MIPFORMATS 2020 PREVIEW MAGAZINE by MIPMarkets

PREVIEW March 2020

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K-FORMATS THE NEXT BIG HITS FROM KOREA

by KOCCA

FRAPA CELEBRATES 20 YEARS JAN SALLING

FRAPA co-chairman

STREAMERS TAKE ON SUPERFORMATS MIKE BEALE

ITV Studios

T WO ST RA N G E R S , O N E YO U N G , O N E O L D. E AC H R E S P O N S I B L E F O R T H E OT H E R ’ S LOV E L I F E .

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CONTENTS

PREVIEW

NEWS

• K-Formats: The next big hits from Korea

• FRAPA celebrates 20 years

• MIPFormats sessions previewed 6

March 2020 www.mipformats.com // DIRECTOR OF PUBLICATIONS // Paul Zilk // MARKETING DIRECTOR // Mathieu Regnault / EDITORIAL DEPARTMENT / Editor in Chief Julian Newby Sub Editor Joanna Stephens Proof Reader Debbie Lincoln Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres / PRODUCTION DEPARTMENT / Publishing Director Martin Screpel Publishing Manager Amrane Lamiri / MANAGEMENT & SALES TEAM / Director of the Entertainment Division Jerome Delhaye Director of the Television Division Laurine Garaude Deputy Director Television Division Lucy Smith MIPTV Conference Director Amandine Cassi Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Benedicte Touchard Marketing Director Bastien Gave Executive Producer, Conferences Julie Lechenault TV Division Sales Director Geraud de Lacombe UK Sales Director Vanessa Van Santen Smith Director UK Sales Music & TV Division Javier Lopez SVP Sales & Business Development Robert Marking VP Sales Louis Hillelson Sales Director Manual da Sousa Director of Visitors Sales North and Latin America Matthew Rosenstein Sales Manager Noah Buchwald Sales Manager Hugo della Motta Sales Director Sylvain Faureau Sales Director Aude Dionnet Sales Director Peggy Voutyras Sales Managers Paul Barbaro, Nancy Denole, Samira Haddi, Cyril Szczerbakow, Hicran Lefort, Pascale Lallemand Head of Sales, Buyers Yi-Ping Gerard Sales Executive, Buyers Laetitia Rouis-Carrero Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao, Kristian Kender CIS Representatives Alexandra Modestova Germany Representative Marc Wessel India Representative Anil Wanvari Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Spain Representative Maria Jose Vadillo South Korea Representative Sunny Kim Taiwan Representative Irene Liu

PRODUCT NEWS

• Multiplatform unscripted formats from companies around the world 11

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 © 2020, Reed MIDEM Market Publications. Publication registered 1st quarter 2020. ISSN 2108-4246.

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After The Masked Singer the search is on for Korea’s Next Big Hit

K-Formats: The Next Big Hits From Korea. The hottest ticket in town?

KOREA, chosen as Country Of Honour for MIPTV 2020, is hot right now, with Parasite the first-ever foreign-language film to win the Best Film Oscar, and The Masked Singer as currently the world’s hottest TV format. Scheduled for MIPFormats was K-Formats: The Next Big Hits From Korea, a session supported once again by the Korea Creative Content Agency, KOCCA, the government body that oversees and co-ordinates the promotion of the Korean content industry worldwide. In the field of formats, “KOCCA offers subsidies for pilots”, according to James Son, who heads up KOCCA’s formats division. “Those subsidies are available for co-productions and overseas in-

dies can benefit if they work with a Korean partner.” KOCCA can also offer financial backing for paper formats and works with indies to develop projects inside its Format Labs. Keri Lewis Brown, founder and CEO of UK-based global research company K7, and moderator of the K-Formats session, explained the success of the hit Korean format: “The Masked Singer delivers appointment TV, co-viewing and conversation, thereby ticking a number of important boxes for linear broadcasters right now as they try to counter the challenge of the streamers. It also embodies the current trend for ‘positive competition’. Mean-spirited formats are out as viewers seek joyful esMIPFORMATS PREVIEW •

capism from dark global times.” “Craig Plestis, CEO of Smart Dog Media and executive producer of The Masked Singer for NBC in the US, said that The Masked Singer has two winning factors: the element of surprise, and spectacular entertainment,” KOCCA’s Son added. The challenge now is to match that success. CJ ENM’s I Can See Your Voice — on air on Korea’s tvN since 2015 — recently won attention after being picked up by Fox as one of three shows to pilot in 2019. For Son, “this news is very meaningful to KOCCA”, which had taken the show to many events around the world before its international success. “To date there have been 11 sales 6

• March 2020

of the format, with versions currently on air in Korea, Thailand, Vietnam, Malaysia, Indonesia and the Philippines, and is set to air in the US and Romania, with other European territories,” Lewis Brown said. “The show’s basic format has guest artists attempting to guess a trained singer, and one who is completely tone-deaf, from a line-up. The contestants are gradually eliminated without ever performing, until in the final round, the last contestant standing performs with the pop star. If they can hold a tune, they receive a special award; if they cannot, they receive a cash prize.” Fox announced in February that it has ordered the format for launch later this year.”

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NEWS: MIPFORMATS

FRAPA celebrates 20 years of protecting intellectual property THE FORMAT Recognition and Protection Association, FRAPA, the trade association that seeks to create and enforce legal protection for television formats as intellectual property, is 20 years old this year. FRAPA co-chairman Jan Salling — head of BBC Studios Nordics Productions and CEO of consultancy Missing Link Media — said that in its 20 years the association has done valuable work for the formats industry. “Every step of the way it has been worth it,” he told the MIPTV Preview. “We have received such good feedback, from small, medium-sized and even large multi-indies, complimenting us on the work we do and expressing how important FRAPA still is even though the world is moving fast — now it’s a world of streaming and internationalisation and VODs.” The more the media landscape changes, the more people in the industry need familiarity, “somewhere to go with people that they can trust”, he said. “And as FRAPA is a non-profit organisation and always has been, so we are an impartial, neutral place where you can get some proper business advice, some good discussion partners, and where you can talk with confidentiality.” The strength of the FRAPA brand alone can bring considerable help to its members, he said. “The very low-tech and practical thing that we can offer the industry is the simple opportunity to put the words ‘Registered with FRAPA, protected by FRAPA’ on their emails, on paper, on PDFs and powerpoints. That helps, because our brand is so strong. It’s a small thing but it means that whatever

person or company that you have on the other side of the table to discuss your idea, they will think twice about stealing it.” Moving into its third decade, Salling said it’s important that FRAPA “stays relevant in this ever-changing world. So we are coming up with a lot of initiatives this year, including the FRAPA app, which has all the services you need as a format producer or creator. It links to places where you will find information about how to develop and protect your format ideas.” FRAPA is also looking to enlarge its board: “We need more ambassadors and more hands out there to preach the gospel and to attend the various events to which we are constantly being invited. We always speak at MIPTV and MIPCOM for example. There is always a FRAPA session at those events.” The organisation is also planning a series of webinars. “We need something digital that’s relevant to issues facing the industry and that people can watch whenever they need to,” Salling said. company WeMake. The FRAPA Kicking Off The Market Summit is now a regular MIPFormats event that Salling said has grown considerably since it launched three years ago. “It’s expanded to include a whole range of profes-

MIPFORMATS PREVIEW •

sionals,” he said. “We get the American format producers there now. And the streamers and broadcasters come too, to get a headstart on the marketplace.” He added: “We have been successful by being very outspoken and being very

straightforward in our communication. We know how loud you need to shout out sometimes to be noticed.”

“We are an impartial place where you can get some proper business advice”

FRAPA co-chairman Jan Salling

• March 2020

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FORMATS: BIG ISN’T ALWAYS BETTER LA-BASED creator and buyer of unscripted formats, Nathalie Wogue, was due to present the Global Format Trends At A ‘Glance’ session with Avril Blondelot of Paris-based research organisation Glance, on current trends in viewing behaviour. “Netflix accelerated the habit for viewers to look for ‘what’s next, what’s new’,” Wogue said. “And in the field of unscripted formats, it’s not all about the big titles. People consume content so quickly now and at the same time they want to be able to tell their family and friends about their latest discovery.” Some successful formats have started out as small features inside bigger shows, “for example Carpool Karaoke, or Lip Sync Battle. US channels are actually using those examples as models for future programmes,” she said. “That’s My Jam, a primetime entertainment show to be hosted by Jimmy Fallon in July, is based on the Wheel of Musical Impressions feature from The Tonight Show.” But the big formats won’t go away. The Masked Singer and I Can See Your Voice “are particularly relevant in primetime as the gamification of entertainment facilitates the family co-viewing experience”, Wogue said. “And dating shows are still very strong, and commissioners are trying to develop new formats by introducing dating into a mix of genres.”

Nathalie Wogue

More shifting in the TV landscape as streamers take on the superformats WHAT are the opportunities, challenges and practicalities of producing format content for the streamers? Along with live news and sport, unscripted entertainment and reality formats represent an area where the linear broadcasters still have the edge over Netflix, Amazon and their upcoming competitors. In a scheduled MIPFormats session, Producing Shows For VOD, Mike Beale, managing director, ITV Studios Global Creative Network, planned to highlight a recent FRAPA report on producing for VODs. “If you’re a football fan and you watched Amazon’s football coverage [in the UK] at Christmas, it looks like Amazon is almost there,” Beale said. “And they’re about to do Love Island in France, so they will be transmitting 36 hours after recording, the same as we do everywhere else — and uploading one episode at a time, every day. So that’s the first big shift.” ITV Studios is also producing a show for Quibi called The Hot Drop, a dating show in real time. So if the SVODs are moving into

the instant-hit business of as-live reality programming, where does this leave companies like ITV Studios? “With more buyers. It’s exciting,” Beale said. But with fewer linear viewers? “There are still events that bring in big audi-

ences — I think I’m A Celebrity… , last season, peaked at around 10 million, including catch-up, per day. The viewers are there, you’ve just got to remind them to watch it and give them the opportunity to watch it on any device.”

ITV Studios Global Creative Network’s Mike Beale

Should we all stop looking in the mirror? IN A MIPFormats session, Trends Outside The TV Bubble?, senior media leader Gary Carter planned to ask what today’s creatives should be observing and absorbing from outside the business of TV as they create and develop the hit formats of tomorrow. As a “societal trend specialist” Carter wants to encourage the industry to look outside the media “echo chamber”, highlighting and analysing key societal trends to show that only by reflecting “the way people live, love and work in real life can new shows hope to grab and hold viewers’ attention”. “By TV Bubble, we might say

that television can be both a window and a mirror,” Carter said. “In the sense of being a window, it can offer views and sights not yet seen or experienced. In the sense of being a mirror, it can reflect itself.” He added: “My contention is that too often it is a mirror, reflecting itself and its own concerns, its own commercial and creative anxieties, if you like. One of the Gary Carter

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results of this, is that – largely because of the commercial dynamics of the industry, probably – the development of ideas begins too often with what is already on television, rather than with what is active in society.”

product news

Here we highlight some of the uncscripted formats from companies around the world

RED ARROW STUDIOS INTERNATIONAL RED ARROW Studios highlights new entertainment format Beat The Channel, which sees two presenters get the chance to win their own 15-minute live broadcast slot. To win they compete against their host channel over six challenges and a final game. The channel throws everything they can at the duo — including their smartest celebrities and biggest programme brands — to play tough physical and mental challenges in the studio and on location. If the duo wins they get a live primetime slot to present whatever they wish. In the German version, ProSieben stars Joko and Klaas included in their winning slots; hiding money in cities around Germany and filming viewers trying to find it; and gifting the slot to people who help others and have important things to say. If the channel triumphs the duo are at its disposal for a whole day and have to do what it says — including hosting the daily magazine show or announcing live links across the whole day’s schedule. The original production by Florida Entertainment for ProSieben was a hit in Germany and ProSieben has commissioned a third season, with the local title Joko & Klaas Gegen ProSieben. The format has been sold to Banijay Group’s Dlo/Magnolia for Spain, Endemol Shine for Portugal, Deeply Superficial for France and Different Productions for the Middle East. Beat The Channel (Red Arrow Studios International)

VIACOM INTERNATIONAL STUDIOS (VIS) VIS FORMAT from Comedy Central, Gods Of The Game (5 x 30 mins), is a game show hosted originally by the UK’s most decorated Olympian, five-time gold medal winner and first British winner of the Tour de France, Sir Bradley Wiggins. The format features prominent British sports stars as they take on amateur contestants in unique and humorous challenges based on the impressive skills of each sporting legend. Originally produced by Mad Monk, the show is distributed by Viacom International Studios.

Gods Of The Game (Viacom International Studios)

MEDIA RANCH

DORI MEDIA

A PRIORITY for formats specialist Media Ranch is Judge For One Day, a factual, social experiment show that allows judgement of a crime by eight ordinary people. The participants follow the reconstruction of crimes and decide on the justice they would want to see, and then their verdicts are compared with the actual one. This is a format from the Danish Radio (DR) portfolio, which was produced and broadcast in Denmark on DR2 and a daily version aired in the Ukraine. Worldwide rights are available, excluding Germany, Flemish Belgium, the Netherlands, France and the UK.

REALITY fashion talent show The Fashion House (Corte y Confeccion) is brought to the international marketplace by Israel’s Dori Media. The competition looks for the best talent among amateurs, students and professionals who are judged for their creativity, drive, uniqueness, tidiness, knowledge in design, cutting, dressmaking and the ability to adapt while completing stressful tasks. The show is produced by Laflia Contenidos.

Judge For One Day (Media Ranch)

The Fashion House (Dori Media)

MIPFORMATS PREVIEW • 11 • March 2020

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KESHET INTERNATIONAL (KI) THE HIT List (6 x 60 mins), from Tuesday’s Child Productions, is a playalong and sing-along format, which sees pairs of contestants competing to be the first to guess the name and artist of well-known songs from a diverse variety of genres and decades. Filmed in front of a studio audience, who are all on their feet, cheering, applauding and singing along, The Hit List has the lively atmosphere of a rock concert alongside a fast-paced quiz, and is distributed by Israel’s KI.

MAGNIFY MEDIA VEGANVILLE (3 x 60 mins), from Plimsoll Productions for BBC1 and BBC3 in the UK, is distributed by Magnify Media. In this social experiment five passionate vegans descend on a town where the local economy and way of life is synonymous with the meat industry. In the UK, it is the Welsh town of Merthyr Tidfil, where sheep outnumber people four to one. The vegans have three weeks to see how many meat eaters they can convert through their persuasive powers and shock tactics.

The Hit List (KI)

Veganville (Magnify Media)

ZDF ENTERPRISES (ZDFE)

ORANGE SMARTY

GERMANY’s ZDFE highlights Cash Or Trash, a 55-minute format in which a well-known host and a team of antique experts examine potential treasures that members of the public have brought in. Some of the people may then be given a Dealer Card, which grants owners of valuable objects the right to a sell directly to five professional dealers. With some clever bargaining, some trash can be turned into lots of cash and real treasures can be revealed. The format has already sold to Austria, Belgium, Czech Republic, France and the UK.

Cash Or Trash (ZDFE)

THE AVERAGE person spends one third of their life at work. But how well do we really know the boss we spend so much time attempting to please? In TVNZ format Living With The Boss employees invite their boss to live with them for a week in a bid to make a personal connection and, in the process, improve conditions for the entire workforce. The boss, meanwhile, gains an unfiltered view of their company as seen through the eyes of their employees. Each episode culminates in a big reveal, when the workforce is told about the experiment and the boss announces the improvements he or she intends to introduce as a result of what they have learned.

Living With The Boss (Orange Smarty)

MIPFORMATS PREVIEW • 13 • March 2020

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RTE INTERNATIONAL PROGRAMME SALES THE RTE format One Day is filmed over 24 hours across multiple locations. Each episode centres on a specific industry, highlighting the complex network of services related to that industry that are part of everyday life. Originally produced in-house for RTE One, this show is filmed from the perspective of the people who are expected to deliver a 24/7 high-standard service to the public. An example of an original show involved the animal-care business, including rearing, playing, grooming, caring and even cremating animals. Other day-long focuses have included the beauty and fitness industry, the police, lifeguards, air traffic controllers and motorway recovery drivers.

One Day (RTE International Programme Sales)

LINEUP INDUSTRIES

ALL3MEDIA INTERNATIONAL

AMSTERDAM-based Lineup Industries holds international rights for the format 1 Year Off, originally produced by Roses are Blue for VRT1 in Belgium. Seven seasons aired in Belgium (2001-2007), and now the format has been updated for primetime on VRT1 again. 1 Year Off sees 16 participants compete, with one contestant being eliminated each week. For every question, the three lowest ranking contestants must give their answer and then the remaining contestants use the knowledge they have gained about each other to predict who of the three will get the answer right. After 15 questions, the three lowest ranked contestants go to an elimination round. The Grand Finale is played by the final four candidates. Only then is the prize revealed — the annual income of the highest earning contestant.

THE FANTASTICAL Factory Of Curious Craft is a 60-minute competition format which features four crafters in each episode. In the first round the host chooses a theme that each crafter interprets using their unique styles. Then the host, aided by two experts from the crafting world, decides which three contestants go through to the next round. The eliminated crafter sees their make being dramatically recycled in the giant crusher. In the second round a celebrity challenges the three crafters to create something especially for them. The winner is the creator of whichever piece the celebrity chooses to take home. Another format from All3Media is The Hustler, a 60-minute game-show format with a twist. Five contestants collaborate to build a collective prize pot, not realising that one contestant already knows all the answers. If they can keep their identity a secret, they win the cash prize. If the remaining contestants work out who The Hustler is, then they walk away with the jackpot instead. The Search is a 60-minute talent format in which a well-known band looks for singers to form a new group to accompany them on their next big tour. The audition shows are recorded and six new bands created, in multiple genres. After vocal coaching and help with choreography, in the live shows the six bands go head-to-head. The band with the fewest votes is eliminated. But the eliminated singers get a chance to perform one last time and one of them might be saved to join one of the remaining groups.

1 Year Off (Lineup Industries)

The Fantastical Factory Of Curious Craft (All3Media International)

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