MIPJUNIOR 2012 PREVIEW by MIPMarkets

SEPTEMBER 2012

mipjunior

www.mipjunior.com The ofﬁcial MIPJunior preview magazine

preVieW JUNIOR KEYNOTE

Cartoon Network’s Stuart Snyder SEE PAGE 6

DIGITAL KIDS

ANIMATION

Also inside:

A day-long series of conferences

Animation gets a new lease of life

• Canada at MIPJunior • The Kids’ Jury • International Pitch competition • Kids’ content for sale • MIPJunior is 20 years old • Entertaining kids in the digital world

SEE PAGES 10 & 31

SEE PAGE 36

COntents i nEWS

Cartoon Network turns 20; Stuart Snyder gives the MIPJunior keynote; Kids’ Jury; International Pitch competition; Digital Kids! day of conferences...

Members of last year’s Kids’ Jury with one of the winners, Fantawild’s Daisy Shang and Reed MIDEM’s Laurine Garaude

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Check out some of the kids’ content for sale at MIPJunior, and onwards at MIPCOM

i features

20 years of Junior Rachel Murrell asks past MIPJunior participants how the event has changed over the years 26 Who is teaching whom? Juliana Koranteng discovers how the industry is keeping pace with the viewing habits of young people 31 The ‘toons ﬁght back With the rise of live-action for kids, animation is having to raise its game to compete. And as Gary Smith discovers, it is succeeding 36

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nEWs KEYNOTE

Cartoon Networks celebrates with Junior

EYNOTE speaker for the 20th MIPJunior is Stuart Snyder, president of Cartoon Network — home of the Hanna-Barbera cassic catalogue as well as the likes of Johnny Bravo, Dexter’s Laboratory, Powerpuff Girls - which is also 20-years-old this year. From a vast library of classic animation acquired by founder Ted Turner, Turner Broadcasting System launched Cartoon Network on October 1, 1992, as the world’s ﬁ rst 24-hour channel dedicated to all things animation, to two million US households. Today, it is the Nº1 US network with boys 6-11, and is seen in over 178 countries, and more than 360 million households. “It doesn’t seem like 20 years ago when it all started,” Snyder told the MIPJunior Preview. “And it’s certainly a different marketplace now.” So what has changed and what remains the same? “Well, kids wanting to be entertained, that hasn’t changed. And great content still wins at the end of the day. And what’s changed? A lot of things have changed. That time was a one-screen dimension. Kids today don’t know a world without internet, computers, and cell phones. From a technology standpoint the world has changed dramatically. You have to think of programming content not just as a television show but as a franchise from a multiplatform perspective.” And the business is “a lot more fun now”, according to Snyder. “The creative talent that’s working on these shows and characters now, they’re thinking on so many different levels about what they can do and where they can take their shows,” he said. “We’re thinking of different environments in which the content can be experienced. I believe this has enhanced how kids are engaging with our brands.” He added: “Most imporant, from a brand standpoint, is that our content is everywhere our audience wants it to be. We’re in the brand franchise business, especially from a global standpoint.” Snyder cites the sci-ﬁ animation series Ben 10 as the company’s biggest global brand to date, doing over $3bn in business worldwide. “So clearly there’s incentive to have our brands in the daily lives of our audience. They are engaging with our brands on a multiplatform basis.” New developments for Cartoon Network include live streaming, which was introduced earlier this year. “Now viewers can watch the network online, on smart phones and tablets — live. And we’ve also announced Watch And Play, where the viewer is able to watch the shows and play games at the same time on the iPad.” Live action is a new departure for the Network too. Upcoming in that genre is The Incredible Crew, the kids sketch show with Nick Cannon. With his keynote speech, Snyder plans to “communicate an insight into Cartoon Network, how we got to 20 years, talk about

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the last three to ﬁve years in terms of our growth and success in what we’re doing today, and how we’re looking to the future — and what I think is important in regard to how we can all build great content together.” He added: “We need to keep changing because our business keeps changing.”

Cartoon Network’s Stuart Snyder

i neWs WHAT’S NEW IN KOREA THIS year’s MIPJunior will for the first time feature an all-day showcase of new kids programming from Korea, supported by KOCCA. Delegates can visit this interactive showcase and lounge area on Saturday, October 6 on the first floor of the Hotel Martinez, Salon Macassar, 10.00 – 18.00.

SEARCH FOR THE NEXT BIG HIT THE MIPJUNIOR International Pitch competition has been established for television and digital producers who are looking to take their kids content to the international market. The aim of the competition is to find the next big brand in kids’ entertainment content. Originality and overall appeal in storytelling techniques, characters, look, story and themes are key characteristics that the panel of judges is looking for. Projects must also have multiplatform potential and target international audiences. Six finalists will present their projects during a live pitching session in Cannes, on Saturday October 6 and will also take part in a Meet The Jury session for feedback following the pitch. The winner will receive a prize valued at €2,500 as well as worldwide visibility for the winning project.

RUSSIA IN CANNES TO FIND CO-PRO PARTNERS RUSSIA’s Cinema Fund (CF) is supporting the participation of Russian animation companies at MIPJunior, in celebration of the 100th anniversary of the Russian animation business. Russian companies will be in Cannes to meet new international partners for CF’s Elena Romanova animation co-production, with a number of the resulting projects receiving funding from the CF. The Fund — Russia’s public financing body for film and animation production — is also supporting the first-ever Russian national pavilion at MIPCOM, situated on level 01 of the Palais. Both enterprises follow the MIPCOM 2011 Focus On Russia at MIPCOM. The Fund’s interational department is headed up by Elena Romanova.

THE KIDS ARE BACK IN TOWN MIPJUNIOR once again puts programme makers up against the toughest of judges — the kids themselves. The MIPJunior Kids Jury is back in Cannes to tell the industry exactly what they want, and what they don’t want. The jury of 15 children will screen pre-selected programmes in three categories: Pre-school (3- to 6-years-old); Kids (7- to 10-years-old); and Pre-teen (11to 14-years-old). The winners will be honoured during the Kids Jury Awards Ceremony at 19.00 on Saturday, October 6. 10 I

DIGITAL KIDS! Shafestbury/Smokebomb Entertainment’s Jay Bennet: The Apps Business Model

Cartoon Network’s Chris Waldron: Meet The Digital Content Strategists

Little Airplane Productions’ Josh Selig: Kids IP/ Great Ideas Are Media Agnostic

Media Monk’s Victor Knapp: How To Create For Digital Kids Sunday, 7th October 2012, 17:25

Sunday, 7th October 2012, 15:05 Sunday, 7th October 2012, 11:10 Sunday, 7th October 2012, 10:00

Experts come together to share their ideas on engaging kids

IPJUNIOR presents a day-long programme of conferences that will bring together leading kids’ brands from the web and social media, with producers, broadcasters and publishers. The aim of the programme is to enable professionals in the ﬁeld to share business strategies and results through a number of conversations and case studies. Sessions include Meet The Digital Strategists, where delegates can pitch their projects to

digital experts; The Apps Business Model, where delegates will hear a number of apps success stories; Meet The Digital Producers, where delegates can meet the creators who are pushing the boundaries of cross-media storytelling; and How To Create For The Digital Kids — which might ultimately mean creating with them! The Digital Kids! programme of conferences kicks off with Exclusive Research: The Way Kids Connect With Each Other And With Content by Dr Barbie Clarke, Family Kids & Youth.

Canada showcase highlights innovation MIPJUNIOR Country Of Honour, Canada, will show it’s digital credentials at MIPJunior with a Snack & Screen session on Sunday, October 7 at 12.30 that will showcase multiplatform content coming out of Canada. The session is presented by Catalina Briceno, of the Canada Media Fund. A case study presented by the National Film Board of Canada’s Deborah Drisdell, will focus on innovative digital and mobile offers for the youth market, and methods by which to engage with young audiences. The Country of Honour at MIPJUNIOR and MIPCOM, Canada is a leader in this field and the NFB has a number of innovations designed to engage you ng aud ienc es. N F B chairperson Tom Perlmutter says the company is

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Catalina Briceno

re-versioning much of its original content and creating “digital box sets” which offer added value to the consumer. “We’ve just launched one with the works of Co Hoedeman — a series called Ludovic — which is animation for children,” he said. “It did incredibly well, we can add puzzles and games to enrich that experience. “We’re looking at other animated boxed sets, plus a whole range of other ways of looking at how we use apps. Our apps generally become big hits when we launch them here in Canada a nd el s e where.” Deborah Drisdell’s Case Study is part of the Digital Kids series of sessions and takes place on Sunday, October 7, at 16.50.

Deborah Drisdell

This fall, Chica is breaking out! 52 x 11 Min. Get ready for dress-up play and fantastic adventures with Chica and her friends as the doors of The Costume Coop open for funny business! A new preschool series featuring animation and puppets. Available worldwide.

sproutftp.egnyte.com login: TCS1 password: ChicaShow1

Launching on Sprout Nov. 2012 and on NBC in 2013

Available in:

PrOductnEWs MIPJunior Preview highlights some of the content on sale from around the world at MIPJunior, and onwards at MIPCOM… AB INTERNATIONAL

DISTRIBUTION WORKSHOP

EVERY night, after closing hours, a strange phenomenon occurs in a Japanese restaurant — the sushis, makis and temakis, come to life — they are the Kobushis, trained by Master Tako to become samurais, protecting their area from a hungry porcelain cat. Kobushi (104 x 7 mins) is a series aimed at 6- to 10-year-olds.

SWEATBOX

A MIX of live action and 3D animation, The Flying Machine (1 x 76 mins) is a family fantasy adventure starring Heather Graham and Lang Lang. The soundtrack is music from Frederic Chopin, performed by renowned pianist Lang Lang. The company also brings a series of short films across various genres, also set to Chopin’s music.

IN THE NEW series from Sweatbox, Monsteroids, the monsters that children on Earth draw come to life in the Realm of Whatever, an upside-down umbrella shaped asteroid, which is visited by an eight-year-old boy called Meh, riding on his tiny magic comet. There are plans to turn the concept into a multiplatform product based on the idea of children drawing monsters that could be incorporated into the follow-up series.

BRB INTERNACIONAL

THE PILOT of new animated series Invizimals , an animated series based on the video game created by Novarama for the PlayStation Portable (PSP) is available at MIPCOM, from BRB in association with Sony Computer Entertainment Europe. Screen 21 is currently working on the project that will have its world premiere at the end of 2013. The HD series (26 x 30 mins), aimed at 6- to 10-year-olds, features creatures invisible to the human eye, that can only be seen once captured by the PSP.

The Flying Machine (Distribution Workshop)

Monsteroids (Sweatbox)

HOTEL 13 is a new daily soap series targeted at kids and pre-teens set in a seaside location. The series (120 x 12 mins) is a co-production between Nickelodeon Northern Europe, Studio 100 NV and Studio 100 Media, following on from their co-operation on the mystery soap series the House Of Anubis.

TECHNICOLOR DIGITAL PRODUCTIONS

PETE & PICKLES is a one-hour special based on author/cartoonist, Berkeley Breathed’s book about a practical and uncomplicated pig who meets and teams up with a flamboyant runaway circus elephant. Their flaws may get them into trouble, but their friendship gets them out of it. Technicolor is currently in development for the show with Breathed, who is writing the script. Pete & Pickles (Technicolor Digital Productions)

Invizimals (BRB Internacional)

Hotel 13 (Studio 100 Media)

SPANISH creator of audiovisual entertainment properties, Nottingham Forest, has launched a new division, PLAYyourBRAND!, which works to add value to properties by using games, both physical and digital. The division recently developed a multi-device game for the PGS property, Jungle Bunch, and work is under way on projects such as Ben10 Adventure, the official virtual world in Spain of the TV series. Soon to launch in Spain is a multi-player game related to the El Bosque De Maya TV animation series.

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TOEI ANIMATION

CLASSIC 1970S series Mazinger Z follows the adventures of Kouji, grandson of Professor Juzo, a brilliant scientist who discovers a Greek island housing the secret to a lost but advanced form of robotics technology. Juzo is killed by an evil colleague and Kouji takes control of the Mazinger super robot to exact revenge. The 92-episode catalogue of the series is about to make it’s debut in the Latin American region.

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Mazinger Z (Toei Animation)

Toei Animation

NOTTINGHAM FOREST

Studio 100

STUDIO 100 MEDIA

iproductneWs ME AND My Robot (52 x 13 mins), which is set in a school for students of robotics, is a new co-production between Millimages, Synergy Media and Canal J, with the first 26 episodes due for delivery in November. Millimages handles worldwide television and licensing rights excluding Asia, which is represented by Synergy Media.

Captain Sabertooth – The King Of The Seven Seas (NordicWorld)

NORDICWORLD

Me And My Robot (Millimages)

MR ARKADIN FILM

CAPTAIN Sabertooth - The King Of The Seven Seas has been a popular Norwegian children’s character for generations. The pirate captain’s latest outing is a musical live-action series (26 x 14 mins). The stories centre on universal lessons of acceptance, friendship and courage. PORTFOLIO ENTERTAINMENT

DOKI and his friends in the Worldwide Expedition Club travel the world to learn about science and nature. Doki (26 x 30 mins/52 x 11 mins) is based on Discovery Kids’ popular “spokescharacter” and is produced by Portfolio Entertainment Doki (Portfolio Entertainment)

THE FIRST season of The Adventures Of Sally is

Fleabag Monkeyface (Cake Entertainment)

ready for MIPCOM. Set on a farm, the live-action series features Sally the pig and her animal friends. The storylines emphasise skills and values such as honesty, responsibility, friendship, co-operation and respect for feelings and property.

AS PART of a co-production agreement with Enid Blyton estate owners Hachette UK, Kindle is developing a series based on The Famous Five stories for today’s audience. George, a contemporary girl, and her dog Timmy, are transported back to Kirrin Bay in 1954. There, she meets well-loved characters Julian, Dick and Anne, who are spending the summer with Uncle Quentin and Aunt Fanny. The company also brings Get Well Soon (30 x 14 mins), which aims to enlighten pre-schoolers about health and medical issues in an exciting and informative way. NEPTUNO FILMS

RUPERT And Sam, a 26 x 3-minute 3D series, stars

Mirk_One

KINDLE ENTERTAINMENT

SONY CREATIVE PRODUCTS The Adventures Of Sally (Mr Arkadin Film)

9 STORY ENTERTAINMENT

two eternal optimists who crash–land in an unknown place. Rupert And Sam is a co-production with TV3, IB3 and 3D Videographics, and has pre-sold to 20 territories.

ARTHUR (20 x 30 mins) is the digitally refreshed 16th season of the stories based on books by Marc Brown. Arthur revolves around the adventures of an eight-yearold aardvark and his family and friends as they solve their dilemmas with imagination, kindness and humour.

Rupert And Sam (Neptuno Films)

Arthur (9 Story Entertainment)

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MOFY is a shy rabbit that lives in a cotton ball and travels across plush mountains, plains and woodlands on various adventures with her best friend, a musical frog named Kerry. The stop-frame animation originates from a popular Japanese book, and is animated by Misseri Studio of Italy. The pre-school series (26 x 5 mins) is due next April, with a second season planned for 2014. Mofy is a coproduction between Sony Creative Products, Rai Fiction, and Misseri Studio.

Mofy (Sony Creative Products)

MMXII – MMXIII Discovery Communications, LLC

GROSS is good, according to Fleabag Monkeyface (52 x 11 mins), the half-monkey half-boy created by Gene and Gerald, best friends and fans of all things grossly silly. The company also brings the second series of Angelo Rules (46 x 11 mins/3 x 22 mins), featuring 11-year-old Angelo who sweet-talks his way around; Abominable Christmas (1 x 40 mins), about two lost abominable snowkids taken in by a family; Dear Dracula (1 x 40 mins), another family film in which a young boy contacts Dracula — and to his surprise he turns up at the door.

MILLIMAGES

CAKE ENTERTAINMENT

iproductneWs HASBRO STUDIOS

MONSTER ENTERTAINMENT

MONSTER Entertainment launches its second inhouse animation, I’m A Creepy Crawly, at MIPCOM. The pre-school series has already been pre-sold to broadcasters in 60 countries. Newly acquired for the catalogue is: Funky Fables (26 x 11 mins), in which fairy tales are given a modern twist; Fluffy Gardens (80 x 7 mins — and a 1 x 22 mins Christmas special); Punky (20 x 7 mins), about a spirited little girl who has Downs syndrome; and Pondemonium (104 x 10 mins), about a group of creatures living in a marsh.

KAIJUDO: Rise Of The Duel Masters (52 x 30 mins) is an animated action-fantasy series that follows Ray, who possesses the rare ability to befriend and duel alongside fantastical creatures from a parallel dimension. Evil forces would have these creatures enslaved, so Ray and his two best friends join the mysterious Kaijudo monks to ensure the survival of both races before it’s too late.

Monster Entertainment

ANIMATION series SheZow! launches at MIPCOM. Aimed at 8-12 year olds, the series (52 x 11 mins) follows the exploits of 12-year-old Guy who has his own macho catch phrase, “It’s a guy thing”. When he finds a ring that belonged to his late Aunt it transforms him into a superhero — with a female superhero costume.

DHX MEDIA

SheZow! (DHX Media)

FUTURIKON

C.R.A.F.T.Y. Kids Club (52 x 12 mins), aimed at boys and girls aged five to nine, is about a group of friends that dream up and make objects from recycled materials. Each episode is followed by a 1- minute 30-second edutainment segment on how to create the objects at home. The company also brings the second season of The Minimighty Squad (78 x 8 mins), bringing the total number of episodes to 156; and How To Draw? (26 x 2 mins), which gives 6- to 12-year-olds helpful hints to draw successfully.

I’m A Creepy Crawly (Monster Entertainment)

UNION MEDIA

NEW PRE-school series Toby’s Travelling Circus is a stop motion animation, launching on the UK’s Channel 5 Milkshake strand, from Komixx Entertainment. The cast of characters is lead by eight-year-old ringmaster Toby, and the clowns and acrobats show that practice makes perfect when you are putting on an a show.

Kaijudo: Rise Of The Duel Masters (Hasbro Studios)

BBC WORLDWIDE

BBC WORLDWIDE’S MIPCOM slate includes: Sarah & Duck (40 x 7 mins), about a 7-year-old girl and her best friend Duck who, with the help of The Narrator, embark on simple but exciting adventures; season two of Baby Jake (16 x 11 mins), a pre-school series mixing live action and 2D photorealistic animation, featuring stories and songs, with his 6-year-old brother on hand to interpret his gurgles; and series two of the adventure series Leonardo, featuring the teenage inventor and his streetwise friends.

C.R.A.F.T.Y. Kids Club (Futurikon)

MOONSCOOP

THE FIFTH series of Code Lyoko is launched at MIPCOM, the first to use live action for the real world, and CGI to represent the world of Lyoko. Code Lyoko Evolution (26 x 26 mins) is a co-production with France Television and Canal J set for delivery in the first quarter 2013. Moonscoop

Toby’s Travelling Circus (Union Media)

RAINBOW

A TOTAL of 104 episodes of Winx Club are now available, including the new series, season five. Aimed at 4- to 12-year-olds, the 2D/3D animation, features the friends at the Alfea School for Fairies. In the latest series stories have an ecological focus as the Winx Club faces a mission to save the oceans. The series is created by Iginio Straffi. Code Lyoko (Moonscoop) 16 I

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Sarah & Duck (BBC Worldwide)

iproductneWs BABYFIRSTTV

IMIRA ENTERTAINMENT

LUCKY Fred — an Imira co-production with Televisio de Catalunya and RAI Fiction — is a 52 x 12-minute 2D animated series for 6- to 12-year-olds that follows the comic adventures of a 13-year-old boy and his shapeshifting robot. Consumer products and publishing deals are spearheading the licensing roll-out for the property, with the series available in 26 different languages, and the online site available in six languages. The complementary Mission Protector App is now available in eight languages. The App recruits fans as special agents and tasks them with finding and neutralising aliens in their own city.

SABAN Brands’ latest incarnation of Power Rangers —Power Rangers Megaforce – is premiered at MIPCOM by MarVista. The new series (40 x 30 mins) features Gosei, a supernatural guardian who protects earth with his robotic aide, Tensou. But when the evil Warstar aliens begin their massive invasion, Gosei calls upon five teenagers to form Power Rangers Megaforce. The new series is helmed by Haim Saban, creator of the original Mighty Morphin Power Rangers series. The new series is due next year, which will be the 20th anniversary of the franchise. Imira Entertainment, Televisió de Catalunya, Rai Fiction, Top Draw Animation

BabyFirstTV

NEW FROM BabyFirstTV is VocabuLARRY, a series that features a curious parrot with an appetite for learning new words. Every environment into which he flies features one recurring item, whether it’s a piece of furniture, an article of clothing or a toy. With the help of a narrator, Larry learns the name of the object of the day, and repeats the name over and over again.

MARVISTA ENTERTAINMENT

VocabuLARRY (BabyFirstTV)

EUROPE IMAGES

SWITCH (26 x 22 mins) is a live-action series coproduced by Moi J’aime La Television, Genao Productions and Canal J. In the new series, from the same team that created The Genie In The House, Jack is just another 16-year-old with big dreams of pop stardom until a young witch and a teenage fairy come crashing into his life. The company also launches Xiaolin Chronicles (26 x 22 mins), an adventure 2D/3D series featuring the KungFu experts, Xiaolin monks.

Power Ranger Megaforce (MarVista Entertainment)

HGAGNON DISTRIBUTION

Lucky Fred (Imira Entertainment)

HGAGNON is highlighting Monster Motel at MIPCOM, two 22 x 24-minute HD series, with series two available in January 2013. Next to a thermal spring a strange team of monsters, along with a crazy old man and a teenage boy, run a motel. They must overcome many obstacles to prevent foreclosure of the establishment.

SIXTEEN SOUTH

DRIFTWOOD Bay is a 52 x 7-minute pre-school mixed-media animated series about a five-year-old girl who lives in a beach hut with her father. Every day, the sea washes up a treasure, which sparks Lily’s imagination about what might be happening across Driftwood Bay. With her best friend Gull, a clever seagull, they begin their adventures.

M4E/TELESCREEN © Sixteen South Limited

Switch (Europe Images)

THE JIM HENSON COMPANY

TM & © The Jim Henson Company

Lucky Punch/m4e/Rainbow

MUSIC-filled pre-school series Pajanimals, launched in the US on NBC Kids, stars four gentle characters designed and built by Jim Henson’s Creature Shop who play games, sing songs and go on pre-school adventures. The series is a partnership with The Jim Henson Company, Sprout and Sixteen South Limited.

MIA & ME, the story of a young girl who bounces between school life (live action) and Centopia, a land of myths (animation), has recently secured and international license agreement with Mattel as a toy partner. The series (26 x 30 mins) has sold in over 50 territories and is a Lucky Punch production, jointly distributed by m4e and Rainbow.

Pajanimals (The Jim Henson Company) 18 I

Driftwood Bay (Sixteen South)

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Mia & Me (m4e)

iproductneWs HOHO RIGHTS

CLOUDBABIES is a pre-school 52 x 10-minute CG series featuring four childlike characters whose job it is to look after the sky and their friends — Sun, Moon, Rainbow, Fuffa Cloud and Little Star. They live with the imp Bobo White in a house on a big fluffy cloud. The series introduces children to concepts of day and night, sun and moon and rainbows and stars. The company also brings Abadas (52 x 11 mins), a mixed media animation with live action, which introduces preschoolers to language through play.

TUMBLETOWN Adventures is an educational series aimed at school-age children following Tumbleweed and his furry friends as they learn important lessons about the world around them. The programmes are divided into two separate series: Tumbletown Tales teaches maths and financial literacy, while Tumbletown Reads teaches writing and language skills. Featuring real hamsters and chinchillas, the series tackles educational concepts in a fun way.

Cloudbabies (HoHo Rights)

Tumbletown Reads (Picture Box)

TRICON FILMS & TELEVISION

The Amazing House (ABC Commercial)

NEW PRE-school series JigiJump (25 x 5 mins) sees singers Judy & David combining music with fantasy adventure to inspire pre-schoolers to get physically active. Animation provides the setting for musical excursions, whether it’s jumping with monkeys in the jungle or chasing an eel at the bottom of the sea. Also on the slate is the The Next Star (62 x 60 mins), which is currently in it’s fifth season, a competition for aspiring pop stars 15 years and under.

TELEVISION SYNDICATION COMPANY

CHILDREN’S series Travel Thru History (13 x 30 mins) travels to diverse locations across the US to explore the past. Sites range from Atomic Testing Museum in Las Vegas, Nevada to the Country Music Hall of Fame in Nashville, Tennessee.

BRAZILIAN company 44Toons brings Newbie And The Disasternauts (39 x 7 mins/HD), aimed at 6- to 10-yearolds, to MIPCOM. The Disasternauts are lost in space, but instead of figuring out how to get his crew safely back to Earth, the ship’s captain just concentrates on having fun — he is just a kid.

NELVANA ENTERPRISES

GREEBOO, a well-known French character, is back in the new series Hello Greeboo (52 x 5 mins). With his friend Pencil Head the felt-tip pen, Greeboo teaches children how to draw in a simple and playful way, while creating funny stories. The show is a co-production between two French companies: Moving Puppet and Planet Nemo.

NEW ON the MIPCOM slate for Nelvana is Oh No! It’s An Alien Invasion, about a band of partying aliens that have invaded Earth and kidnapped all the grown-ups. Luckily, Nate and his Super Wicked Extreme Emergency Team (S.W.E.E.T.) are on the case to take back the world. Nelvana also brings two new 44-minute Franklin the turtle specials: Pole To Pole and 20,000 Leagues Under Woodland, along with new seasons of BeyBlade, Max & Ruby, Babar and the Adventures of Badou, Sidekick, Scaredy Squirrel, Detentionaire, and Mr. Young.

Hello Greeboo (Moving Puppet) 20 I

44TOONS

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Newbie And The Disasternauts (44Toons)

Oh No! It’s An Alien Invasion (Nelvana Enterprises)

MOVING PUPPET

Tumbletown Adventures (Picture Box

THE MIPCOM slate for ABC Commercial includes: The Amazing House (26 x 26 mins/HD/and webisodes), with two puppet characters, and their friend Alex, teaching early reading skills for ages 3 to 6; Little Ted’s Big Adventure (20 x 2.5 mins), interstitials exploring different forms of transport; Giggle Gallery Interstitials (20 x 1 min), a pre-schoolers exploration of the world of art; My Great Big Adventure (10 x 20mins/HD), tackling issues such as bullying, divorce and disability; The Adventures Of Figaro Pho (13 x 24 mins/HD or 39 x 7 mins/HD), starring a mischievous character full of phobias.

PICTURE BOX

44Toons/BTVP

ABC COMMERCIAL

Conference Room

Salon Macassar

C f Conference Room R

Conference Room

CYBER GROUP STUDIOS

LIGHTBOX STUDIOS

IN LUKA Starbuster (26 x 22 mins/HD) Luka is a typical 14-year-old boy who loves playing the space game, Starbuster. One day he is summoned to become a member of the Starbuster Troops, an intergalactic force that protects the universe. Can Luka do this and keep up with his chores? Lightbox also brings Pikoko (52 x 1 min/HD), about a child living in an enchanted place.

ZDF ENTERPRISES

TWO SHOWS top ZDF’s MIPCOM children’s slate. Firstly Wolfblood (26 x 26/HD) is a live-action series about teenager Maddy who can change from human to wolf at will. As the story develops a new boy arrives at her school who is also a Wolfblood. For younger children comes Wendy (26 x 26 mins/HD), about the adventures of a 15-year-old girl and her horse. FOOTHILL ENTERTAINMENT

Luka Starbuster (Lightbox Studios)

FOOTHILL’S UK Affiliate Foothill Europe is highlighting pre-school series Boy And The Dinosaur at MIPCOM, which is aimed at 2- to 5-year-olds, and tells the story of a small boy and his best friend, Dinosaur. Foothill also brings its rodent buddy comedy Raz And Benny.

IMAGE ENTERTAINMENT CORPORATION

THE MONTREAL-based company is in production on the second season of the animated series Walter And Tandoori, which will lead to a total of 104 new episodes on the market. There is also a new liveaction series (13 x 22 mins) in production, and there are no language barriers with Walter, he entertains without speaking a recognisable language.

Boy And The Dinosaur (Foothill Entertainment)

LIGHTSTAR STUDIOS MEDIATOON

FOLLOWING the success of Spirou And Fantasio, which has sold in over 110 countries, is the new series aimed at kids over six, Little Spirou, which is available in French and English. From how to deal with arriving at school in slippers to how to survive horrible vegetables, Little Spirou offers alternative solutions to the problems of daily life. Mediatoon is also launching Silex And The City (40 x 3 mins), a satirical prehistoric series aimed at young adults.

FREMANTLEMEDIA ENTERPRISES (FME)

WIZARDS Vs Aliens (26 x 30 mins) is an adventure drama created by Russell T Davies and Phil Ford (Doctor Who). In the story aliens want to devour all the magic on Earth, but 16-year-old Tom and his family are wizards, and with the help of his friend Benny, Tom must stop them. FME also brings Grojband (52 x 11 mins), a fun animated series geared towards kids 6- to 11 years-of-age, about a group of cool kids struggling to rocket their garage band to international stardom.

THE LITTLE Red Coat (26 x 11 mins) explores the unbridled imagination of a 6-year-old girl who can magically travel inside a book when she wears her little red coat. Also from Lightstar Studios is Meet The Algars (26 x 11 mins). The five aliens who live inside 6-year-old Mathew’s pencil case solve mathematical problems in a way that pre-schoolers can understand. Lightstar/BTVP

Mademoiselle Zazie (Cyber Group Studios)

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Wolfblood (ZDF Enterprises)

Lightbox Studios/BTVP

NEW FROM Cyber Group Studios this year is Mademoiselle Zazie (78 x 7 mins), targeting 4- to 8-year-old boys and girls. The series stars 7-year-old inseparable best friends Zazie and Max, who live by the seaside and have fun learning about life and having adventures with their friends. The company also brings more episodes of Zou (52 x 11 mins), about the lovable five-year old zebra and his family.

Wizards Vs Aliens (FME)

iproductneWs

The Little Red Coat (Lightstar Studios)

STARZ MEDIA WORLDWIDE DISTRIBUTION

Little Spirou (Mediatoon)

preview magazine I September 2012 I www.mipjunior.com

THE DOG Who Saved The Holidays — the latest in the ‘Dog Who Saved’ franchise — stars Dean Cain, Elisa Donovan, Gary Valentine, Shelley Long, and Michael Gross. In this outing, Zeus (the dog) meets his new family companion, Eve (the puppy) in this family-friendly seasonal film.

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G Get et p practical ractical iinformation nformation a about bout y your our e event vent a and nd s stay tay connected connected to to the the latest latest news news of of the the TV TV industry. industry. h http://road.ie/mipworld ttp://road.ie/mipworld

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iproductneWs AMERICAN Greetings’ Strawberry Shortcake made her TV debut on The Hub Network in the US, and a further 13 episodes are in production. The second series welcomes new character, Cherry Jam, who brings her musical talents to Berry Bitty City. The Hub Network also debuted a CGI relaunch series of Care Bares this year, 30 years after their introduction.

TV PINGUIM

VODKA CAPITAL

TV PINGUIM has devised a new format for its animated 104 x 30 minutes series that follows secret agent Fishtronaut. The new series mixes live action with animation and includes real children interviewing park animals and helping Marina and Zeek complete their missions, tell jokes and discuss the episode they’ve just watched with Fishtronaut. The company also brings pre-school series Earth To Luna! (26 x 11 mins) featuring little girl who is keen to learn about science.

BUGSTED, is an app-based property aimed at tweens. The app comprises 100 levels for iPhone, iPad and Android, combined with a 13 x 1-minute 3D animated series for TV, web and mobile. In 1969 a little bug was accidentally trapped on the Apollo 11 capsule and escaped on the moon where it mutated. In 2012, a lunar expedition accidentally scooped up a mutated bug and brought it back to earth. The mission is to get it back to the moon. © 2012 Vodka Capital

AMERICAN GREETINGS PROPERTIES

Bugsted (Vodka Capital)

V&S ENTERTAINMENT

Fishtronaut (TV PinGuim)

THE NEW, fourth series of Everything’s Rosie (26 x 11 mins) is due to air on the UK’s CBeebies next year, bringing the total number of episodes to 104. The series once again features Rosie, Raggles and friends as positive and inspiring role models offering laughter and discovery to pre-schoolers.

GURU STUDIO

V&S Entertainment

GURU has three new shows in development. Wish Come True follows the adventures of True and her friends, the magical Wishes. Working together, and with the help of children at home, they always save the day. Nemesis, in association with Teletoon, follows two former best friends who both want to rule the school. Comedy show Spaceface features the worst summer camp ever. The company is also working on a second season of Justin Time. Strawberry Shortcake (American Greetings Properties)

Everything’s Rosie (V&S Entertainment)

COOKIE Jar, in association with FremantleMedia Enterprises, brings Ella The Elephant to the international market at MIPCOM. Straight from Elephant Island, this CGI-animated, pre-school show aims to make you laugh and touch your heart simultaneously. Now in production, Ella The Elephant is due to broadcast on Disney Junior (US) and TVO (Canada) in the third quarter of 2013.

Ella The Elephant (Cookie Jar Entertainment) 24 I

GLAZ ZODIAK KIDS

HAUNTED Tales For Wicked Kids (14 x 11 mins) features Pepe, a lazy kid who works as delivery boy in Grandma’s witchcraft store. Monsters and other strange things, which appear when Pepe messes about with the items in the shop, will invade his town. Pepe has to send the creatures back to where they came from. Glaz/BTV

COOKIE JAR ENTERTAINMENT

Haunted Tales For Wicked Kids (Glaz)

preview magazine I September 2012 I www.mipjunior.com

ZODIAK Kids returns to MIPCOM with two series of Waybuloo, the animation series featuring characters called Piplings who live in a magical land called Nara. Following the success of the series in Australia, ABC has picked up the 50 x 11-minute spin-off version, as has Zappelin in the Netherlands. RAI (Italy) has licensed another 50 episodes of the original 19-minute episode series. Waybuloo currently airs in over 80 other countries worldwide.

Waybuloo (Zodiak Kids)

Advertise in ESSENTIAL CANADA A MIPCOM NEWS SPECIAL EDITION

T U O D N A T S WD O R C E IN TH

Distributed at MIPJunior and at MIPCOM with MIPCOM News Day 01 Beneﬁt from the exclusive distribution of the News in the main hotels of Cannes and throughout the Palais des Festivals.

Contact us before Tuesday 25 September: English speaking Canada: José-Luis Sanchez / Tel: +1 212 284 5147 jose-luis.sanchez@reedmidem.com

French speaking Canada: Fabienne Germond / Tel: +33 (0)1 41 90 49 40 fabienne.germond@reedmidem.com

Feature MIPJUNIOR: ANNIVERSARY

Twenty years of Junior MIPJunior celebrates its 20th anniversary this year. And how it has grown! From its inception in 1993 as the Youth Programming Screenings, the programme library has doubled, and the number of participating countries has grown from 37 to 64. Rachel Murrell asked some of those who have been there from the early years what they value most about Juniorâ&#x20AC;Ś

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CARLOS BIERN BRB INTERNACIONAL

JULES BORKENT NICKELODEON

FME

Photo credit Rory Dennis

“I’ve been coming to Junior since 1997, when I was a programming manager for Nickelodeon International. We all have a relentless schedule during MIPCOM, so Junior is valuable for its relaxed atmosphere and the way it allows you to focus on screenings. You can also meet creatives, and see the occasional conference session. You have to pack a lot into 48 hours, but you get a lot more access to content than at Kidscreen.”

RICHARD GOLDSMITH JIM HENSON COMPANY “As a buyer you can put in two eight-hour screening days, sample 100 series, and get a really good idea of the marketplace. And as a seller, you know this is the most efﬁcient way to reach the most important people in the business. Until recently you’d see Haim Saban screening with his team at Junior. Toper Taylor and Michael Hirsch screen here. I think it’s really cool that the president or CEO of companies like that take the time to screen here, and they do it because they care. And you’re not just screening for content. Junior enabled me to identify an Asian studio with extraordinary work, which we’re now co-producing with. And we had meetings with Marvel Media and are now co-developing a show with them.”

SANDER SCHWARTZ, FREMANTLEMEDIA ENTERTAINMENT “Junior is widely acknowledged as the most important market in kids: you have to be there. I started going in the early 1990s when I was at Columbia TriStar Television. And the deals don’t stop when the screening booths shut. Very early on at Junior everything was in the Martinez. The bar at night was heaving. You had to ﬁght to have a rude French waiter get you a $12 dollar beer, and it took ages. I remember being in the Martinez bar one night. It was after 2am and they’d stopped serving when in comes Regis Brown. Regis was selling at the time for Film Roman, and he comes in and he’s standing at the entrance to the bar, snifﬁng. So I ask him what he’s doing. And he says “Can you smell that?” I say, “Smell what? It’s just stale beer and cigarettes.” “Wrong,” says Regis. “It’s license fees.” And he heads into the bar and starts working the room!”

ALISON WARNER TECHNICOLOR “I’ve been coming to Junior since 1993 when I was head of video at Pickwick. When it ﬁrst started, everything was on tape. You had to queue for hours for a maximum of five tapes at once, and the quality of the recordings was often dire. You couldn’t dip into things on the offchance. That’s all changed and it’s now a very smooth operation. You can speedscreen stuff, which allows you to scan anything and everything. And the screenings data you get is fascinating. I’m always intrigued to see what tops the most-viewed shows list. Sometimes it’s on merit, sometimes not. You can see how other distributors market their shows, and pick up tips.”

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Technicolor Creative Services USA Inc.

TM & © The Jim Henson Company

“BRB has attended Junior since it started. The most rewarding moments for us have been winning the Kids’ Jury with Canimals, Suckers and Kambu. Having shows and pilots judged by an audience of kids instead of just programmers is really unique to this event. I love how kids just say how they feel. Whether the show comes from the most experienced producer in the world, the biggest toy manufacturer, or a small animator from Chile or Malaysia, it makes no difference to them… I like the informality of Junior on the business side too. I signed a great deal for Bernard in the men’s toilet at the Carlton once. It was me, the producer and the buyer from a European TV network, discussing the offer. We closed the deal without a handshake!”

JOSEPH SZEW MARVISTA ENTERTAINMENT

Courtesy Greg Payne

“In the early days, it was just me and my business partner in a new company called Whamo Entertainment. There was a lot of waiting in line at the video library in those days — but then you’d meet all the acquisitions managers there, and that was a huge help in building the company. I remember meeting with the guys from Westinghouse CBS and having coffee with them afterwards, and we came up with this plan to do business in Abu Dhabi. Here I was, a small guy with a new company just starting out, sitting there with the big boys talking about making Sinbad in Abu Dhabi! These days, it’s a bit different. MarVista is a bigger deal now. My son Fernando brought along a new generation of executives and two years ago we started developing the Power Rangers brand with Saban and this year we’re launching Power Rangers Megaforce, forty half-hours of totally new content. It’s the 20th birthday of Power Rangers this year too, so it’s a double celebration.”

JO KAVANAGH-PAYNE FOOTHILL ENTERTAINMENT “I attended the very ﬁ rst MIPJunior in 1993 with Link Entertainment and it literally changed my life. We got a note from Robbie London at DIC about a show called What-A-Mess, which had been picked up by ABC Network. ABC appointed its newly-acquired animation company, DIC, to reformat the show for the US market, and they sent over their lawyer to sort out the contracts. I didn’t really warm to him at ﬁrst, but a little while later I did. He’s now my husband, and we run Foothill together... Junior is a good platform for launching shows, and you never know who’s going to see it. We’ve also found sponsoring the networking lounge a very effective way to make a splash. And it’s not enough to just do it and hang out a sign. We’re in there, talking to people.” 28 I

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“I ﬁrst went to Junior in 1997 as a buyer for YLE, and it’s been a major screening opportunity ever since. I spend the whole of Junior screening, and dedicate MIPCOM for meeting all the relevant producers and distributors. Some producers still want to pitch you at Junior, though. I was in the ladies washroom at 2 in the morning one time, and a producer slid a pitch document under the door of my cubicle.”

Photo: Harri Hinkka

“My fi rst MIPJunior must have been for ICTV in 1996. It’s an incredibly efficient way to screen these days, but in the 1990s, it was slow. You spent hours in the queue for the library trying to get hold of a VHS of the most popular shows. Setting up meetings took months. You used to send meeting requests by fax, giving people a choice of three slots so they could choose one and fax it back. We worked around the clock and sent faxes during the night so as not to block the machines during the day. I remember waking up on the floor by the fax machine one morning at 8am two days before Junior with bits of carpet in my hair, surrounded by coffee cups and buried under a ton of fax receipts!”

VIRVE SCHRODERUS YLE

ELIE DEKEL SABAN BRANDS “MIPJunior offers an intense and user-friendly focus to the global kids television business. It’s highly efﬁcient and allows us, as distributors, to gather with our clients and television partners. While MIPJunior has brought new technologies to make the business of kids television more efficient, technology can never replace relationships. We look forward to MIPJunior to strengthen our existing relationships and to forge new ones each year.”

OLIVIER DUMONT ENTERTAINMENT ONE “Junior is still the number one way to launch a brand and create buzz around a property in the kids industry. My best memory was coming with Leon produced by Studio Hari. We were presenting an episode for the ﬁ rst time. Buyers knew the studio’s work because of their fantastic series The Owl. We worked hard and Leon was one of the three mostscreened shows that year and I was very excited and proud about how we had engineered this through a well-orchestrated teasing campaign through print and email before the market.”

Courtesy of Entertainment One

JUSTINE BANNISTER PGS ENTERTAINMENT

Courtesy PGS

i feature

Courtesy PGS

THERESA PLUMMER-ANDREWS PLUM TREES TV

Courtesy of Entertainment One

“I was sceptical about Junior at ﬁ rst. I was head of acquisitions/co-productions, BBC Children’s at BBC Television, and initially it just seemed like adding more days to an already long market. But because of the screenings, you could get a huge amount done. You could see some nice properties at Junior, and then follow up during MIPCOM.”

LINDA KAHN LINDA KAHN MEDIA “I ﬁ rst attended MIPCOM in 1983, and when Junior launched 10 years later, I found it really refreshing. Having everything in one place, it felt like a family. You could hear about trends, catch up with partners, and screen everything. When I was there for Nickelodeon and later for Scholastic the pressure was intense — it’s less now that we can all screen online at home — but there is no substitute for Junior as a way to take the temperature of the marketplace. And for me as a consultant, Junior is great: it enables me to work with my clients, reality check projects, ﬁnd partners, and facilitate introductions, all in one place.”

ANDY HEYWARD A SQUARED ELXSI ENTERTAINMENT (A2E2)

Iconix Ent

“MIPJunior is like speed-dating. It’s very efﬁcient. And as a distributor, the statistics that Reed MIDEM supplies afterwards on who viewed your properties are worth their weight in gold. I think that’s unique to Junior, and it will help us do follow-up on the ongoing distribution of our shows Secret Millionaire’s Club, Stan Lee’s Mighty 7, and Rainbow Valley Heroes.”

RENEE MASCARA SESAME WORKSHOP “We were right there at the inception of MIPJunior in 1993, and I was the director of international distribution. Junior is the ﬁrst place that we get a sense of what buyers are truly interested in, what programmes resonate, and what new trends are. Through the years, we’ve found that the screenings help save a tremendous amount of time for both the licensors and buyers. Since buyers are able to view the programmes in advance, they already know what they like and are prepared to talk about speciﬁc details when they meet with the licensees. This is a great advantage when you’re managing tight schedules and back to back meetings.”

HIDEAKI SAKAMOTO NHK ENTERPRISES “MIPJunior adds much value to MIPCOM, especially from a seller’s point of view. We are able to ﬁ nd out how many people accessed our programmes and get their comments, and there are cases where we are able to make a sale with a buyer who just saw one of our shows at MIPJunior. For example, we are receiving a lot of positive feedback from many people who have seen our edutainment series Discover Science which we registered at MIPJunior, and we’re launching a second series this year.”

MIKYEONG JUNG ICONIX ENTERTAINMENT “My first MIPJunior was in 2003. The quality of meetings and participants is high, and it’s a very efficient way for us to see what our clients want, monitor what our competitors are making, and assess the new shows that are being launched. Together with Kidscreen, it’s one of the best places to go in order to keep up to date in our field.” www.mipjunior.com I preview magazine I September 2012 I 29

Online Database & Screenings Network & initiate your business.

Connect your Database & Screenings. Connecttoto your Database & Screenings p g www.mipworld.com/database-screenings www.mipworld.com/database-screenings

i feature MIPJUNIOR: DIGITAL KIDS

Night Zookeeper, encouraging school kids to be creative

With parents prepared to spend big on apps for smartphones and tablets, the business of entertaining and educating children in the digital world is no longer a minor affair, and the industry is having to keep up, writes Juliana Koranteng

IGITAL media’s ability to empower, entertain and educate children is manifested in the achievements of Mind Candy, the London-based start-up that kick-started the kids’ social-networking online games platform Moshi Monsters in 2008. Today, the company is valued at more than $200m. Mind Candy CEO and founder Michael Acton Smith says the entertainment industry should not underestimate how rapidly children take to new technology. “Kids love the web,” he says. “But even within digital, that’s

changing. We’ve been amazed by the fast adoption of mobile smartphones and tablets. Just 18 months ago, we thought we were happy creating for desktops. We were wrong.” Acton Smith recently visited his old primary school and asked the kids how many of them had iPhones and iPod Touch devices. He expected to see hands raised by about 30% of the children; in the event, it was closer to 80%. He continues: “To use a mouse requires extra hand skills. But give a child a tablet, and it’s just a big phone. And

www.mipjunior.com I preview magazine I September 2012 I 31

Photo: Night Zookeper

Who is teaching whom?

i feature Who is teaching whom? tablets are getting cheaper. That’s why the future dominant platform will be tablets — not the TV, the smartphone or the desktop. That’s where kids will play their games, listen to music, watch cartoons and learn.” Today, Mind Candy’s Moshi Monsters online games are played by 65 million registered kids in more than 150 countries. The company is now repositioning itself as an entertainment brand, not just a games one. The Moshi Monsters pet characters, with names like Katsuma, Diavlo, Furi, Zommer and Luvli, are also reproduced as collectable physical ﬁgurines — and Mind Candy has sold more than 25 million of them. The company has also sold more than 100 million individual trading cards; signed a deal with Sony Music Entertainment and recorded Moshi Monsters: Music Rox, an album that reached number four in the UK sales charts. And it is now enter i ng the mobile-games

space with iPhone and iPad apps. Effectively, Mind Candy is building a virtual world that its digitally nurtured young customers can enter, discover and share.

The Walt Disney Company EMEA’s Matt Carroll

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Photo: VIMN

Photo: The Walt Disney Company

Photo: Pukeko Pictures

Photo: Microsoft

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Veteran children’s author and illustrator Martin Baynton

Photo: Mind Candy

Image: Mind Candy

Pre-school and school children account for a significant portion of the apps market, which Michael Acton Smith Forrester Research predicts will generate $56bn globally by 2015. More than 80% of this year’s bestselling paid-for apps in the education category on Apple’s App Store are targeted at kids, according to a study by US-based Joan Ganz Cooney Center at Sesame Workshop. The responsibility that the digital-kids industry has towards its young charges was encapsulated in a Children’s Apps Manifesto published last November. Written by Andy Russell, co-founder of US-based kids’ app developer Launchpad Toys, and Wired magazine writer Daniel Donahoo, the manifesto’s covenants include these statements: “Play should not be over-commercialised by consumable goods nor advertisements; apps should not disguise costs nor manipulate children’s emotions to entice spending; developers should listen to children’s and parents’ needs and continue to support, update, ﬁ x and improve apps over the lifetime of a product.” The manifesto’s spirit appears to have been adopted by established and start-up international producers, distributors and marketers. “Kids’ content producers need to be topnotch designers who embrace the power of simplicity and don’t assume anything with their target audience,” says Dave McCarthy, Microsoft’s director of curriculum development for Interactive Entertainment Business. “I’m always amazed at how

Mind Candy’s Moshi Monsters

Microsoft’s curriculum director, Dave McCarthy

“The future dominant platform will be tablet. That’s where kids will play their games, listen to music, watch cartoons and learn”

Mind Candy CEO and founder Michael Acton Smith

VIMN’s senior vice-president of digital Philip O’Ferrall

Photo: Microsoft

At MIPCube Microsoft unveiled its plans for the Kinect Sesame Street game

much we learn every time we put kids in front of our content, let them run free and see where they get tripped up. We can’t rely on instructions or tutorials, so things need to be naturally evident. And we can’t even assume that traditional game mechanics are even understood or relevant. Also, I think a passion for kids’ content and the power it can have on shaping lives positively are critical.” Microsoft is in a position to understand how children function in a digital environment. The world’s biggest PC software developer also owns the Xbox games console, invented the Kinect gesture-based games controller and is now a major investor in Nook, the e-book reader/tablet originally developed by US bookseller Barnes & Noble. At MIPCube, the MIPJunior sister event launched in March, Microsoft unveiled its plans for the Kinect Sesame Street TV show/game, which employs Kinect’s hand-gesture technology to enable kids not only to talk to the TV set, but for the TV to talk back. “New technology like Kinect for Xbox 360 allows us to transform even traditional linear TV and make it fully interactive,” McCarthy adds. Alex Games, Microsoft Studios’ education design director, adds: “In addition to usability, the content needs to be learnable. We need to consider activities and content

that are appropriate for our young audience, as well as being effectively integrated into the learning concepts that the show is trying to convey. But it must be done in such a way that our interactivity supports, and does not distract from, it.” Toon Goggles is a free online channel where children under 13 can access more “A passion for kids’ than 1,200 hours of family-friendly content content and the via smartphones, tablets and connected power it can have on TV. For Stephen L. Hodge, Toon Goggles’ US-based managing director, creating conshaping lives tent for these emerging platforms requires positively are producers to understand the way millennicritical” al children’s minds work. Dave McCarthy “A producer now needs to have knowledge in mobile apps and their respective platforms, social media for parents and children, distribution channels beyond traditional TV, and market trends,” Hodge says. “Games and storytelling go hand-in-hand for kids today. Look at the successful mobile games that are out there and you’ll notice that the main characters possess a greater level of emotions that create deeper connections for the user.” www.mipjunior.com I preview magazine I September 2012 I 33

i feature

Consequently, the digital-media industry and education establishments are making efforts to ensure digital devices are becoming affordable. “Children without a smart device of some sort are being left behind by their peers by not having a greater foundation in the technology and interaction that is here to stay,” Hodge adds. “Every day, more and more schools are adopting tablets into the classroom to assist with learning, reading and understanding the new technologies.” PBS Kids, part of the US’ not-for-profit Public Broadcasting Service (PBS) network, has made it its mission to make mobile media technology accessible to children from all walks of life. “PBS Kids is working with our partners at the Corporation for Public Broadcasting and the US Department of Education to deliver app codes at no cost to [the US government’s] Head Start centres and other community-based organisations across the country, which offer low-income families access to mobile and tablet devices,” says Sara DeWitt, vice-president of PBS KIDS Interactive. “Through this initiative, PBS stations and Head Start centres are mobilising nationwide to increase kids’ access to educational mobile content in underserved communities, by loading apps on to devices in the places where they learn and play.” DeWitt also says it is important that creators bear these developments in mind when producing content: “PBS has assembled two advisory boards to help us make sure we’re being thoughtful, purposeful and appropriate as we develop on these new platforms.”

more than 10,000 teachers worldwide and its founders’ aim is to use online resources, digital entertainment and physical play to inspire children to learn and understand the technology they are using. “The internet is a distinctly different medium to television,” says Joshua Davidson, Night Zookeeper’s managing director. “If children feel like they can impact upon what they see on the screen, then it’s a fantastic ﬁ rst step towards being creative with the technology itself. I hope that the empowerment we offer will excite some children so much that they will want to do more, learn to code and build future forms of technology-enabled entertainment.” Martin Baynton, a veteran children’s author and illustrator, believes that the resources that digital kids have in their hands offer limitless possibilities. New Zealandbased Baynton is co-founder of Pukeko Pictures, a developer of intellectual property for children’s entertainment that has been making significant strides in mainland China. Pukeko, known for the computer animated/live-action TV series The WotWots!, is part of the WETA Workshop, the special-effects and props service provider co-owned by Peter Jackson, the movie director/producer behind The Lord Of The Rings and the pending epic The Hobbit. Despite a more than 30-year career steeped in print, ink and paper, Baynton believes the TV industry owes it to children to do more than just encourage them to communicate and share via social media’s second screen while watching TV. “At the moment, by making children text and vote for their favourite character, it’s very simplistic,” he says. “The second screen should be built into the narrative, so it’s seamless with the TV experience. There should be immediacy, such as directing the children to go to a famous museum’s website in real time for clues to a puzzle they are solving.” In addition, Baynton urges the marketers of apps to be transparent about pricing, as this makes all the difference to a parent’s initial interest. “Many mums and dads will be prepared to pay $3 for a top-quality ebook, but not $5 just to have gimmicky whistles and bells,” he says. “If the kids like the book, they can choose to add the bells and whistles later.”

Night Zookeeper, a London-based start-up that operates an online entertainment channel designed to encourage school kids to be creative, recently clinched development ﬁnancing from Spanish telecommunications giant Telefonica. Night Zookeeper is currently being used by

Complementing the digital activities of independent children’s entertainment creators are the big media corporations with children’s TV networks. In April, Turner Broadcasting extended Toonix, a stand-alone virtual world

The Mozart Band, featured on free online channel Toon Goggles

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The WotWots! (Pukeko Pictures)

Image: Pukeko Pictures

Image: BRB’s Mozart Band

Who is teaching whom?

Image: The Walt Disney Company

of interaction a child can have — for now anyway — with a traditional TV.” He adds: “Kids are social. They love unstructured play, role-play and surprises, and digital entertainment producers must be aware of these key factors when developing content for this audience. Storytelling will always be important, but what we ﬁnd working with virtual worlds is that we also need to be great at improvisation.”

The game-playing children’s virtual world Club Penguin

The strategy at Viacom “Kids are social. They love I nter national Media unstructured play, role-play Networks (VIMN), which and surprises. Digital includes Nickelodeon and its sister channels Nicktoons, entertainment producers Nick Jr and TeenNick, is to must be aware of these key place its brands in a 360-defactors when developing gree environment. This alcontent for this audience” lows the c ompany to ex tend its Matt Carroll TV-originated brands online, on mobile, on apps and on any new digital platform that emerges. The popular apps Playtime With Dora The Explorer and SpongeBob SquarePants Diner Dash are extensions of VIMN’s Dora The Explorer and SpongeBob SquarePants animation series. “There’s been a seismic change in the way children interact with content in the past ﬁ ve years, driven by parental access to new devices,” says New York-based Philip O’Ferrall, VIMN’s senior vice-president of digital. “Our number-one role is to grow the franchise on TV, but parents and children are expecting brand extensions. Kids expect to consume the brand anywhere — in the car, on the move — and that’s been driven by technological advancements. The Millennium audience were born into a world that’s always on. If you don’t get to that point, you’ll never succeed.” When he commissions programmes, O’Ferrall expects the producers to have a ﬁrm understanding of how 21st century children engage with digital content on all levels: “The script and the talent have to be the life blood when creating a brand new idea. But then you’d expect the person working on that idea to know it will need to live in a non-linear environment, from apps to soft toys.” Image: VIMN

for seven- to 11-year-olds, from Latin America to the EMEA region. In Toonix, the kids’ individual avatars chat to each other, engage with content and play games. Toonix is free but advertising and sponsorship-funded. It is also Turner’s ﬁrst digital-only property that offers its own merchandising and licensing opportunities. “Toonix puts community and imagination at its core, encouraging kids to express themselves, get creative and interact in a fun and safe environment,” says Louise Okafor, Turner Broadcasting’s director of digital entertainment, EMEA. For Matt Carroll, commercial director of digital games at The Walt Disney Company EMEA, the virtual world is part of the digital kid’s playground. Disney acquired Club Penguin, the game-playing children’s virtual world, in 2007 in a deal reportedly then worth $700m. The acquisition made the owner of the Mickey Mouse brand and the Disney Channels among the ﬁrst media conglomerates to understand how virtual worlds could revolutionise the way children are entertained. “In the same way kids are tuning into their favourite television programme every week to catch up with their favourite characters, they now have immediate access in their homes and schools to digital platforms and are tuning into their favourite virtual world daily,” Carroll says. “The social and interactive aspects that are achievable on digital platforms surpass the level

The popular app Playtime With Dora The Explorer

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i feature MIPJUNIOR: ANIMATION

The ‘toons ﬁght back! In spite of the rise of live action, animation is enjoying a new lease of life as a new generation of sophisticated, visually stunning animation series — many based on video games — are broadening its audience. Gary Smith reports

There is, Preston says, a multiplicity of factors causing animation to make such a strong comeback. “Firstly, this age group is looking for different types of content. The market is saturated with glossy American comedy shows. 36 I

Photo: WIMN

HANKS to the strength and proliferation of liveaction series, the last few years have seen programming schedules dominated by glossy, wellscripted shows such as Drake & Josh, iCarly, Hollywood Heights, My Babysitter’s A Vampire, Crash & Bernstein and Big Time Rush, with the vast majority of the hits produced in North America. But as is so often the case, the success of these shows has led to a slew of rather more average attempts to cater to the older kids’ demographic — and it is perhaps that glut of less-than-great shows that has loosened live action’s grip on eight- to 14-year-olds over the last 18 months. On a more positive note, the quality of CGI has improved hugely in the last two years. New hybrids of 2D and 3D techniques have produced shows with startling, unusual looks. However, perhaps one of the most significant factors in animation’s comeback is the rise in the number of video games being turned into series, including Angry Birds and Moshi Monsters, which means that new animated series emerge with a ready-made audience of millions. “Winx could be considered as a multiplatform project because it’s a property that has already been developed as a TV show, movie, live show, video game and merchandising,” says Iginio Straffi, chairman and CEO of Rainbow. “We previously produced an MMO [massively multiplayer online] game for Winx Club, and are currently developing a new video game following the themes of Winx Club season five, which will launch a few months after the show debuts.” According to Red Kite Animations’ development manager, Leanne Preston, the UK company is also lining up a series with a game-based back story. “We are looking at several projects derived from multiplatform and games, and our next brief will focus on this area,” she says. “Currently, Red Kite is in production with Wendy, a CGI girl-skewing drama series based on the popular European girls’ magazine. We currently have an impressive 14 projects on the development slate, of which around half are aimed at tweens.”

Teenage Mutant Ninja Turtles are back

“Being aspirational is key” Leanne Preston

preview magazine I September 2012 I www.mipjunior.com

Image: Karrot Animation

Image: Marathon Media

The BBC offers good drama for the eight- to 12-year-old target, but otherwise there’s not much for the tween market. Secondly, given the regular necessity for co-production financing for animation series, producers generally have to be more resourceful and so work hard to create something of real worth. Lastly, there is now a greater understanding that animation, as a medium, can really get the sophistication of that age group.” There are also more media available. “More visual choice makes it easier to produce a range of appealing and mature styles,” Preston says. “Consequently, animation is proving to have bigger co-viewing potential. Previously, kids may have felt animation to be babyish, but producers — including Red Kite — are reacting by hiring leading writers, ensuring sophisticated storytelling and comedy, while thinking about a secondary audience of grown-ups. Being aspirational is key.” Offering a sophisticated and specific aesthetic is increasNew from BBC Worldwide: Sarah & Duck ingly essential. “Red Kite is developing a graphic novel,” Preston says. “We are also workRainbow is also pushing the aesing on a series that has live-action thetic envelope. “With Winx Club backgrounds with animated char“The cost of 3D season five we are using a mix of acters. Both of these are unique production will fall as 2D and 3D animation for the first styles, using more ambitious techthe market matures” time,” Straffi says. “This gives niques. When we take on any promore depth and adds excitement, ject we take into consideration Katsuhiro Takagi creating a more realistic world. the medium that most honestly This mix was possible thanks to captures the essence of the world, new and sophisticated CGI techthe characters and the story.” nologies, and through the expertise in CGI production gained from producing two theatrical movies in 3D. We also have two other brand new animated projects in development that will use a mix of animated styles.”

Totally Spies (Marathon Media)

Katsuhiro Takagi, president of Toei Animation, also sees the internet as a place of opportunity. “Actually, for us, the more outlets and platforms there are, the more chances we have in the business,” he says. “Animation has many touch points and reaches the audience in all kinds of media because of the characters. For example, Dragon Ball is known through comics as well as animation. Kids have become fond of it through card games like Data Carddas: Dragon Ball Heroes. So we feel that, although there’s so much competition for tweens’ attention, there is much opportunity out there. And with our archive of more than 200 titles, we are well placed to get the most from the digital ecosystem.” Japanese tweens have never developed a taste for live action. “Compared with Western countries, Japan does not have many live-action tween programmes,” Takagi says. It’s a good thing tastes are shifting, because Japanese animation is in www.mipjunior.com I preview magazine I September 2012 I 37

i feature The ‘toons’ ﬁght back! animated, Freedman fully appreciates the power of eye candy. “Santa’s Apprentice II at Alphanim takes the series — and, indeed, the previous ﬁlm — to a new level,” he says. “The backgrounds are so sumptuous I’d like to eat them for dinner. But I’m not involved with anything that can be dubbed ‘newAnimation’ or some other gimmicky name. No new techniques on anything. No expensive hair follicle follies like on Brave. Just old-school animation, which keeps costs down.” ©Eiichiro Oda/Shueisha, Toei Animation

a tough situation in the West. It offers a better chance for shows like One Piece, which is very popular in Japan among tweens, teens and adults. The original comic sold four million copies of each edition this year and the TV ratings, merchandising and DVD sales are also doing well. Although One Piece is already popular elsewhere, we are pushing to expand our global audience.” Takagi is looking speciﬁcally for merchandising partnerships at MIPCOM. And he is also keen to meet with companies working in 3D. Toei’s 3D animation production studio employs some 100 people, who produce in 3D both for Toei and for outside companies. “The cost of 3D production will fall as the market matures,” Takagi says.

Image: Zagtoon

David Freedman develops, writes, script edits, art directs, voice directs and executive produces TV shows and features on both sides of the Atlantic. With clients including Sony Television, Aardman, Universal, BBC and Disney, Freedman is currently working with hot animation producer Heather Kenyon on a new show. “I’m writing a show that is openly silly,” Freedman says. “Just fun. No morals. No learning content. Heather is one of our industry’s best comic minds. She’ll be launching the show this autumn. Brace yourself.” Freedman has his own theory as to why animation is making such a strong comeback with 10- to 14-year-olds: “Two words: Phineas and Ferb. It’s just so smart. And smart people gave Dan Povenmire and Jeff ‘Swampy’ Marsh room to do their thing and let loose creatively, which has led other regimes in the industry to do the same.” He adds: “It’s important to shepherd talent, but not to then keep that talent in a small pen. Let it loose or at least on a long leash, and the kids will respond with passionate fandom.” Although his current projects are all hand or Flash

Kobushi: co-produced by Zagtoon and Inspidea, with AB Productions and Gulli 38 I

One Piece (Toei Animation)

preview magazine I September 2012 I www.mipjunior.com

In these nervous economic times, David Michel, managing director at Marathon Media, sees another more practical reason behind animation’s comeback. “Animation

WinxClub™

www.mipjunior.com I preview magazine I September 2012 I 39

Moonscoop decided to has much stronger repeat go for the best of both value — as, indeed, all “When you examine the liveworlds on the fi fth series comedy generally does — action boom, the ‘boom’ of Code Lyoko. “After and that’s what channels part is a bit of an illusion. the fourth series, we reare looking for right now,” ceived literally thousands he observes. “When you There were only ever seven of emails from fans askexamine the live-action or eight really great shows” ing for us not to stop and boom, the ‘boom’ part is David Michel to produce a new seaa bit of an illusion. There son,” says Lionel Marty, were only ever seven or Moonscoop’s president eight really great shows, of worldwide distribution. “Rather than do more of the mainly from Disney and Nickelodeon. The rest was pretsame, we wanted to move Code Lyoko into a new di- ty average. I estimate that around 80% of the live-action mension and up a gear for season fi ve. Creatively, we shows that were made didn’t sell well.” were already innovating with the mix of 2D anima- Marathon’s CEO, Vincent Chalvon-Demersay, also sees tion for the real world and CGI for the parallel world channel demands changing: “As from about six years ago, of Lyoko, so moving into live-action scenes with CGI Teletoon in Canada has only been buying live action but, sequences happened organically. Our co-producing in the last year, that has changed noticeably. Our latest broadcasters — France Televisions and Canal J — were series of Totally Spies, which we describe as a comedy thrilled with the idea of a live-action version.” show disguised as an action/adventure series, is And it was exactly what live action offers scriptwriters generating a lot of interest and has several prethat attracted Marty: “By moving into live action, we buys. That’s partly because previous series have found we could add depth to the storyline. There are also sold to around 170 countries, so it has a very many things we can do in marketing a live-action series good reputation, and it’s partly because this latthat we can’t do with animation, such as creating a buzz est run is very social-network friendly, featuraround casting and sending out sneak-preview photos ing a treasure hunt in the gardens of Versailles. from the set. Also, with the new version incorporating There’s an app as well, with clues and an live action, we are planning to sell the format to non-Eu- augmented-reality fearopean territories, which means that, in countries such as ture. The truth is that the US, India and South America, they will be able to re- these days we are make these sequences with local talent. It’s an effective no longer just and localised alternative to dubbing.” French series Kobushi — co-produced by Zagtoon and Inspidea with AB Productions and Gulli — also incorporates a 2D/3D mash-up. “Kobushi has a Flash look,” says Zagtoon’s Jacqueline Tordjman. “We’re launching the series at MIPCOM Junior, where we are convinced it will do well, because several major broadcasters want it. Kobushi is the kind of show that perfectly combines action and comedy.” Valerie Vleeschhouwer, managing director of AB International, takes up the story: “It’s already considered to be an extraordinary and exciting show among professionals. The first episodes are now available, as Gulli will begin to air the show in the fi nal quarter. We’re excited because, while Kobushi is certainly targeted at kids, it’ll be enjoyed by parents as well, thanks to some humour that works on several levels.” Emmanuelle Baril, co-productions and development director for animated programming, drama and comedy at Gulli, adds: “Quality animation can target kids and adults, with smaller kids watching the programme for visual interest and older kids — or even adults — watching it for the nuanced dialogue.”

i feature The ‘toons’ ﬁght back! TV producers — it’s all about collaborating with lots of people who can bring complementary aspects alive.”

Photo: Jurek Kralkowski

never went away,” says Caroline Beaton, senior vicepresident of international programme sales at Viacom International Media Networks. “And the new series has Nathan Waddington, a MIPJunior veteran of some 13 an anime/CG look. It’s really beautiful and, of course, has years who came from Planet Nemo to the BBC Worldwide all the charm and cross-generational appeal of the origlast year to head up sales and inal. Plus there is an army distribution of children’s proof superfans out there with gramming, concurs that aniwhom Nickelodeon has been “Teenage Mutant Ninja mation is on the rise. “There’s engaging, and they are very Turtles has such an more and more talk of the reexcited.” surgence of stop-frame aniA nd it isn’t just the suincredible fanbase still, it’s mation,” Waddington says. perfans who are getting like it never went away” “Cbeebies International is pu mped up: “ W hen we Caroline Beaton looking at a couple of them were researching the marat the moment.” He says that ket potential, the most stop-frame has a nostalgic shocking thing is how many feel to it which is popular right now. “There’s also a feel- three- to nine-year-olds know all about the Ninja ing that it represents real quality, real people making real Turtles through repeats and comic books. So with all animation.” He adds: “There was a time when all that that expectation out there, the new series has to repeople were talking about was live-action comedy. And main true to the original in the sense that the banit’s still popular. But now people are almost saying ‘We’ve ter and buddy aspects are still there. But there’s new taken our eye off the ball as far as animated comedies are stuff as well. It’s also a very exciting project in terms concerned, and that is what people really want.’” of consumer products. And we have a huge amount of Headline BBC Worldwide titles at MIPJunior this year interest in the new series from channels from around include pre-school “photorealistic animation” series the world.” Baby Jake; Leonardo, the live-action adventure series set There is also a movie in the pipeline. “We have exin 15th century Florence; and the new pre-school anima- cellent synergy in that the Michael Bay-directed livetion series Sarah & Duck. action Ninja Turtles movie is due out in the second quarter of 2014,” Beaton says. “We believe we have Another series with a huge reputation is being re- another SpongeBob/South Park-type property, with launched at MIPCOM. “Teenage Mutant Ninja Turtles such broad appeal and depth of affection that it’ll just has such an incredible fanbase still, it’s almost like it keep on delivering.”

Nathan Waddington, head of sales and distribution, BBC Worldwide 40 I

VIMN’s Caroline Beaton

Photo: Taku Hirase

Photo: Vincent Ballais

Photo: Grainge Photography

Photo: BBC Worldwide

Iginio Straffi, chairman and CEO of Rainbow

Vincent Chalvon-Demersay CEO, Marathon Media, and David Michel, managing director, Marathon Media

preview magazine I September 2012 I www.mipjunior.com

Toei Animation’s Katsuhiro Takagi

tips &tools 1 PREPARE FOR THE MARKET

MEET • Identify and connect online with new business partners using the online database to schedule meetings before the show. www.mipjunior.com • Plan your conference experience with the conference and events programmes to determine which tracks and thematic best suit your interests. Open to all participants free of charge on presentation of their badge, depending on venue capacity. • New participants can take the First timers’ discovery tour. Meeting point in the licensing lounge at the Martinez hotel on Saturday, October 6, 8.45. PROMOTE • Organise an event at the market (cocktail party or press conference) with the help of MIPJunior’s full service Events department: +33 (0)1 41 90 49 47 @ info.events@reedmidem.com • Make headlines with breaking news of major deals and announcements through the MIPJunior News team. @ julian.newby@btinternet.com 2 YOUR TRIP TO THE MARKET

BOOK THE RIGHT ACCOMMODATION at a special MIPJunior rate. That fits your needs with our MIPJunior/MIPCOM hotel reservations service at +33 (0)1 41 90 49 36 / 45 41 / 44 54 / 60 81 @ hotel.mipcom@reedmidem.com PLAN YOUR FLIGHT TO NICE Fly for less with a special MIPJunior/MIPCOM offer from Air France KLM at www.airfranceklm-globalmeetings.com (ID code: 16134AF, rates available from 26/09/12 to 11/10/12).

Your best-bet travel agencies: • Silver Voyages (France and Southern Europe) +33 (0)1 45 61 90 59 @ silvervoyages@wanadoo.fr • Dovetail Foks (UK and Northern Europe) +44 (0)20 7025 1515 @ exhibition@dovetailfoks.com GETTING FROM NICE AIRPORT TO CANNES • Bus n°210 Departs every 30 minutes. Duration: 50 minutes Tickets desks are located in Terminal 1 and 2. One way ticket /return tickets cost €16.50/€26.50. Tickets are also available onboard. www.rca.tm.fr • Car rental Sixt offers special MIPJunior/MIPCOM rates using promotion code: 9963828. www.sixt.com or +33 (0)8 20 00 74 98. • Taxis Available at Terminal 1 and Terminal 2. Duration: 30 minutes approx. Average fare: €80. Nights rates apply between 19.00 and 7.00. To book a taxi, call Taxi Niçois: +33 (0)4 93 13 78 78 • Train To get to the Nice Saint Augustin train station from the airport, go to terminal 1, gate 6, and take bus 23, direction Vallon des Fleurs (€1). Disembark at Gare SNCF Saint Augustin (second stop) and walk to the station. Train departs every 5 minutes and Bus 23 every 5 to 12 minutes. One-way ticket – Nice/Cannes: between €4.50 and €8.00. www.voyages-sncf.com or +33 (0)8 92 35 35 35 IN CANNES The Free MIPJunior hotel shuttle bus service runs between hotels located outside Cannes and the Martinez for the entire event. Schedules are available in hotels and at the Registration Desk. • Cannes local buses One-way ticket : €1 http://www.busazur.com/

• Car parks Numerous covered public car parks are located within walking distance of the Martinez hotel. It is strongly advised to book well in advance of your arrival. equiptech@cote-azur.cci.fr mgaufillet@interparking.com 3 ACCESSING MIPJUNIOR

REMEMBER THE ESSENTIALS Pack your E-ticket and the original invoices for your French VAT refund (under certain conditions). MARKET LOCATION Hotel Martinez 73 La Croisette 06400 Cannes France +33 (0)4 92 98 73 00 www.hotel-martinez.com COLLECT YOUR BADGE at the registration desk. Please remember to wear your badge at all times during the market. REGISTRATION HOURS Friday, October 5 Saturday, October 6 Sunday, October 7

14.00-19.30 8.00-19.00 8.30-19.00

• There are four categories of badges, all of which clearly identify the bearer: exhibitor, participant, press or official. Only buyers can have access to the digital library. • If you are conference speaker, please go directly to the Registration Desk to collect your badge. • If you are a journalist, reporter or photographer Please note that you must register as a press member before you arrive in Cannes. • Your MIPCOM Badge could also be delivered at the MIPJunior Registration Desk.

For more information, please visit our website www.mipjunior.com www.mipjunior.com I preview magazine I September 2012 I 41

itips&tools MARKET HOURS Saturday, October 6: Sunday, October 7:

8.30-19.00 8.30-19.00

4 HOW DOES MIPJUNIOR WORK?

FIND OUT WHO IS AT MIPJUNIOR, 2012 When you check in at the Registration Desk, you will receive a MIPJunior delegate’s bag and Catalogue/ Guide. This publication lists all the companies and delegates present at the market, as well as the programmes available in the digital library. VIEWING PROGRAMMES Buyers can watch a wide range of cutting-edge programmes in individual screening booths. This simple and effective system exposes programmes to the largest possible buying audience. When buyers pick up their badges, they will receive a smartcard to access the digital library. Once connected to a PC in one of the screening booths, they will be able to start screening. An interface will help them select programmes or carry out advanced searches, according to the criteria and products listed in the Programme Catalogue. SCREENING HOURS Saturday, October 6 Sunday, October 7

8.30-19.00 8.30-19.00

THE SCREENING BOOTHS AREAS WILL BE AVAILABLE EXCLUSIVELY FOR BUYERS Depending on availability, producers and distributors can also accompany buyers who wish to screen their registered programmes. Simply ask the registration staff on site.

LISTS OF BUYERS WHO HAVE SCREENED PROGRAMMES & CONTENT LISTS FOR BUYERS • Companies with programmes listed in the Catalogue and screenings can view the names and contact information of the buyers who have screened their programmes. • Each buyer can review a list of the content they have screened during the event. These lists are available at four stations located in the Networking Lounge. Important: Final Lists Of Buyers Who Have Screened Your Programmes during MIPJunior and Content Lists For Buyers” will be available by request only beginning Monday, October 8. • If you are a MIPCOM exhibitor or participant, lists will be available Monday, October 8 (14.00) Thursday, October 11 (18.00), at the Palais des Festivals (Stand MIPCOM/MIPTV). • Final Lists Of Buyers Who Have Screened Your Programmes and Content Lists For Buyers will be sent by email as from Monday, October 8. Please note that we no longer return screening materials sent to the digital library. MIPJUNIOR ONLINE SCREENINGS will go live October 8, 2012. The service will allow buyers to continue watching MIPJunior programmes after the market closes, and will be free of charge until July 2013. 5 AT YOUR SERVICE

new contacts and conduct business. Assistant will be available to give you the information you need and help arrange your appointments. FREE WIFI in Registration lounge, Networking lounge, Licensing lounge and Bar. EMAILS STATIONS Features computer access to check and send emails free of charge. Located in the Networking lounge. BUSINESS CENTRE provides a complete range of secretarial and administrative services (fax, printing services) located in the lobby. BAR Snacks and beverages at the Martinez bar located in the lobby. CLOAKROOM Take advantage of the free cloakroom to avoid carrying your coat or bag. ACCOMMODATION For any accommodation queries such as check in and check out. +33 (0)4 92 99 89 74 (from 8.30 to 19.00) MOBILE PHONES & 3G DATA CARDS RENTAL Contact CellHire to rent a smartphone, SIM card or 3G data card during MIPJunior. www.cellhire.fr/reedmidem

NETWORKING LOUNGE This comfortable and functional meeting place for MIPJunior participants is the ideal place to make

mipjunior preVieW The ofﬁcial MIPJunior magazine September 2012. Director of Publications Paul Zilk EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Marie Moinier, Carole Peres Sub Editors Clive Bull, Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude Director of Market Development Ted Baracos Sales Director Frédéric Vaulpré Conference Director Lucy Smith Marketing Director Stephane Gambetta Programme Director Karine Bouteiller Director of the Buyers’ Department Bénédicte Touchard Sales Manager Europe excluding Scandinavia & Eastern Europe, Buyers Cyriane Accolas Sales Manager Latin America, Middle East, Africa, Buyers Andry Ramilia Sales Manager Eastern Europe, Oceania, Asia excluding Japan & Korea, Buyers Yi-Ping Gerard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager Javier Lopez Vice President, Sales & Business Development, North & Latin America Robert Marking Vice President Sales and Business Development, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Manager Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Manager Samira Haddi Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representative Anke Redl, Tammy Zhao CIS Representative Alexandra Modestova, Igor Shibanov English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications. Publication registered 3rd quarter 2012. ISSN 2104-2187. Printed on 100% recycled paper ®

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