difficult and expensive to develop and produce for the first run.”

The Wall is co-produced by Glassman Media, the show’s presenter Chris Hardwick, NBA star LeBron James and his business partner Maverick Carter.

• The sessions are on Sunday, April 2, at 09.30 and 15.10 respectively, in the Esterel

preview magazine I March 2017 I www.mipformats.com

644_RM CONF_PV_FORMAT

2017 CONFERENCE PROGRAMME

THE RENAISSANCE OF UNSCRIPTED FORMATS

1-2 April 2017, Palais des Festivals, Cannes

2017 KEYNOTE SERIES

MIPFORMATS INTERNATIONAL PITCH New Ideas. New Talent.

New Formats.

PAUL GILBERT SVP INTERNATIONAL FORMATS CBS STUDIOS INTERNATIONAL USA

CONRAD RIGGS HEAD OF UNSCRIPTED AMAZON ORIGINALS USA

Backed for the third time by all3Media International, the MIPFormats International Pitch unveils the most compelling non-scripted entertainment concepts from international creators and producers.

SATURDAY 1 APRIL 10.00-10.40 — Esterel

10.00-10.40 — Auditorium A

GLOBAL FORMATS TRENDS REPORT

WHERE ARE THE NEW CREATIVE TALENTS?

Featuring C21’s outlook on format trends 10.50-11.30 — Esterel

10.50-11.30 — Auditorium A

CREATIVE PARTNERSHIPS FOR CREATIVE BUSINESS

TV VIEWING TRENDS 11.40-12.10 — Grand Auditorium

SUNDAY 2 APRIL 9.30-10.10 — Esterel

9.40-10.10 — Auditorium K

THE NEW GENERATION OF ENTERTAINMENT FORMATS? “LOST IN TIME” “STUPID MAN, SMART PHONE”

10.20-11.00 — Esterel

VIRTUAL REALITY:

JAPANESE FORMATS SHOWCASE

TREASURE BOX JAPAN: WORLD PREMIERE – BRAND NEW FORMATS!

Snack lunch and networking from 13.10 - 14.10, Verrière Grand Auditorium 14.15-14.45 — Grand Auditorium

FRESH TV: ENTERTAINMENT & GAME SHOW PILOTS

THE MIPFORMATS KEYNOTE SERIES: WILL THE U.S. CONQUER THE FORMATS WORLD? CONRAD RIGGS, HEAD OF UNSCRIPTED, AMAZON ORIGINALS PAUL GILBERT, SVP, INTERNATIONAL FORMATS, CBS STUDIOS INTERNATIONAL 16.30-17.45 — Grand Auditorium

MIPFORMATS INTERNATIONAL PITCH Global Partner

JOIN US INSTANTLY

Prize Competition presented by Inter Medya

11.15-12.00 — Auditorium A

11.15-12.00 — MIPFormats Lounge

THE FRENCH TOUCH:

MATCHMAKING WITH BUYERS & COMMISSIONERS #1

WHEN TV FORMATS MEET DIGITAL:

FORMATS SHOWCASE

Pre-registration required

12.10-13.00 — Esterel

K-FORMATS: THE NEXT BIG HITS FROM KOREA Sponsored by KOCCA Snack lunch and networking from 13.00 - 14.00, Lounge Bar & Seaview Terrace 14.30-15.00 — Esterel

14.30-15.00 — Auditorium A

THE BEST FORMATS FROM THE NORDICS

UNDERSTANDING TODAY’S YOUTH AUDIENCES

Presented by Missing Link

14.55-16.20 — Grand Auditorium

15.10-15.50 — Esterel

15.10-15.40 — Auditorium A

THE NEW GENERATION OF GAME SHOW FORMATS? “5 GOLDEN RINGS” “THE WALL”

16.00-16.30 — Esterel

HOW TO WORK WITH SOUTH AFRICA?

Limited seats available

15.50-16.30 — Auditorium A

WHO’S DRIVING THE NEW FORMAT ECONOMY? 16.40-17.20 — Esterel

BRANDS:

18.30-20.00 — Verrière Grand Auditorium

MIPFORMATS NETWORKING COCKTAIL In partnership with Shanghai Media Group 20.00 — ClubC21 - Doors open at 19.30

INTERNATIONAL FORMAT AWARDS GALA DINNER In association with C21Media, FRAPA, EMC and MIPFormats - Pre-registration required.

CREATORS OF ENTERTAINMENT

15.10-15.40 — Auditorium K THE PRODUCERS’ TOOLBOX

SOCIAL MEDIA:

THE NEW FORMAT CO-CREATORS

16.00-16.30 — Auditorium K THE PRODUCERS’ TOOLBOX

THE COMMISSIONERS’ BRIEF

18.00-18.30 — Grand Auditorium

FORMAT SUPERSESSION

10.30-11.00 — Auditorium K

LIVE QUIZ SHOW:

FRAPA FORMAT REPORT 2017

THE NEW FORMATS PLAYGROUND?

THE BEST IDEAS

12.20-13.10 — Grand Auditorium

Limited seats available

10.20-11.00 — Auditorium A

11.15-11.55 — Esterel

FRESH TV: FACTUAL ENTERTAINMENT & REALITY SHOWS

THE PRODUCERS’ TOOLBOX

GOOD PITCH, BAD PITCH

HOW TO NEGOTIATE A FORMAT LICENCE?

Limited seats available

16.40-17.20 — Auditorium A

16.40-17.25 — MIPFormats Lounge

SPOT THE TALENT:

MATCHMAKING WITH BUYERS & COMMISSIONERS #2

INDIES AROUND THE WORLD

Pre-registration required

17.30-18.00 — Esterel

17.30-18.00 — Auditorium A

WILL DIGITAL SAVE FORMATS?

“BRING YOUR FAME BACK” Screening presented by Global Agency

MIPFormats thanks its Sponsors & Partners

Programme as of February 17, 2017. Subject to change.

preview_mipformats.indd 1

Visit mipformats.com for regular updates.

17/02/2017 14:11

12

Product News Here we showcase some of the new and returning formats brought to Cannes by companies from around the world, available at MIPFormats and onwards at MIPTV

BBC WORLDWIDE BBC WORLDWIDE brings primetime entertainment show Let It Shine (60 mins/90

mins) to MIPTV, featuring a stellar panel of musicians and entertainers who work to create a new band. This talent search demands singing, dancing and performance to the highest level, as well as the chemistry of the group to work. Viewers’ votes and the verdicts of pop experts decide the fate of hopeful contestants. The series is produced by BBC Studios.

Let It Shine (BBC Worldwide)

ARMOZA FORMATS AS PART of Armoza Formats’ scripted

HAT TRICK INTERNATIONAL HAT TRICK International debuts Rich

House, Poor House at MIPTV, a new format following two families — one well-off, the other much less so — as they swap their lives for a week. As they follow the other family’s spending patterns and stick to their daily schedules, they find out what life is like on the opposite side of the wealth divide. The format was originally produced by Hat Trick Productions for the UK’s Channel 5.

Rich House, Poor House (Hat Trick International)

offering, Separated (13 x 30 mins) follows four childhood friends as they begin to enjoy singlehood now they are in their forties and separated from their wives. The sitcom of stand-alone episodes focuses on the ways in which they search for happiness, get back in shape and brush up their flirting skills.

The Israeli company also brings factual entertainment format The City Inspector (8 x 60 mins), which puts entire cities under the magnifying glass. Assisted by a team of undercover agents and experts, the host reveals the best and the worst of each town in the fields of education, healthcare, safety, food and local authorities as well as ideas to bring about meaningful improvements. Each episode concludes with a big reveal of the city’s score in front of a number of its residents.

Separated (Armoza Formats)

KESHET INTERNATIONAL TELEFE’s Heart Beats seeks to pair

aspiring singers to make music’s next power couple, and is brought to MIPTV by Israel’s Keshet International. Through a dedicated app viewers can vote on live performances in real time as well as reshuffle the contestants into new musical and romantic couples each week. Viewers can also increase their involvement through instant messaging, photo and video sharing, as well as entering competitions to win prizes in each episode. Set to premiere on Argentina’s Telefe in daily prerecorded episodes complemented by 20 live weekly shows, the format is the result of the two companies’ co-development deal struck in 2015.

preview magazine I March 2017 I www.mipformats.com

13

Product News DRG CREATED by Magnum Media, DRG’s

lead format in Cannes this year is a star-studded, studio entertainment show, The 12 Stars Of.... The new hosted format sees three celebrity guests aiming to win prizes for their designated third of the audience by correctly answering an array of questions posed by 12 famous faces — either live in the studio or on VT — hidden behind 12 doors on a giant grid.

The format is flexible and can be themed around topics, occasions or calendar events. Channel 4 has already commissioned the show in the UK, with a festive theme — The Twelve Stars Of Christmas — featuring British comedian Alan Carr as host.

FOX NETWORKS GROUP CONTENT DISTRIBUTION FOLLOWING on from School For Husbands, Fox Networks Group Content

Distribution is launching spin-off show School For In-Laws (10 x 60 mins) at MIPTV. Problematic mothers-in-law who are meddlesome, nosy, envious or manipulative, or who have maybe crossed the line when it comes to intimacy with their son/daughter-in-law, are sent back to school where under the guidance of a headmaster and relationship experts, they learn a few life lessons to help ensure family harmony. The students meet conflicts head-on, see their behaviour on video and undertake a range of tasks. School For In-Laws was created by Fox Unscripted Entertainment.

School For In-Laws (Fox Networks Group Content Distribution)

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN) CARAOKE Showdown is a new 30-minute format brought to MIPTV by VIMN,

The 12 Stars Of Christmas (DRG)

FREMANTLEMEDIA FREMANTLEMEDIA brings the newly-

developed entertainment format, Lost In Time, to Cannes. Using Interactive Mixed Reality (IMR) on both TV and mobile devices, the show incorporates the real-time special effects pioneered in feature film The Matrix. Three contestants are transported to eras including the Wild West, an Ice Age, a Medieval world and the Jurassic period, and compete in a series of challenges against the clock in order to win a jackpot prize. Using a smartphone or tablet app, viewers can also be transported to the virtual world where they can play in real time against both show contestants and others across the country.

Produced in partnership with Norway-based IMR pioneer The Future Group, the initial version of Lost In Time has been developed and produced by FremantleMedia Norway for Discovery’s TV Norge.

from its Spike channel. Host Craig Robinson poses as a driver and picks up unsuspecting contestants. During various rounds contestants sing out their favourite tunes, finish the lyrics or act out songs for cash, with a celebrity guest appearance adding to the surprise. Caraoke Showdown debuts on Spike later this year.

LINEUP INDUSTRIES AMSTERDAM -based Lineup Industries is showcasing a new format at MIPTV. Mud

Masters Celebrities, devised by Skyhigh TV, is a one-off event format that sees five celebrities and their friends and families take on the challenge of an obstacle course for a charity of their choice. Obstacles include The Flyer, a 10-metre steep slide which fires competitors into an icy cold lake and The Sizzler, an electrified fence competitors must crawl under. Between all of the obstacles is an enormous amount of mud and water to run through. The trail is divided into three different courses ranging between four to 12 kilometres in length. The team that comes in last after each course is eliminated.

The first team to cross the finish line of the third and final Mud Masters Celebrities (Lineup Industries) course wins the challenge.

preview magazine I March 2017 I www.mipformats.com

14

Product News ZDF ENTERPRISES (ZDFE) ENTERTAINMENT 90-minute format You Can’t Fool Me! is brought to MIPTV by ZDFE.

The object of the game show is to trick celebrity guests into believing their senses, while their senses are fooled in a variety of experiments and games.

KABO INTERNATIONAL DISTRIBUTOR Kabo International presents a selection of interactive new formats

produced by Finnish interactive entertainment outfit Reflect, including Tilt, which currently airs in Finland on TV6 — and is sponsored by Hewlett Packard on the channel. The format is a mixture of game show and talk show in which millennial celebrities challenge each other in VR games. Kabo is also unveiling Together, a new social-experiment format that follows a selection of couples as they attempt to improve and save their relationship using a mobile app which tracks their progress and creates tasks for couples to perform. Viewers are also able to use the app.

NORDIC WORLD PREMIERED on TV2 Norway, The Dream

Cottage sees three couples compete to win their ultimate dream, an idyllic summer cottage. Each couple receives a run-down cottage which during a period of 10 weeks they transform into a dream place, with daily competitions and bigger week-long projects — indoors and outdoors — to refurbish and decorate. The projects are then judged by a team of experts in garden design, interior design and building craftsmanship. Finally a cottage is given to the couple that makes the most outstanding transformation.

The Dream Cottage (Nordic World)

BANIJAY RIGHTS MASTIFF Denmark’s 60-minute format

Tilt (Kabo International)

ENDEMOL SHINE GROUP (ESG) THE LINE-UP of Endemol Shine Group formats for MIPTV includes The Wall, from

executive producer and NBA superstar LeBron James, which is hosted and executive-produced by actor, comedian, author and TV personality Chris Hardwick. The Wall offers a pair of contestants life-altering cash prizes in a deceptively simple question-and-answer format in which teammates have to work together. ESG is also highlighting The Trial (working title), which combines an observational documentary approach with scripted elements and improvisation to tell the story of a fictional murder trial. In an authentic courtroom setting, real professionals, including barristers, a judge and court staff, try the case without scripts, approaching the evidence as they find it and doing their jobs as they would in the real world. The accused and witnesses and are played by actors who have their own knowledge of the truth of events and will improvise on that basis.

The jury is made up of people drawn from the general public whose deliberations will be explored in detail. The company also brings Ambulance, which combines footage shot with UK crews out on the streets and the highly-pressured control room, to provide an honest 360-degree snapshot of the service.

The Bravest is brought to MIPTV by Banijay Rights. The new competition sees a diverse group of people live together as they test their courage to the limits by facing action-packed challenges based on fundamental human fears, including a fear of heights, water or confined spaces.

Each episode features two trials, group challenges and duels, sending the weakest contestant home one by one until The Bravest is crowned. The show launched in Denmark early this year, and in Sweden soon after that.

The Bravest (Banijay Rights)

preview magazine I March 2017 I www.mipformats.com

15

Trends

What shall we watch next?

Look Me In The Eye (Red Arrow International)

Does the ‘the next big thing’ in formats still exist in an increasingly fractured market? And if it does, from what genre is it likely to come? Andy Fry goes in search of answers

M

EDIA fragmentation has made the format industry’s search for the next breakout show even more challenging, according to Arabelle Pouliot-Di Crescenzo, the US-based managing director of French format broker Kabo International.

“The thing you realise when you talk to format creators and buyers is that it’s difficult to come up with a single show that suits everyone’s needs,” she says. “There’s such a range of networks targeting different audiences that the market is actually looking for a wide range of strong ideas.”

Pouliot-Di Crescenzo’s point is borne out when you start to analyse the international market. While talent and game shows tend to dominate weekend primetime, there are several different types of show within both of these categories. In addition, there are dozens more great formats coming through in sub-genres such as dating, dieting, cooking,

survival and business. “With all of this fragmentation our strategy is to try and have key shows in all of the main format ‘food groups’,” Pouliot-Di Crescenzo says.

If there are key themes that seem to connect all of these areas, however, they are authenticity, aspiration and positivity. “The message coming through is that people don’t want cruel shows,” says Doug Wood, Endemol Shine group director, research and insight.

“They want shows with warmth, togetherness and where people aren’t being mean. This is

evident, for example, in the number of shows in the market that focus on talented kids.”

This message comes from various quarters. ITV Studios’ executive vice-president of global development and formats, Mike Beale, says that one of the ITV family’s best performing formats is Twofour Rights’ This Time Next Year, an aspirational show in which people commit to achieve a key life goal over the course of a year. “That is up to about 15 territories now and is coming back in the UK,” he says. “It’s the kind of heart-warming show

“It’s difficult to come up with a single show that suits everyone’s needs. The market is actually looking for a wide range of strong ideas”

buyers are seeking.”

Hayley Babcock, A+E Networks head of formats, international programming and production, agrees: “When the world is in a dark place, which it seems to be right now, the entertainment industry responds with positive shows. It was the same during the 1940s when Hollywood produced so many great musicals.”

Arabelle Pouliot-Di Crescenzo

preview magazine I March 2017 I www.mipformats.com

16

Trends “When the world is in a dark place, which it seems to be right now, the entertainment industry responds with positive shows” Hayley Babcock

On the subject of authenticity, Babcock says there is a move away from heavily constructed formats, except in areas like games. “I don’t think there’s any threat to the big established franchises,” she adds. “But if you went to a network with a new idea that was too constructed, I don’t think they’d buy it.

The mood right now is more about real relatable stories. I think social media has taught people to sniff out inauthentic ideas fast.”

Game-on for game shows

Boom! (Keshet International)

Right now, the game-show sector is enjoying a lot of success with reboots of classic titles. In the US, for example, ABC has been achieving strong ratings with a threehour Sunday-night block consisting of Match Game, Celebrity Family Feud and $100,000 Pyramid. The first two of these formats belong to FremantleMedia, which has also licensed To Tell The Truth to ABC for use during the week. While the reboots are faithful to the original game mechanics, the

winning idea has been to increase the comedy quotient through the use of talented hosts like Steve Harvey and Alec Baldwin, says Jennifer Mullin, co-CEO of FremantleMedia North America.

Other titles reinforce this retro trend.

FremantleMedia has also licensed The Price Is Right to CBS in the US, while CBS International recently sold classics Wheel Of Fortune and Jeopardy to RTL in Germany for use on new channel RTL Plus. Kabo

Locked (Endemol Shine)

International, meanwhile, is having a lot of joy with its reboot of Who’s Who, which is performing well in France and Scandinavia.

The success of these vintage game shows has not totally suppressed innovation, however, with an eclectic mix of titles finding favour around the world. Shows with some kind of theatricality in their set design are popular at the moment, says Endemol Shine’s Wood. He points to The Wall, which has been a big hit in the US for NBC, securing an extra 20-episode order after the success of its first run of 10 episodes. The Wall is now being produced for TF1 in France by Endemol Shine.

Other formats doing the rounds include Endemol Shine’s Locked, a physically imposing show in which contestants try to escape a maze of concentric circles to win prizes. The show debuted in Israel on Reshet, but was produced in the Netherlands at a centralised production hub.

In a similar vein, says ITV Studios’ Beale, is Talpa Media’s 5 Golden Rings. Here, contestants answer visual questions that are displayed on a big screen on the floor. They do this by placing a ring where they think the answer is. The catch is that the rings get progressively smaller.

Also in the works at CBS is a visually striking show based on mobile game Candy Crush (Lionsgate has the format). More established are Armoza Formats’ Babushka, which was recently sold to Spain; and Keshet International’s Boom!, which has been

preview magazine I March 2017 I www.mipformats.com

17

Trends remade in 13 territories and had more than 500 episodes produced in Spain. Keshet International’s chief operating officer and president of distribution, Keren Shahar, says: “Boom! has a very strong image — contestants needing to cut the wires of a fake bomb.

It also benefits from having a combination of physical and mental game play.”

While The Wall may trigger a new trend, the current situation is that quiz-based shows are not as much in demand in primetime as they were in the heyday of Who Wants To Be A Millionaire? But there is room for strong daytime/access-prime shows to graduate to primetime. ITV quiz show The Chase, for example, had three solid years in UK access prime before securing itself a primetime slot and building international momentum. “Despite the challenges, I think game shows can still develop into global hits,” ITV Studios’ Beale says. “But it’s more of a slow burn. There’s so much noise out there that it’s hard to be in 50 territories in 18 months.”

“I think game shows can still develop into global hits.

But it’s more of a slow burn.

There’s so much noise out there that it’s hard to be in 50 territories in 18 months” Mike Beale

The Wall (Endemol Shine) Beale says there is also a Chase family edition coming through, which reflects a trend identified by Endemol Shine’s Wood, who says he has observed “a lot more extensions from successful brands”.

The TV industry’s rich tradition of physical game shows — examples include Jeux Sans Frontiers, Fort Boyard, Gladiators and Wipeout — continues with Sasuke, which originated with Tokyo Broadcasting System (TBS) in Japan. The show has been licensed

Married At First Sight USA (Red Arrow International)

around the world and recently spawned a pan-Asian version. It has also been adapted for the US as American Ninja Warrior.

Originally on cable network G4, American Ninja Warrior now features prominently on free-to-air network NBC. The US version is aired in numerous territories and has resulted in some spin-off all-star shows. There have also been versions of Ninja Warrior in a dozen territories, including the UK, Sweden and France, where TF1 is currently preparing season two.

TBS’ influence does stop with Sasuke. The broadcaster has had success exporting Takeshi’s Castle, including a Thailand remake.

Talent still performing Dutch production firm Talpa, which is now owned by ITV, shook up the talent sector with The Voice. Launched in 2010, the show now has around 500 million viewers worldwide across its various localised versions, and 55 million Facebook fans. Around the world it competes with similar shows, such as The X Factor, Got Talent and Rising Star.

There has been no game-changing breakthrough in the talent genre since The Voice, but Talpa has sought to expand its influence in this sector. Aside from a spin-off called The Voice Kids, now produced in 30 countries, it has launched titles including It Takes Two, The Next Boy Band/Girl Band and Dance Dance Dance. The latter, which sees celebrities re-enact iconic dances using cutting-edge technology, has been aired preview magazine I March 2017 I www.mipformats.com

18

Trends in or licensed to the Netherlands, the UK, Germany, Italy and China.

Talpa Global managing director Maarten Meijs calls Dance Dance Dance “a great combination of incredible next-level dancing and technology that has the potential to grow into a strong global brand”. In the Netherlands, a VR feature has been added to the show’s app.

FremantleMedia/Syco Entertainment’s Got Talent also continues to do great business around the world. FremantleMedia/Syco recently announced a renewal with Sony Pictures Television Asia’s AXN network for Asia’s Got Talent, an ambitious show that draws on talent from 20 territories. “With the Got Talent franchise now reaching over 70 commissions across the world, we are extremely pleased to see it back on air on AXN as part of a multiyear agreement,” says George Levendis, head of international at Syco Entertainment. “The first series of Asia’s Got Talent was an undeniable smash on AXN.” In Malaysia, Asia’s Got Talent was the highest rated entertainment series on the English-language channels on Astro in the past two years. In the Philippines, the finale results episode was the highest rated pay-TV programme since 2008.

One show shaking up the sector a little is Little Big Shots, a kids’ talent show that has been a hit for NBC in the US. Produced

by Ellen DeGeneres and hosted by Steve Harvey, the show has been picked up internationally in Italy, Spain and the UK.

Experimenting with dating The dating/relationship sector has become much edgier in the last couple of years, with relationship shows increasingly resembling social experiments. A key trend has been shows that jump straight to the romantic end game and then see whether participants sink or swim. An example is Red Arrow International’s Married At First Sight, in which total strangers agree to marry on their first meeting, based upon the opinions of various experts. First aired in Denmark, the show has been licensed to more than 27 territories including the US (A+E/FYI), the UK (Channel 4), Australia (Nine), Italy (Sky Uno), Africa (Lifetime) and Germany (Sat.1).

Red Arrow International’s vice-president of non-scripted, Harry Gamsu, says: “We’re now working on a spin-off called Married At First Sight: Second Chance for A+E lifestyle channel FYI. And in Australia, our partner Endemol

Undressed (Banijay Rights)

Shine is creating an event version for Nine Network in which 10 couples get married.”

Other shows that seek to invert the dating process include Kiss Bang Love (Red Arrow), in which couples start their romantic journey by kissing blindfolded; and Dating In The Dark (Talpa), in which three men and three women have to decide whether they fancy each other in the dark. Racier still are Dutch format Adam Looking For Eve (Eyeworks) and UK format Naked Attraction (Studio Lambert), in which couples are introduced naked. The former has aired on RTL5 in the Netherlands, RTL in Germany and Cuatro Spain. The latter airs in the UK on Channel 4, which describes it as “a light-hearted series that aims to demystify the rules of sexual attraction for the Tinder generation”. It has just secured a second season after the first won an 11.6% share.

In a similar vein is Undressed, an Italian format that begins with couples undressing each other in a darkened bedroom and sees them pursue an accelerated romance in bed — with prompts from a large screen.

Distributed by Banijay Rights, the show has been licensed to the UK, France, Spain, Australia and Poland.

Explicit formats are not right for every territory, which means there is still demand for

classic dating formats such as The Dating Game and Take Me Out. An example is Miss Perfect, a Global Agency format in which four women go on separate dates with the same bachelor during the week, who then chooses his favourite on Friday. ITV’s Beale also points to dating formats infused with comedy, such as ITV’s Meet The Parents, in which contestants quiz potential partners’ parents about them before going on a date.

A lot of relationship shows purport to be social experiments, but one that genuinely seems to deserve that title is Keshet International’s Manbirth. The Singaporeoriginated format offers fathers-to-be a chance to go through the mental and physical challenges their partner experiences during pregnancy.

Keshet International’s Shahar says: “We are also working hard on Boxed, a conflict-resolution show in which participants enter a specially designed closed box to work through

“The tough thing with formats is that networks want new ideas, but they also want track record” Harry Gamsu

preview magazine I March 2017 I www.mipformats.com

19

Trends some kind of issue. It could be family members disconnected for years or people with a shocking secret to reveal. The format has attracted a lot of interest and has been picked up by Globo in Brazil.”

Red Arrow is also active in this area with Look Me In The Eye, a social experiment that puts the power of eye contact to the test by attempting to reunite divided friends and families. The show, which was commissioned by ProSiebenSat.1 in Germany, has been picked up by TF1 Group in France and Endemol Shine for SBS in Australia, “What we’re trying to do is burst this show across a number of key territories,” Gamsu says. “The tough thing with formats is that networks want new ideas, but they also want track record. So if you can launch a show across a number of territories at a similar time, it creates that impact.”

FremantleMedia’s activities in this arena include the acquisition of the world format and finished tape rights (excluding the US) to True North Productions’ The Lie Detective.

In the light-hearted show, couples engage in heart-to-heart conversations to uncover the truth about their relationship. Their comments are then analysed by experts using body language and polygraph tests.

Vasha Wallace, FremantleMedia’s executive vice-president of global acquisitions and development, says: “We describe this show as the most honest conversation you’ll ever have. The Lie Detective has fantastic potential as it tackles a topic that resonates with every single one of us — the search for the truth. It’s a format that’s upfront, engaging and sure to enthral audiences everywhere.”

Formats for foodies Weight loss has had a juggernaut franchise for more than a decade in the shape of The Biggest Loser. Controlled by Endemol Shine, the format has been on NBC in the US for 13 years and has also been remade in 30 other markets. It has proved particularly good at reinventing itself, the latest example being Australian commercial channel Network Ten, which has given it a makeover for 2017.

More recent entrants include Red Arrow’s My Diet Is Better Than Yours, which looks at a range of different ways to lose weight.

“People have different lives,” says Red Arrow’s Gamsu, “so different weight-loss programmes may be better suited to their particular situation.” The show taps into the general trend towards authenticity, Gamsu

“MasterChef is such a great show. It’s scalable to any market and has exactly the kind of positive, aspirational elements that broadcasters are looking for.”

Lisa Perrin

Fit To Fat To Fit (A+E Networks) adds, by showing people trying to lose weight while they live their everyday lives.

Crucial in this sub-genre is telling an aspirational human-interest story and not just focusing on the weekly weigh-in. In A+E Networks’ Fit To Fat To Fit, for example, personal trainers start by gaining weight, so that they can then lose it alongside their weightloss clients. The idea is that a friendship develops as the trainers and their clients lose weight together.

Weight-loss shows also lend themselves to hybridisation. Discovery-owned lifestyle channel TLC, for example, created the series Fat Chance, in which eight individuals attempt to lose large amounts of weight in order to gain confidence and find love.

On the food front, there is a myriad of formats, headed by the likes of MasterChef, Hell’s Kitchen, The Iron Chef and Bake Off. Love Productions’ Bake Off, for example, airs in several markets, including Sweden and Australia, and was the subject of a huge rights battle last year in its home market of the UK. Endemol Shine’s MasterChef, meanwhile, is relaunching in Greece on Star Channel and continues to be a top performer in several markets, including Australia. It has also been picked up by Sky Germany. “MasterChef is

such a great show for us,” says Lisa Perrin, CEO of Endemol Shine Creative Networks.

“It’s scalable to any market and it has exactly the kind of positive, aspirational elements that broadcasters are looking for now.”

Recent attempts to spice up the food sector have focused on formats that have some kind of family-focused emotional appeal. These include FremantleMedia’s Familiar Taste, in which a celebrity cooks dishes for the person who used to cook for them — a mother, for example, or a nanny. Armoza Formats, meanwhile, distributes Born To Be A Chef, a French-Canadian show in which two teams of 10- to 14-year-old kids battle it out under guidance from chefs. Endemol Shine Australia’s recent contribution to the food show menu is Family Food Fight, in which diverse and multi-generational Australian families compete in high-pressure cooking challenges.

Doing business Business-themed formats are big business, as has been proven time and again by shows such as The Apprentice, Undercover Boss and Dragons’ Den/Shark Tank. So it is no real surprise to see a new wave of these formats hitting the market.

Among the most intriguing is Steve Harvey’s Funderdome, which comes from the MGM Television/Mark Burnett stable and is set to air on ABC. “Mark had been talking about doing a crowdfunding-based series from the moment he joined the company,” says MGM president of worldwide television distribution and acquisitions Chris Ottinger. “In Funderdome, he’s cracked it. It has the entrepreneurial feel of Shark Tank, but it’s not business people deciding on whether an idea is good — it’s people at home. I think it captures the mood of the times, with many people earning a bit extra on the side through platforms like eBay.” Another show looking to revitalise the business space is Propagate’s Planet Of The

preview magazine I March 2017 I www.mipformats.com

20

Trends “Funderdome has the entrepreneurial feel of Shark Tank, but it’s not business people deciding on whether an idea is good — it’s people at home” Chris Ottinger

Apps. Backed by Apple, the format sees people attempt to launch great apps under the guidance of mentors Gwyneth Paltrow, will.i.am and tech investor Gary Vaynerchuk.

“Being an entrepreneur and supporting entrepreneurs is basically all I’ve ever known,” Vaynerchuk says. “The opportunity to team up with Apple and Propagate to produce what I think is potentially the most innovative show for entrepreneurs in the business sphere excites me to no end.”

Format-owners like to employ new technology in their quest for the next great entertainment format. The process can be a bit hit and miss, but it does spawn some interesting ideas. Kabo International, for example, recently sealed a distribution agreement with Finnish format and interactive entertainment company Reflect for Tilt, a game-show-meets-talkshow format where millennial celebrities challenge each other in VR games. It is also looking after Reflect’s Together, a social-experiment format that follows real-life couples as they attempt to improve and save their relationships using a mobile app.

“As the TV landscape continues to evolve, VR and interactive entertainment are taking centre stage,” says Kabo International’s Pouliot Di-Crescenzo. “Reflect’s technologies give audiences a truly immersive experience.”

T here is clearly someth i ng i n the Scandinavian air that is conducive to nextgeneration technology. Banijay Rights, for example, is enjoying success with All Against 1, a primetime entertainment format with a strong interactive component. Originally produced by Nordisk Film TV for Denmark’s DR1, the show focuses on whether one smart studio contestant can answer questions more accurately than the entire nation. In recent news, All Against 1 is said to be heading for Sat.1 in Germany.

Also on the market is FremantleMedia’s Lost In Time, a format that uses interactive

Welcome To The Wild: Amazon (Keshet International) mixed reality (IMR) on TV and mobile devices. Produced in partnership with Norwaybased IMR pioneer The Future Group, the show follows three contestants as they are transported into different eras, including the Wild West, the Ice Age, medieval times and the Jurassic period. They must then compete in a series of challenges against the clock, with the aim of winning one jackpot prize. Viewers can also be taken to the Lost In Time virtual world via a smartphone or tablet app, which enables them to play against the show contestants in real time, as well as against other players from across the nation.

Petter Testmann-Koch, managing director of FremantleMedia Norway, says: “This technology has allowed us to create a pioneering type of entertainment show that is at the forefront of future television trends. Viewers will see contestants competing in virtual eras in time and get to experience the adventure along the way through the play-along app.

We are very excited about this format and believe it has huge potential with global clients.”

Second-generation survival Reality competition series Survivor, based on Charlie Parsons’ original format Expedition Robinson, has been doing a great job for CBS Network in the US since 2000. And ITV Studios’ I’m A Celebrity… Get Me Out Of Here! is also a long-running hit. However, the survival genre has received a shot in the arm over the last couple of years thanks to shows including Naked And Afraid, Alone, Hunted, Dropped and The Raft.

Endemol Shine’s UK format Hunted has

been especially successfully, selling to CBS in the US, NTV in Russia and Shenzhen TV in China. According to Perrin, the appeal of Hunted is that it asks “universal questions that we have all wondered at one point or another. Could you disappear in today’s world?

What about if a team of professionals were on your tail? The authenticity of this idea on screen has captured the global audience’s imagination.”

The second wave of survival shows has been on the market for a couple of years.

But with Hunted only just reaching the CBS schedule, the sector is still hot. No surprise, then, to see new titles continuing to join the throng. Keshet International’s contribution is Welcome To The Wild: Amazon, in which three teams of six race across a tough wilderness terrain facing challenges along the way.

From Lionsgate, meanwhile, there is Kicking And Screaming. Picked up by US network Fox, the format pairs experienced survivalists with inexperienced contestants and cuts them loose in the wilderness. “Pairing high-level experts with high-maintenance novices struck us as a perfect way to extract comedy from the survival-competition genre,” says David Madden, president of Fox Broadcasting Company.

Kicking And Screaming now looks set for a big international push. Lionsgate has licensed the format rights in France, Italy and Scandinavia to Banijay, while Sony Pictures Television Networks’ Viasat3 will adapt the show for Hungary.

Lionsgate’s senior vice-president of alternative programming sales, Ted Bookstaver, says that the format is “indicative of the growing momentum of our entire slate of non-fiction programming”.

preview magazine I March 2017 I www.mipformats.com

21

Geographic shifts

German format The Brain, which has gone to Fox in the US

Who’s got the best ideas?

After a period when format ideas from Europe, Japan and elsewhere were overshadowing the American production powerhouse, the US is back on form, which means that today the market for unscripted hits is truly origin-agnostic. Andy Fry reports

O

VER the years, ideas dreamed up in the UK, the Netherlands, Israel and Japan — to name a few — have conquered the US market before going on to be global hits.

Right now, however, it seems as though the US creative community is having its own formats boom. Formats consultant Nathalie Wogue, former chief international officer for Endemol France, who works with MIPTV on the creation of the annual MIPFormats programme, says: “US format origination is stronger than it has been for some time. It’s a trend that started early last year and has continued to grow since then.”

As an example, Wogue points to MGM Television, where president Mark Burnett is driving the company’s unscripted agenda forward. Also significant has been the creation of NBC’s Universal Television Alternative

Studio, she adds. Headed by Meredith Ahr, the company has scored a big hit with The Wall, a new game show that launched on NBC in December. So pleased were network chiefs with the show that they ordered an additional 20 episodes before the first run of 10 was over. Also doing well at NBC is Little Big Shots, a kids’ talent show that has been rating strongly for the network on Sunday nights.

Chris Ottinger, MGM Television’s president of worldwide television distribution and acquisitions, agrees with Wogue: “The US market is programming more original content that ever before in both scripted and unscripted. I think the big networks like unscripted because it has a sense of immediacy that distinguishes them from the new SVOD services. And it’s also important to the basic cable networks in the US, which are looking for a balance of scripted and unscripted originations.”

“I think the big US networks like unscripted because it has a sense of immediacy that distinguishes them from the new SVOD services” Chris Ottinger

A key move by MGM Television to tap into the burgeoning opportunity was the appointment of Barry Poznick as head of unscripted programming. A long-time collaborator of Burnett, “Barry has a huge slate of shows coming through”, Ottinger adds.

In terms of MGM formats already in the pipeline, Ottinger points to America’s Greatest

preview magazine I March 2017 I www.mipformats.com

22

Geographic shifts Makers. Airing on Turner’s TBS, the show sees inventors presenting technological innovations to a judging panel that includes NBA legend Shaquille O’Neal. “And coming up we have Steve Harvey’s Funderdome, which will air on ABC,” Ottinger says. “It’s a show about innovators and entrepreneurs looking for crowdfunding and we’re going to be announcing some important international deals at MIPTV.” Caroline Beaton, Viacom International Media Networks’ (VIMN) senior vice-president of international programme sales, says the upswing in US non-scripted development is being met with enthusiasm by the international formats community. VIMN’s big story is Lip Sync Battle, an idea that started as a segment on Jimmy Fallon’s talk show in the US and was then produced as a series on VIMN’s cable channel Spike. To date, the format has been picked up in around 17 territories and “shows no sign of slowing down”, Beaton says.

At MIPTV, VIMN is focusing on music and comedy, she adds: “We have a Comedy Central format called Comedy Jam, in which stand-up comedians perform songs that have had some significance in their lives in front of live audiences. We’ll also be bringing another Spike format called Caraoke Showdown, in which celebrity Craig Robinson picks up regular people in his car and gets them to sing for money.”

Beaton calls the latter “Cash Cab meets Don’t Forget The Lyrics”, though comparisons with James Corden’s Late Late Show segment Carpool Karaoke are inevitable.

The latter, which has become a worldwide social-media phenomenon in the last year, is available as a format from CBS International.

More evidence of format dynamism in the US is Impractical Jokers, a prank show that launched on Turner’s TruTV and has been licensed to several international territories

by Warner Bros. International Television Production. There has also been a flurry of format activity among indie studios such as Lionsgate (Kicking And Screaming) and Propagate Content, Ben Silverman and Howard T Owens’ latest gig. At the start of the year the company, which has financial backing from A+E, launched a new international distribution business to be helmed

by Cyrus Farrokh. Key Propagate titles to have hit the market recently include Fan Slam, currently in production for TruTV, and Planet Of The Apps, a business-themed show commissioned by Apple.

Caraoke Showdown (VIMN) The upsurge of US activity also extends to A+E Networks, which has been marketing formats including Alone, Fat To Fit To Fat and The New Wife to international buyers. All of them are now gaining traction, according to A+E Networks’ head of formats, international programming and production, Hayley Babcock.

“Alone rated well in Denmark and is coming to Norway; Fat To Fit To Fat has been licensed to Russia [where it is in pre-production]; and The New Wife has deals in Australia,” she says.

Babcock also detects a positive vibe in US non-scripted formats: “I think what we’re seeing is the pendulum swinging back towards unscripted shows — and that’s giving rise to this increase in formats.” Agreeing with Ottinger, she adds: “I think it’s an area where networks and cable players still have an advantage over the big SVOD platforms like Netflix and Amazon.”

“I think what we’re seeing is the pendulum swinging back towards unscripted shows — and that’s giving rise to this increase in formats” Hayley Babcock

With an eye to MIPCOM, Babcock is also starting to push The Pop Game, a spin-off from Lifetime’s ratings hit The Rap Game.

“The Pop Game is about putting talented young musicians together with famous mentors, who can help them transition their talents into the professional business,” she says.

“It’s a very positive aspirational show, which I think captures the current zeitgeist.”

The opportunities that exist within the US are not, of course, lost on the big international format players, most of which have US divisions. Red Arrow International’s vice-president of non-scripted, Harry Gamsu, says: “Chris Coelen at our US company Kinetic is developing great new format ideas all the time, such as The Taste, an ABC show that has been adapted around the world; and Buying It Blind, a new property show that is going to be produced in Scandinavia first. In this show, buyers rely on experts to choose the right house for them. It extends the approach we have already taken with Married At First Sight.”

Of course, dynamism in the US unscripted arena has not come at the expense of format innovation internationally. Indeed, most of the above-mentioned companies are scrutinising the international market closely.

NBCUniversal International Studios, for example, recently signed a first-look partnership with Paris-based Terminal 9 Studios to develop formats for international audiences.

preview magazine I March 2017 I www.mipformats.com

23

Geographic shifts Propagate, meanwhile, has licensed the Kanal D Turkey format My Partner Knows Best to Lifetime.

“Working with creative international partners is a big part of our plan going forward,” MGM Television’s Ottinger says. “We made a key hire as part of that strategy — Ludo Attal [formerly with TF1]. We see markets like the UK, the Netherlands, Israel and Australia as being very important in terms of format origination at present.”

One person who knows the strength of the international format business better than most is Lisa Perrin, CEO of Endemol Shine Creative Networks. She says: “We’re representing The Wall outside the US and it’s picking up lots of interest. But we are also seeing shows heading back into the US from international. We have a German format, The Brain, going to Fox, and the UK format Hunted is on CBS. More generally, we’re attracting a lot of activity around The Big Music Quiz, a French format that was licensed recently to Germany, and Your Face Sounds Familiar, a Spanish format that has travelled the world.”

Indeed, if there is a notable trend in the international market it is that great IP is coming from an ever-increasing range of territories. “There are markets we watch closely, like the UK,” Perrin says. “But I’ve seen a lot of interesting activity from countries like South Korea and Mexico. The message from Televisa/Univision is that they’re ramping up non-scripted.”

Miss Country Girl (Small World IFT)

Hunted (Endemol Shine)

“Our strategy is to go looking in places where others don’t.

We’d rather be meeting people on their home territory than being 19th in line with a dance show” Tim Crescenti

Perrin’s thoughts are echoed by Tim Crescenti, a former Sony executive who is now president of Small World IFT. “Our strategy is to go looking in places where others don’t. We’d rather be meeting people face

to face on their home territory than being the 19th company in line with a dance show.”

This approach has repeatedly paid off for Crescenti, most recently with the Korean format Grandpas Over Flowers, which was reinvented for NBC as Better Late Than Never, featuring pop-culture icons William Shatner, Henry Winkler, George Foreman and Terry Bradshaw. “The show has been recommissioned by NBC and we’ve also just secured a deal for an Italian adaptation with broadcaster RAI,” Crescenti says.

Crescenti has also had success going East to West and back again. Working with Singapore’s Bomanbridge Media, Small World managed to take the Romanian format Miss Country Girl into China and Thailand.

Ahead of MIPTV, Crescenti is now working with Abnormal Summit, a Korean show in which expats discuss the culture of their host country from an outsider’s perspective.

Keshet International’s chief operating officer and president of distribution, Keren Shahar, has a similar philosophy to Crescenti. While her division benefits from a regular flow of concepts from parent group Keshet in Israel, she says: “Our third-party slate has some

preview magazine I March 2017 I www.mipformats.com

24

Geographic shifts formats with appeal for Greater China, as well as the potential for international distribution.

innovative ideas from less well-known format markets. We are getting a lot of interest in Manbirth, a Singapore format in which men get to experience some of what it’s like to go through pregnancy. We’re also paying a lot of attention to China.

As a seller, we have found that the buyers there are very daring, so we are looking at whether there is that same originality in Chinese formats.”

French firm Kabo International, meanwhile, has just forged a partnership with Finnish format and interactive entertainment outfit Reflect. As part of this deal, Kabo International will have the worldwide distribution rights to new formats Tilt, Together and High Score. The first is a game show-meets-talk show format in which millennial celebrities challenge each other in VR games.

The international market has given rise to another key trend, says MIPFormats consultant Wogue. “We’re seeing more examples of format co-development. It seems to me that major players are much more open to working with each other.”

This trend, which is the format industry’s equivalent of drama and factual co-proManbirth (Keshet International) duction, is the result of several overlapping factors, Wogue believes: “In part, it experience of some of the more established is because companies have become much global format companies,” she says. more pragmatic since the economic crisis [in ITV Studios’ executive vice-president of terms of] sharing risks and resources. But it’s global development and formats, Mike also about growing collaboration between Beale, agrees: “A lot of the big format comEastern and Western companies.” panies come to market with similar-looking East-West collaboration tends to be about ideas. But what all of us are really after is market access, Wogue adds, with the Western the spinning chair [a reference to The Voice] partner looking to break into Asia and the — the element that captures the audience’s Eastern partner looking for ways to bring its imagination. What you can get through coideas to the international market. But it can development is access to ideas that may not also be about pooling creativity. “There is a have occurred to people working within the freshness and originality about Asian conbigger format companies.” tent that works well when combined with the ITV’s co-development activities have included a partnership with Israel’s Reshet (which gave birth to Game Of Chefs) and a new“There is a freshness and ly announced collaboration with CJ E&M originality about Asian in Korea. “These partnerships can reap rewards but, like anything, their success decontent that works well pends on the time and effort you are able to when combined with the put into them,” Beale adds. experience of the more More co-development deals that underline established global format Wogue’s point include a new three-year partnership between Star China International companies” Media Limited and Syco Entertainment to Nathalie Wogue co-develop large-scale global entertainment

Endemol Shine, meanwhile, has a partnership with Korea’s CJ E&M that launched last March. That has now given birth to a show called The Society Game, Perrin reports. Already airing in Korea on CJ E&M’s flagship channel TvN, the show explores political systems, communities and their leadership. “There is a tremendous level of creativity coming out of South Korea and our partnership with CJ E&M has allowed us to tap into it,” Perrin adds. “The Society Game brings the social-experiment genre bang up to date and couldn’t be more timely, with audiences around the world questioning the political status quo.”

Keshet’s Shahar says her company has also taken co-development very seriously in recent years, both in Asia and Latin America. “Latin America has been a big focus for us recently,” she adds. Examples include a co-development deal with Chilean TV station Mega to create a new entertainment series. The concept will be developed over the next year for initial broadcast in Chile and Israel, with Keshet retaining the worldwide distribution rights.

Also in development is a primetime musical reality competition show called Heart Beats, which is a collaboration between Keshet and Telefe Argentina. “We already had a good relationship with Telefe through shows like Rising Star and Boom!,” Shahar says. “So we knew the creative chemistry was there. With Heart Beats, we are taking our partnership to the next level.”

Endemol Shine’s Perrin stresses, however, that co-development is also happening within the format powerhouses: “We’re a very collaborative company,” she says. “We spend a lot of time bringing our creative heads from around the world together to co-develop ideas for opportunities that have emerged in key markets.”

While the message from groups such as Endemol Shine is that ideas can come from anywhere, Perrin acknowledges that some markets are more important than others when it comes to developing a multi-territory hit: “It’s still true that if a show has a big launch in the UK or the US, it captures global attention.”

preview magazine I March 2017 I www.mipformats.com

25

Formats and OTT services

The OTT effect:

opportunity or challenge?

As the OTT platforms move into the creation and commissioning game, they are increasingly setting their sights on unscripted formats. Juliana Koranteng asks leading format players how this is likely to impact upon their business

U

NSCRIPTED formats were placed centre stage last year following the news that US-based Netflix, the behemoth global streaming service, had commissioned its first original show in the genre. Called Ultimate Beastmaster, it is an ambitious venture created by Los Angeles-based 25/7 Productions and executive produced by Hollywood action man Sylvester Stallone. Featuring celebrity hosts and ordinary contestants participating in heart-stopping endurance tests and obstacle courses across several countries, Ultimate Beastmaster could herald a new trend of formats going global before going local — or even going both simultaneously.

Netflix’s internet infrastructure means the

newly emerged subscription-funded SVOD services are able to integrate fresh twists to the ways in which formats are devised.

Ultimate Beastmaster was announced not long after Amazon Prime Video expanded from a handful of countries into 200 markets last year, when its $200m factual motoring series The Grand Tour also garnered recordbreaking audiences.

Meanwhile, Super Girl, China’s reality singing extravaganza on Hunan Satellite TV, has had a makeover after its distribution was extended to Hunan’s sister streaming platform Mango TV and the video-stream app Mango Live. Restrictions that included auditions being limited to physical boot camps are now gone. Aspiring Super Girl

contestants can take part in open auditions from anywhere in the world by using the app to upload their performances on to the streaming platform.

OTT viewers can watch shows live or any time they want on any connected device, anywhere. This is spurring producers to revolutionise the unscripted format as they continue to come up with innovative ideas to meet its needs.

Here, some of the format industry’s leading players talk about the impact of the new OTT SVOD services on original unscripted formats, the business opportunities they are creating, the debate surrounding the globalto-local model, and the challenges these platforms present in terms of IP rights.

MARCEL VAN BERKEL Managing partner, Rooftop Content Group (the Netherlands) ‘The VOD platforms will not choose to localise unscripted formats’ Do the VOD platforms prefer to acquire exclusive formats or are they prepared to localise a format that launched elsewhere?

“The European Commission has decided that Netflix and other international players should feature more European local productions. This is increasingly happening, but these productions are mainly from France and Germany and are currently aired in those countries only. So the conclusion is that most of the content for the VOD platforms is non-exclusive and mostly consists of international products.”

Are VOD platforms increasingly likely to choose to localise unscripted formats?

“In the Benelux market, investment in localised unscripted formats is very expensive and therefore almost impossible. We expect that acquiring the best international series is easier to realise, cheaper and generally assured of success. Therefore, the VOD platforms will not choose to localise unscripted formats in the existing market.” preview magazine I March 2017 I www.mipformats.com

26

Formats and OTT services ABHI RASTOGI

CARLOTTA ROSSI SPENCER

CEO, 108 Media (Canada)

Head of global format acquisitions, Banijay Group (UK)

‘Localisation authenticity’

is

the

key

to

longevity

and

Has your company started to sell original unscripted formats to the streaming VOD platforms?

“We have already started discussions with various platforms and what would be the ideal fit in terms of content, as we are in process of developing our own IP to suit each individual platform’s needs.”

If a VOD platform opts to localise an unscripted format, could that affect who owns the IP rights?

“Localisation is the key to creating longevity and authenticity for formats. The way we see this is that content creators own the IP with exclusive licensing to these platforms for specific markets.”

Will the VOD infrastructure, which enables viewers to watch content in their own time and space, affect how unscripted formats are developed for streaming platforms?

“I think it will expand the space and allow creators to take more chances. They won’t have to follow the trends, so perhaps they will take more risks with the ideas they develop.”

‘IP has always been a very delicate issue’ Does Banijay see a market for original unscripted formats with the streaming VOD platforms?

“As producers of successful non-scripted shows around the globe, we see this as an opportunity. It offers very targeted audiences, audacity on the part of the commissioners and space to grow.”

If a VOD platform localises an unscripted format, does that affect who owns the IP rights?

“VOD platforms buy a whole package. In other words, they commission and then have that content for all the territories they are present in. IP has always been a very delicate issue.

We don’t have to go too far back in time to remember how a traditional broadcaster would demand and, in the end, secure the IP on shows produced by third parties.

Things have changed. The market is constantly evolving, so the topic of IP will always be a very sensitive one for all the players involved.

But the way we as an industry address the issue will make a difference.”

NICK SMITH Senior vice-president of format production, all3media International (UK) ‘Global players are more interested in original content’ Are OTT platforms’ acquisition budgets and strategies growing in comparison to budgets for traditional TV? “Global players like Netflix are more interested in original content — something they can own that is theirs from the start. Several of our production companies are in discussion with streaming platforms about our unscripted formats.”

Can we expect more commissions for global formats that will be localised later?

“There are more opportunities with the VOD platforms that are not global. We’ve done deals with Tencent Holdings in China for our game shows Are You Normal, which originated in the US, and Sexy Beasts, which started in the UK. Tencent’s team did their own versions, while we provided their production

company with consultancy to show them what we recommend and assist them with any slight changes. In the process, we learned a lot about what they need and their culture. For example, with Are You Normal, Tencent had some pretty good ideas. In the original version, there are two participants who don’t know each other. In China, they wanted two teams of people. And the version in Vietnam is similar to the Chinese show.

We also made another version of The Million Second Quiz with Mango TV in China. The great thing about working in China is that we learned that producers there pay close attention to every little detail. Some of our international clients try to limit our involvement in their local versions, but the Chinese are the opposite.”

preview magazine I March 2017 I www.mipformats.com

27

Formats and OTT services AVI ARMOZA

ANDREW MARCUS

Founder and CEO of Armoza Formats (Israel)

President and chief operating officer, Critical Content (US)

‘The main business and budgets are still coming from traditional TV’

‘Content that works globally is very valuable’

Are OTT platforms’ acquisition budgets and strategies growing in comparison to budgets for traditional TV? “The OTT platforms are definitely important players that cannot and should not be ignored but, at the moment, the main business and budgets are still coming from the traditional TV models.”

Are the OTT platforms’ production budgets for unscripted formats growing anyway?

“Initially, they focused more on drama because of consumer binge-viewing behaviour, which lends itself to these platforms.

And now that the OTT platforms have made their mark in the scripted arena, we will see that their natural evolution is to diversify and localise. As they grow their subscriber base, they need to give their viewers a more attractive slate that varies across the spectrum and includes documentaries, factual, reality and game shows. This shift means bigger budgets and an increased focus on the non-scripted arena.”

Given that much OTT content is targeted at online audiences, is it produced with a global audience in mind? Or is it localised straight away?

“Genre will often influence which route a programme takes.

For example, dramas are often global, since they require long development processes and large budgets. But non-scripted shows have the potential to be either local or global, with the production process allowing for greater adaptability and local productions providing content with a stronger connection to the audience. For example, in China, we worked with Sohu to develop The Running Show, a new type of talk show that takes place on the run. It was produced locally and streamed on Sohu, where it became the most-viewed show from their nonscripted content. A second season is now in production in China and the format is available internationally.”

With much of the OTT platforms’ content targeted at online audiences, are their formats aimed first and foremost at a global audience?

“The OTT platforms generally look at content with a global audience in mind first. Localised content appears to be a smaller portion of what they are currently doing in the unscripted space, but that’s going to develop and grow faster in more specific territories. Just look at Chef’s Table on Netflix, which has expanded from an English-language format to cover regional cuisine in France and Japan. Netflix and Amazon are stepping up their local-language production significantly. But content that works globally is very valuable.”

What are the IP ownership issues when it comes to unscripted formats for OTT distribution?

“There’s an inherent battle between producers and distributors regarding IP, whereby we each want to retain ownership of content. In some circumstances, we can either share that, or only one party will get ownership. These issues differ on a project-by-project basis. Buyers want more rights for more platforms in more flexible forms. More often than not, we’re seeing OTT platforms buying out global rights upfront when it comes to unscripted formats. But it’s all negotiable.”

preview magazine I March 2017 I www.mipformats.com

28

Formats and OTT services LISA PERRIN

HENRIK PABST

CEO, Creative Networks, Endemol Shine Group (UK)

Managing director, Red Arrow International (Germany)

‘The power of formats won’t diminish this year’

‘Hot competition is developing between the OTT players’

Are you seeing more demand from the VOD platforms as they look for a wider variety of content to offer subscribers?

“The news that Netflix is moving into the reality space comes as no surprise. As the streaming platforms and their business models mature, it’s a natural progression for the SVOD giants to ramp up their investments in factual and formats. There’s no doubt that the success of Making A Murderer and other factual offerings on Netflix has meant that the other OTT platforms are looking at big factual to complement their scripted pieces.

And with factual borrowing from the language of drama in terms of characterisation and narrative beat, it can deliver scale, drama and warmth. To date, the OTT platforms have been driven by scripted, but the success of The Grand Tour on Amazon Prime has demonstrated that the halo effect from this type of content is as powerful and as far reaching as scripted offerings such as The Crown or The Man In The High Castle.”

VOD viewers can choose when and where to watch a show — or, alternatively, binge watch. Could that affect the way unscripted formats are developed for OTT platforms?

“Factual is changing to adapt to changing viewing habits. We recognise that, in a globalised market, a good idea can come from anywhere and we are always looking for new ways to partner and collaborate to deliver content with international appeal. And it’s harder to get big original ideas on the air amid heritage competition.”

Could that also affect the way the IP is sold internationally?

“The controversy around The Great British Bake Off [one of the UK’s most popular formats left the BBC last year for commercial rival Channel 4 after seven seasons] was a real shot in the arm in terms of rights ownership. With broadcasters worldwide reinventing their business models and becoming content producers themselves, the power of formats won’t diminish this year. It’s very early days, so it will be interesting to see how this all shakes down. But depending on where and with whom the original IP sits, the way in which titles are sold could be affected.”

Are the OTT platforms’ acquisition budgets and strategies growing in comparison to budgets for traditional TV? “Traditional TV budgets for formats still dominate the industry, but certainly the OTT platforms are actively acquiring and commissioning non-scripted formats — and this is growing. These are new buyers in the space, and so they present greater opportunities for a distributor like Red Arrow International. OTT platforms don’t necessarily have the established stable of formats and brands that traditional TV players have, and so they are aggressively acquiring known brands and commissioning new formats that fit with and extend their own brand identity, and subscriber base and goals.

“Hot competition is developing between the different OTT players in the developing markets, which means commissioning decisions are being made more quickly and more risks are being taken than in traditional TV. Their advantage is that they know exactly what their subscriber base likes to watch, and they are willing to commit money to feed and grow their audience.”

Given that much of their content is targeted at online audiences, are the OTT platforms producing predominantly with a global audience in mind?

“It depends on the goals of the platform and whether they are looking to drive growth in a specific region or territory, or whether they want a big brand to use as tent-pole programming to push their service out internationally. As these platforms become increasingly integrated into our viewing habits, they will need to provide the localised content that viewers are used to on traditional TV in order to stay relevant. What we are often seeing are OTT players taking well known and loved series and reviving them for their platforms, pulling in audiences that want to revisit favourite brands and are now in a position to pay for them.”

preview magazine I March 2017 I www.mipformats.com

630_RM_OPENING COCKTAIL_PV_FORMAT

Where Global TV Formats Make It Big.

You’re invited to the

MIPFormats Networking Cocktail Saturday 1 April 2017

Verrière Grand Auditorium, 18.30-20.00 Sponsored by

MIPFormats2_230X300.indd 1

16/02/2017 10:08

639_RM APP_PV_TV

C

M

Y

CM

MY

CY

CMY

K

31

Your MIPFormats Experience 1-2 APRIL 2017

Palais des Festivals, Cannes, France MIPFORMATS OPENING TIMES Opening hours Registration hours 31 March: 16.00-19.00 1 April: 09.30-19.00 1 April: 08.30-19.00 2 April: 09.00-18.30 2 April: 07.30-19.00

We look forward to welcoming you in Cannes, but first here are some tips to prepare your Journey to MIPFormats

Prepare for MIPFormats in advance Visit MIPFormats website to organise your travel • Book your transportation & accommodation with our partners to get the best deals

Prepare your agenda and meetings ahead of time

Your badge: your key to getting into MIPFormats

• Check the Conference and screenings programme, Matchmaking & Pitching sessions

• You received your badge by post?

Don’t forget to bring it with you.

Your MIPFormats badge provides access to MIPDoc conferences

• Log in to the Online Database and – Fill out your profile and personalise your agenda – Browse participants and attending companies – Send one-to-one messages to other delegates and organise business meetings

• You have your e-ticket?

Print it out or have it ready. To retreive your eticket, log in to the Online Database to collect your badge at a self-service delivery point onsite • You have your registration confirmation email?

Pick up your badge in the registration area, located at the Croisette 21 Your badge must be carried all times, and ready to be shown at entry points around the area. Your badge is strictly personal and non-transferable.

Onsite meet decision makers and get an overview of the market trends Connect, learn, share

MIPFormats International Pitch

MIPFormats Networking Cocktail Saturday 1 April, 19.00-20.30 Verriere Grand Audi Open to all Sponsored by

中 国 节 目 模 式 库

Japanese Formats Showcase 2 DAYS OF CONFERENCES, SCREENINGS, TRENDS & NETWORKING EVENTS

Networking events* A Sunday programme of Matchmaking & Networking coffee sessions. * To register and for further information: mipformats.com

Followed by Snack lunch & Networking Treasure Box Japan: World Premiere Brand New Formats!

Saturday 1 April 12.20-14.10 Grand Auditorium A

B

C

In association with

Saturday 1 April 16.30-17.45 Grand Auditorium In association with

The next Big Hits from Korea session Followed by Snack lunch & Networking Sunday 2 April 12.10-14.00 Esterel - Palais 5

See the programme p.11 and plan your journey In association with

preview magazine I March 2017 I www.mipformats.com

32

Your MIPFormats Experience General map of MIPFormats Conference & Content Zones Grand Auditorium: Palais 1 Audi A: Palais 3 Audi K: Palais 4 Esterel: Palais 5 Matchmaking: Palais 3

Transact What rooms can you use for your meetings?

MIPFormats Lounge (Palais 3) Open to all participants.

MIPDoc Screenings library MIPFormats buyers can have access to the MIPDoc Screenings Library in order to screen Factual and Documentary programmes.

Login: use the 6 digits displayed on the top left corner after @

Location

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.

JW Marriott Hotel 50 boulevard de la Croisette, Cannes

• With self service computers and Internet plugs A

Screening hours

B

• An information point is located in this lounge

• Saturday 2 April: 8.30 -19.00 • Sunday 3 April: 8.30 -19.00

C

In association with

MIPFormats buyers Log in to the Screenings Library with the login & password indicated on your badge:

Lounge, Bar & Seaview Terrace (Palais 5) Open to all participants.

See you in Cannes!

Password: use the badge number on the bottom right corner under the barcode.

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).

For further information: www.mipformats.com • Help desk: +33 (0)1 79 71 99 99

preview magazine I March 2017 I www.mipformats.com