Mipjunior 2013 preview

september 2013

mipjunior

®

www.mipjunior.com The official MIPJunior magazine

PREVIEW Also inside:

SPROUT’s Sandy Wax

AWESOMENESSTV’s Brian Robbins

See page 8

See page 8

See page 10

• Argentina Country Of Honour • MIPJunior International Pitch • New-look screenings • Korean and Russian animation • Digital Kids • Licensing & merchandising • Kids’ co-production • Kids’ buyers • and more ...

© 2013 Akiyoshi Hongo, Toei Animation. ™SCG Characters LLC. All Rights Reserved. Used Under Authorization.

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MIND CANDY’s Michael Acton Smith

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Memorable characters‌ Joss Duffield VP, Distribution & Sales EMEA T: +44 (0)20 7691 6411 E: joss.duffield@fremantlemedia.com

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Bob Higgins EVP, Kids & Family Entertainment T: +1 212 541 2874 E: bob.higgins@fremantlemedia.com

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…outstanding animation

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coNTENTS inEWS

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Including: Media Mastermind Keynote speakers, Michael Acton Smith, Brian Robbins and Sandy Wax; Country Of Honour Argentina; and animation in Russia and Korea

i product neWs

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The MIPJunior Preview highlights some of the content for kids and young people on offer in Cannes

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12 FEATURES

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Kids buyers What are acquisitions executives looking for at MIPJunior? Rachel Murrell reports

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Co-production Producers talk to Rachel Murrell about their strategies for international co-production

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Licensing & Merchandising Andy Fry investigates the rewarding and risky business of brand L&M 32 Digital Kids Juliana Koranteng looks at the proliferating platforms for children’s entertainment

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27 MIPJunior Conference programme 15 6I

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TIPS & services

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THE PERFECT DOCUMENTARY SERIES FOR INQUISITIVE BOYS AND GIRLS !

GEOLINO 20 x 13’ Outstanding children’s daily lives and fascinating animal stories

BUDDING STARS 6 x 26’ One year with 130 pupils all driven by the same desire: to dance at the Paris Opera

SARAH WIENER AND THE KITCHEN KIDS 10 x 43’ The great cook passes on her passion for cooking and food to 12 youngsters

CONTACT HEAD OF SALES

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CÉDRIC HAZARD c-hazard@artefrance.fr

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NEWS Multiplatform hit for Mind Candy as Moshi Monsters go global In less than five years, MIPJunior keynoter Michael Acton Smith has converted a UK startup digital kids entertainment company called Mind Candy into a serious global enterprise revolving around a group of virtual pets known as Moshi Monsters.

Acton Smith is CEO of an empire that includes 81 million-plus registered users of MoshiMonsters. com, where six- to 12-year-olds can go online and adopt one of six digital pets. These Moshi Monsters live in a virtual world called Monstro City with over 200 pets called Moshlings. A Moshi Movie plus a multiplatform animated series (52 x 11 mins) are in development as well.

So does Acton Smith really believe all kids’ brands will in future originate online? “By online, I mean the digital realm, as opposed to traditional TV shows. Amazing new kids’ brands are emerging from new sources such as mobile apps and YouTube channels. I believe this will accelerate in the future,” he said.

He admits constantly changing digital technologies used by kids can be a challenge when creating content. But tell a compelling story with any digital-media device and the audience will come and stay.

“Great stories and characters will remain as important as ever,” he adds. “This is a very challenging time to be in the kids-entertainment space, but it is also a time that’s full of opportunities.”

And Mind Candy has been grabbing opportunities as they come. The Moshi Monster print magazine is officially the UK’s “best-selling monthly children’s magazine”. There are Moshi Monster video games; Penguin Books, the book-publishing giant, recently formed an exclusive three-year global partnership with Mind Candy to create original multiplatform content; and Sony Music’s The Moshi Monsters: Music Rox! album reached the topfive in the UK album charts.

Such licensed items have seen the MoshiMonsters brand generate $250m-plus in gross retail sales for Mind Candy and its partners.

Acton Smith says his keynote theme is expected to be Moshi Monsters – The Past, Present And Future. So far, the company’s digital future looks bright.

Michael Acton Smith’s Media Mastermind Keynote is at 16.30 on Sunday, October 6, in the MIPJunior Conference Room in the Carlton hotel

Michael Acton Smith: “Great stories and characters will remain as important as ever”

Now the kids are running the show SANDY Wax is president and general manager for 24-hour preschool television channel Sprout. She is responsible for Sprout’s overall crossplatform programming strategy, business initiatives, marketing and digital — and will explain the growth of Sprout and give her views on the current market for kids programming during her Media Mastermind Keynote on the second day of MIPJunior.

“There’s a lot of discussion particularly in the US market, but probably globally too, about how new platforms are starting to change how kids interact with content,” she told the MIPJunior Preview. “The multiplatform world has really re-shaped the kids market.

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We’ve had 1.5 billion views of our free on-demand service in addition to our linear channels.” And it’s important, now, with interactivity, to pay attention to what kids are doing online. “We tend to think that it’s us in our ivory towers thinking lofty thoughts about content and programming, but the kids are the innovators here. So the smart companies I think will keep an eye on what they’re doing and if we can’t get ahead of them, then at least we try to stay only one step behind.”

Sprout’s programming is a combination of acquired favourites which include Barney & Friends, and original content, for example its first original long-form series Noodle And

‘discovered’ through social media.

“We’ve launched the Sprout Host Hunt contest and we’ve used all of our social platforms to get people to send in their one-minute audition video,” Wax said. “We’ll take the best and brightest and most interesting and these get posted on Sprout’s YouTube channel. The three winners will be flown to Philadelphia for the final audition. So everything is on a more personal, engaged level — this is what multiplatform allows you to do.”

Doodle. Both appear in its three-hour programme block Sunny Side Up that entertains kids in the morning — and which, in November of this year, will feature a new presenter who will be

Sandy Wax’s Media Mastermind Keynote is at 16.00 on Sunday, October 6, in the MIPJunior Conference Room in the Carlton hotel

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i NEWS news in brief

LUNCHING WITH TURNER THE MIPJunior Networking Lunch is once again being held in partnership with Turner Broadcasting. The company will present its new animation, Adventure Time, during the event.

Patricia Hidalgo, senior vice-president and chief content & creative officer for Turner EMEA said: “We are really proud to be hosting the MIPJunior Networking Lunch again for the third consecutive year. This prestigious event is the ideal opportunity for us to showcase Adventure Time, which is quickly becoming a global phenomenon

Patricia Hidalgo

and is a rising star across our networks. The Lunch provides us with a forum to bring our exciting slate of Cartoon Network Originals to our free-to-air clients on a global scale. We will also be presenting some of our brand new shows, so it will make for a really enjoyable occasion.” The MIPJunior Networking Lunch is on October 6, at 13.00 at the Majestic hotel.

SNACKING WITH CANADA THE CANADA Media Fund and Telefilm Canada are partners on the MIPJunior Snack & Screen session on October 6 at 12.00 in the MIPJunior Conference Room at the Carlton hotel. The event gives MIPJunior delegates the opportunity to discover innovative children’s content from Canada. During the event Telefilm Canada will present a 30-minute showcase of new original kids productions, followed by a networking snack lunch.

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media mastermind keynote

How YouTube’s Fred helped to launch AwesomenessTV

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RIAN Robbins, founder and president of AwesomenessTV, gives one of three Media Mastermind Keynotes at this year’s MIPJunior. His appearance on the Cannes stage comes six months after it was announced that the multi-channel network had been acquired by DreamWorks Animation in a $33m deal.

DreamWorks’ CEO Jeffrey Katzenberg, who masterminded the deal, is MIPCOM Personality Of The Year and a Media Mastermind Keynote speaker.

AwesomenessTV has grown rapidly since it went live 15 months ago. In the second quarter of this year, its subscriptions rose from 14 million to 23 million, while views went from 800 million to 1.2 billion. Founder and president Brian Robbins said he sees a parallel between the growth of online video and the cable boom of the Eighties. “You know, before then we had ABC, CBS and NBC and that was it — and then this thing called cable came along and channels like ESPN and CNN and MTV were born. I think out of this new generation of online video, the opportunity is for brands like that to be born again.”

The project started for Robbins some four years ago. “This young man walked into my office and he had a YouTube character named Fred.

His name was actually Lucas Cruikshank. He had a million subscribers and about half a million views of his videos and his representatives were looking to make it into a television series, possibly with Disney or Nickelodeon. They brought him to me because I’ve done a lot in that space. I went home that night and I asked my kids and their friends if they would want to

Screenings Service Revamped The MIPJunior screening service has new features! Companies presenting programmes can now upload online – no more DVDs. Plus, buyers log on with their badge and can message sellers live. All delegates now get a daily email round-up.

Real-time leads and faster deals to seal!

see a Fred movie and one of them said excitedly ‘Tonight?’”.

With that reaction, Robbins set a $1m budget for Fred the movie, wrote the cheque himself and a little over a month later the movie was complete.

“That movie went on to be the Nº1 movie of the year for kids, teens and tweens and it’s still the highest-rated TV movie that Nickelodeon has ever done.” He added: “And about that time I met Robert Kyncl who had just come over to YouTube from Netflix and had started an original channels programme there — and that’s how Awesomeness was born.”

Brian Robbins’ Media Mastermind Keynote is at 10.30 on Sunday October 6, in the MIPJunior Conference Room at the Carlton hotel.

Brian Robbins: growing online video parallels Eighties cable boom

INTERNATIONAL PITCH THE MIPJunior International Pitch highlights new kids’ properties with potential for commissioning and licensing. Five finalists are preselected by international Kids TV experts to pitch on-stage during MIPJunior. Prizes include free access to MIPTV 2014. The 2012 winner was Ooommm-Mmmooo, Yoga for Children, presented by Diana Rico from 4Direcciones Audiovisual, Colombia.

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i NEWS news in brief

KOREAN ANIMATION ON SHOW

Larva (Tuba Entertainment)

KOCCA, the Korea Creative Content Agency, is targeting Latin America with animation from Korea, during MIPJunior.

Matchmaking and networking events will take place at the Carlton hotel, Salon Sirocco from 10.00 on Sunday, October 6. Caiya Yejee Kang, manager at KOCCA’s creative industries promotion division, said the aim is to establish a dialogue between Korean producers and professionals from Latin America.

Some 30 Korean producers will attend MIPJunior.

“Korea’s strengths in animation are high-quality production combined with creativity,” Kang said.

“It also has flexibility to work in various international genres.”

Among the preschool series from Korea at MIPJunior are Tuba Entertainment’s Larva and The Airport Diary from DPS.

The Airport Diary (Tuba Entertainment) 12 I

Argentina’s Country Of Honour events kick-off at MIPJunior

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RGENTINA’s Countr y Of Honour programme of e vent s b eg i n s at MIPJunior. Highlights begin with a screening of kids programming from Argentina in partnership with Argentina’s National Institute of Cinema and Audiovisual Arts (INCAA), on Saturday, October 5, at 17.00 in the MIPJunior Conference Room.

The Argentina-themed MIPJunior Opening Cocktail follows at 19.00 at the Carlton Beach, also in partnership with INCAA. On the second and last day of MIPJunior, Marcello Liberini, chief operating officer of Argentina’s Compania de Medios Digitales (CMD) is one of the speakers at the Digital

Kids: The Future Of IPs session at 09.30.

Liberini said that Argentina is becoming a force in kids programming. “Currently, we have several very good companies developing ideas that are naturally universal, including Smilehood, whose series Plim Plim, aimed at preschool children, is being aired on the Disney Junior channel in Latin America and on Discovery Family in the US.” He added: “Coincidentally, it’s the first animated series from Argentina to reach the US Hispanic market.

“There’s also Bondi Band, created and developed in Argentina and currently being aired on the Disney Channel in LatAm. And of course, I can’t finish without mentioning Violetta, which is a worldwide hit for Disney.”

Russia targets the global marketplace THE RUSSIAN Animated Film Association (RAFA), and the ministry of culture of the Russian Federation, present new Russian animation at a session on Saturday, October 5, at 16.10 in the MIPJunior Conference Room.

RAFA CEO Irina Mastusova said: “This is the second time we have presented Russian animation at MIPCOM and it has attracted a lot of interest among the international audience.” She added: “We want to expand the presentation of contemporary Russian animation worldwide and find new partners this year. There is some beautiful and high-quality animated films coming out of Russia now. We are combining the traditions of the Soviet classic art school of animation and the latest technology. And such a significant media event like MIPCOM is the ideal platform to present Russian animation for international distribution. We look forward to seeing everyone at MIPJunior and at the Russian stand during MIPCOM.” Product on show includes: Kit And Kate’s Imaginarium and Qumi-Qumi (Toonbox); Masha And The Bear and Masha’s Tales (Masha and the Bear Ltd); Kikoriki (Riki Group); Lucky! (Vezuha); Lullabies Of T he World (Metronome Film); Yoko (Wizart Animation); The Fixies (Aeroplane Productions); The Magic Tower (Master-Film); and Belka And Strelka (KinoAtis).

These and other companies are also exhibiting at the Russian stand during MIPCOM.

Kikoriki from Riki Group, among the Russian animation on show at MIPJunior

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PRODUCTNEWS MIPJunior Preview highlights some of the content for kids and young people, on sale from around the world at MIPJunior, and onwards at MIPCOM TRICON FILMS & TELEVISION

BEYOND DISTRIBUTION

TRICON‘s new animated series Wildernuts (26 x 7 mins) introduces preschoolers to biodiversity and ecology in a quest-based format. Captain Quilty and his crew travel around their island home in a magical flying ship, the Cloudhopper, exploring different habitats and meeting the strange and funny creatures who live there.

The Toronto-based company also brings JiggiJump (25 x 5 mins) in which singers Judy & David encourage preschoolers to get physically active; and season six of talWildernuts (Tricon Films & Television) ent competition The Next Star (62 x 60 mins).

BEYOND launches Pipsqueaks at MIPCOM. Produced

by Beyond Screen Production for the Seven Network Australia, the 45 x 30-minute series features four colourful fuzzy friends who hang together in their play area with a group of preschoolers who talk, laugh and learn with their puppet friends.

MAGIC LIGHT PICTURES

ROOM On The Broom (1 x 30 mins) is an animated film based on the children’s picture book written by Julia Donaldson and illustrated by Axel Scheffler, produced, distributed and brought to MIPCOM by London’s Magic Light Pictures. Room On The Broom has been sold to more than 30 broadcasters airing across over 167 countries worldwide, and has been translated into 16 languages. The DVD has sold over 100,000 copies in the UK and is due to be released in Australia, New Zealand, the US, Canada, Germany, Israel, Netherlands, Singapore, Hong Kong and Scandinavia. In France, Room On The Broom is to be released in cinemas later this year.

MEDIATOON

TOPPING Paris-based Mediatoon’s MIPCOM slate is

Pipsqueaks (Beyond Distribution)

NOTTINGHAM FOREST

Room On The Broom (Magic Light Pictures)

OCTAPIXX WORLDWIDE

HIPPO Tub Co. (13 x 30 mins/26 x 11 mins) takes place

SENDOKAI Champions (two seasons of 26 x 12 mins), is a mix of action and comedy with an emphasis on friendship, heroism, effort and fair play. Brought to Cannes by MADRID-based worldwide agent Nottingham Forest, the series has a range of licensing and merchandising deals in place for collectables, toys and school products.

SLAP HAPPY CARTOONS

the new (fourth) season of The Garfield Show (54 x 11 mins/7 x 55 mins specials). The series is augmented with a number of online games, songs and additional videos. France TV, who co-produced the series, has already begun to air the first specials. Mediatoon also brings, Kinky And Cosy (100 x 3 mins), Yakari (104 x 13 mins) and The Darwinners (80 x 3 mins).

in Drainworld, under the drain, floors and behind the wall, where Harley the hippo, his favourite pal Norton, Ted Tubman, and Pete & RePete are the busy custodians of the world’s biggest lost-and-found department. The series features 3D animation and is brought to market

by Toronto-based Octapixx.

CANADA‘s Slap Happy Cartoons is in production on animated series Nerds And Monsters (40 x 11 mins.) in its Vancouver studio. Scheduled to air on YTV in Canada in 2014, the show features a group of nerdy kids on a fantastic uncharted island who use their wits to protect themselves from the island’s monsters — who are luckily not that clever. International distribution partner is 9 Story Entertainment.

The Garfield Show (Mediatoon)

Hippo Tub Co. (Octapixx Worldwide)

Nerds And Monsters (Slap Happy Cartoons)

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CONFERENCES & EVENTS PROGRAMME

The 360 Guide to Kids Entertainment

5 - 6 October 2013

Carlton Hotel, Cannes, France

KEYNOTE SPEAKERS Brian Robbins Founder/CEO, AwesomenessTV One of the entertainment industry’s most prolific producers of television, film and digital media, helms one of the fastest growing teen and tween destinations on YouTube.

Sandy Wax President and General Manager, Sprout The leading children’s television expert at NBCUniversal, heading NBC’s newly rebranded Saturday morning preschool broadcast block.

SATURDAY 5 OCTOBER MONEY MATTERS: FINDING FINANCE IN NEW AND DIFFERENT WAYS 9.30-10.00 I MATCHMAKING LOUNGE A KICK-OFF WORKSHOP TO BROADEN YOUR HORIZONS AND MAXIMISE YOUR CHANCES OF WINNING NEW BUSINESS AT MIPJUNIOR NEW CONTENT DEAL-MAKING: GET THE MOST OF YOUR VOD RIGHTS 10.10-10.40 I CONFERENCE ROOM A SPECIAL WORKSHOP FOR PRODUCERS AND DISTRIBUTORS TO GET AN IN DEPTH LOOK AT HOW TO MAKE THE MOST OF ONLINE PLATFORMS

Michael Acton Smith CEO and Founder, Mind Candy Described by the Daily Telegraph as “a Rock Star version of Willy Wonka” and by the Independent as “a polite version of Bob Geldolf”.

SUNDAY 6 OCTOBER MATCHMAKING: THE BUYERS & COMMISSIONERS MEET UP 8.30-9.30 I MATCHMAKING LOUNGE AN EXCLUSIVE EVENT TO PITCH LEADING INTERNATIONAL By registration* BUYERS AND COMMISSIONERS DIGITAL KIDS: THE FUTURE OF IPs, IPs OF THE FUTURE 9.00-9.20 I CONFERENCE ROOM 9.30-10.15 I CONFERENCE ROOM IP WITHOUT BORDERS: PLAY WITH ME! 3 CASE STUDIES THINK OUTSIDE THE BOX ON BORDERLESS IPs

SCHEDULE WATCH: WHAT DO BUYERS WANT?

DIGITAL KIDS: MEDIA MASTERMIND KEYNOTE

11.00-12.00 I CONFERENCE ROOM AN IN-DEPTH CHANNEL ANALYSIS DISCUSSED BY LEADING INTERNATIONAL BUYERS REVEALING THEIR PROGRAMMING STRATEGIES FOR THE YEAR TO COME

10.30-11.00 I CONFERENCE ROOM BRIAN ROBBINS, FOUNDER/CEO, AWESOMENESSTV

THE LICENSING MARKETPLACE 12.00-13.00 I MATCHMAKING LOUNGE PITCH LICENSING AGENTS FROM RUSSIA By registration*

WHAT PUBLISHERS WANT TO SEE FROM PRODUCERS? 12.10-12.50 I CONFERENCE ROOM In partnership with The London Book Fair

13.00-14.30 I MAJESTIC HOTEL MIPJUNIOR NETWORKING LUNCH In partnership with Turner Broadcasting

MIPJUNIOR INTERNATIONAL PITCH – NEW PROJECTS FOR KIDS TV 14.45-16.00 I CONFERENCE ROOM DISCOVER THE NEXT BIG KIDS’ MULTI-PLATFORM ENTERTAINMENT BRAND! RUSSIAN KIDS CONTENT LANDSCAPE 16.10-16.40 I CONFERENCE ROOM Presented by Russian Animated Film Association and Supported by Ministry of Culture of the Russian Federation

ARGENTINA COUNTRY OF HONOUR SCREENING 17.00-17.30 I CONFERENCE ROOM DISCOVER THE BEST OF ARGENTINE CONTENT FOR KIDS In partnership with The Argentine National Film Board (INCAA)

THE LICENSING MARKETPLACE 17.40-18.20 I CONFERENCE ROOM CASE STUDIES FROM THE BLOCKBUSTERS: MATTEL AND NICKELODEON FROM 19.00 I CARLTON BEACH MIPJUNIOR OPENING COCKTAIL

In partnership with The Argentine National Film Board (INCAA) *Priority given to pre-registered delegates.

Programme as of 27 August 2013, subject to change.

Visit www.mipjunior.com for regular updates.

DIGITAL KIDS MATCHMAKING 11.00-12.00 I MATCHMAKING LOUNGE MEET THE DIGITAL PRODUCERS SNACK & SCREEN

THE LICENSING MARKETPLACE

12.00-14.00 I CONFERENCE ROOM DISCOVER A NEW CROP OF INNOVATIVE CHILDREN’S CONTENT FROM CANADA

14.00-15.00

In partnership with Canada Media Fund & Telefilm Canada

DIGITAL KIDS 14.30-15.00 I CONFERENCE ROOM THE DEFINITIVE GUIDE TO CASHING IN ON KIDS’ APPS DIGITAL KIDS 15.15-15.45 I CONFERENCE ROOM EDUTAINMENT TODAY: DISRUPTING EDUCATION FOR GENERATION C

10.00-18.00 MATCHMAKING LOUNGE

PITCH LICENSING AGENTS FROM ASIA PACIFIC By registration*

15.15-16.15 MATCHMAKING LOUNGE

PITCH LICENSING AGENTS FROM THE AMERICAS By registration*

SALON SIROCCO

WHAT’S NEW IN KOREA Including special focus for Latin American Producers In partnership with KOCCA By registration*

DIGITAL KIDS: MEDIA MASTERMIND KEYNOTES 16.00-16.30 I CONFERENCE ROOM 16.30-17.00 I CONFERENCE ROOM SANDY WAX, PRESIDENT MICHAEL ACTON SMITH, AND GENERAL MANAGER, SPROUT CEO AND FOUNDER, MIND CANDY DIGITAL KIDS MATCHMAKING 17.15-18.30 I MATCHMAKING LOUNGE MEET THE DIGITAL CONTENT STRATEGISTS From 18.30 I CARLTON BEACH DREAMWORKS ANIMATION RECEPTION

By Invitation

Sponsors & Partners:

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iPRODUCTNEWS ATOMIC CARTOONS

VANCOUVER-based Atomic’s MIPCOM slate includes: Minimum Wage (26 x 22 mins/in development), a mixture of live action and animation, about two 15-year-olds with ambitious life plans; Max Mashup (52 x 11 mins/in development) about a boy who discovers a Mash-Up ray that causes havoc; and Sprig (1 x 92 mins) a futuristic tale about a young woman who fights against a dictator ruling an Earth with no plant life.

CYBER GROUP STUDIOS

FROM France’s Cyber Group comes: Mademoiselle Zazie (78 x 7 mins), about inseparable friends Zazie and Max and their friends who have fun trying to understand the world of adults; Mia (39 x 11 mins), about a six-yearold mouse who lives in the depths of a large house, with her Granny Mimi, friends and neighbours; and adventure comedy series Mini Ninjas (52 x 11 mins) about the young warriors who defend the Land Below The Clouds.

ZODIAK KIDS

AIMED at boys and girls, Extreme Football (39 x 26 mins), from Zodiak Kids’ Tele Images Productions, follows five teams of teenagers who compete every weekend in a spectacular extreme football tournament.

The series adds to other sports-themed series from Tele Images, Street Football (78 x 26 mins) and The Basketeers (52 x 26 mins).

Extreme Football (Zodiak Kids)

Mademoiselle Zazie (Cyber Group Studios)

ZDF ENTERPRISES (ZDFE) Minimum Wage (Atomic Cartoons)

NHK

DESIGN Ah! II, from Japan’s NHK, encourages children and adults to discover the world of design.

The programme covers many areas, including building, product, costume, character and music design.

SAM FOX: Extreme Adventures (26 x 26 mins) is a comedy adventure series based on books by Australian author Justin D’Ath. In the animation genre from Germany’s ZDFE comes Q Pootle 5 (52 x 11 mins), about the adventures of a little alien and his friends.

Sounds For Mazin (NPO Sales) 16 I

ELIAS is a little rescue boat that first gained popularity in a Norwegian picture book, and now HIP (Henson Independent Properties), The Jim Henson Company’s third party distribution and licensing banner, has acquired rights from Norway’s Animando for both global consumer products and media distribution for the property. The Jim Henson Company debuts the 52 x 11-minute episodes of the CGI preschool series, Elias: Rescue Team Adventures, currently in production at Caoz Animation in Iceland, at MIPCOM. Norwegian Broadcasting (NRK) will air the series early next year.

Elias: Rescue Team Adventures (The Jim Henson Company)

NPO Sales

YOUTH documentaries from NPO include: Sounds For Mazin (1 x 90 mins), about a boy facing an operation to allow him to hear for the first time; When I Look In The Mirror (1 x 18 mins), about a young girl with severe burn scars; and Jan’s Mom (1 x 16 mins) about a boy coping with his mother’s imprisonment. From the drama catalogue of The Netherlands’ public broadcaster comes Mimoun (1 x 26 mins) about a boy so desperate to buy his girlfriend a gift that he gets dragged into his elder brother’s criminal world; Sweet Love (1 x 25 mins); A Wooly Good Cause (1 x 25 mins); and The Westwick Four (10 x 30 mins).

THE JIM HENSON COMPANY

Sam Fox: Extreme Adventures (ZDFE)

FUTURIKON

FUTURIKON is highlighting new series Trolls Of Troy (78 X 8 mins) at MIPCOM, set in the medieval fantasy world of the Troll village of Phalompe, where a young human girl has been adopted

by Trolls. When you’re a Troll, everything that is forbidden elsewhere, is allowed — eating too much, rolling around in the mud, or speaking with your mouth full. Adapted from a French comic-book series, the Paris-based company expects the series to be completed early next year.

Trolls Of Troy (Futurikon)

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MIPJunior Opening Cocktail Party

Join us for beachside drinks to kick off MIPJunior in style!

Saturday, 5 October - 19.00 Carlton Beach In partnership with:

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iPRODUCTNEWS STUDIO 100 MEDIA

GERMANY’s Studio 100 Media is headlining its

MIPCOM slate with a new action adventure animation series Tashi (52 x 11 mins), based on the Australian children’s books by Barbara and Anna Feinberg.

Targeted at six- to 11-year-olds, the CGI series with 2D elements is produced by Flying Bark Productions in association with Discreet Art Productions and Telegael Teoranta, with Studio 100 Media responsible for international sales.

GAUMONT ANIMATION/DQ ENTERTAINMENT (DQE)

GAUMONT and DQE have collaborated

on new series Lanfeust Quest, a 26 x 30-minute comedy for kids six to 11.

French broadcaster M6, who commissioned the CGI adaptation of the comic and manga franchise Lanfeust, has premiered the show, and Lagardere’s Canal J will also broadcast the series. Lanfeust is a 14-year-old hero in charge of protecting Planet Troy.

MEDIA FARM/THE PROJECT FACTORY

JUNIOR Storytellers is a digital project for four- to eight-year-olds that aims to ‘gamify’ the storytelling process, allowing kids to create their own stories and share them online, using the app’s original asset packs.

The platform, a co-production from the two Australian companies, can also be used by broadcasters and content creators to increase audience interaction with their own shows in a safe and secure environment.

Lanfeust Quest (Gaumont/DQE)

LATIDO FILMS

SPAIN’s Latido has recently acquired the international

Tashi (Studio 100 Media)

MARVISTA ENTERTAINMENT

distribution rights for The Happets In The Rainbow Forest, a 3D-animated film aimed at kids aged three to seven, a new adventure that follows The Happets In The Kingdom Of The Sun. The company also brings feature film Puppy Love, a coming-of-age story starring Vincent Perez.

MARVISTA Entertainment debuts Saban’s Power Rangers Super Megaforce at MIPCOM, the newest season of Power Rangers. Debuting on Nickelodeon in the US in 2014, the new season focuses on the Rangers’ mission to defeat a massive alien army Armada that was sent to conquer Earth.

Junior Storytellers (Media Farm/The Project Factory)

SHANGHAI SHANG DI MEDIA CO

AOTU (26 x 20 mins) is a new series about King, a young admirer of heroes who joins the Aotu Tournament competition, in which the winner is granted power to rule the world for 10 years. But mysterious characters show up and unexpected disasters happen, and the competition seems to be running out of control.

Aotu (Shanghai Shang Di Media Co)

The Happets In The Rainbow Forest (Latido Films)

NERD CORPS ENTERTAINMENT

SLUGTERRA tells the story of Eli Shane and his friends as they explore the underground world of Slugterra and stop the evil Dr. Blakk by collecting and dueling with transforming creatures called slugs. The show’s progress around the world on broadcast TV is supported by merchandising, and is brought to Cannes

by Vancouver’s Nerd Corps Entertainment.

Power Rangers Super Megaforce (MarVista Entertainment) 18 I

Slugterra (Nerd Corps Entertainment)

BRB INTERNACIONAL

BRB Internacional brings Invizimals (26 x 30 mins/HD) to MIPCOM. The series is complemented by an interactive app that incorporates augmented reality for PSVita, Android and iOS devices. The story features three teenagers who belong to the Alliance of Invizimal Hunters, a secret worldwide organisation fighting to save these creatures threatened by an army of robots. The series coincides with the launch of two new Invizimals video games from Sony Computer Entertainment Europe.

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CBN

SUPERBOOK (12 x 22 mins) takes a journey through

the tales of the Bible with Chris, Joy and their robot sidekick Gizmo, to learn lessons for life. Emmynominated for its visuals, Superbook — aimed at kids six and over — is to be dubbed into 30+ languages and is already broadcasting in the Philippines (GMA). The Superbook brand is fully interactive with curriculum, web, gaming and mobile applications, and is brought to MIPCOM by CBN (Christian Broadcasting Network).

RED KITE ANIMATION

GURU STUDIO

JUSTIN TIME follows Justin and his imaginary

pals Olive and Squidgy on fantastical adventures in time — riding rockets into space, discovering new worlds with the Vikings or chasing Cleopatra’s cat through the pyramids of Egypt. Brought to MIPCOM by the Toronto-based Guru Studio, this pre-school show is seen in over 70 countries, has joined Netflix, and secured licensing and merchandising deals in many territories.

EDINBURGH, Scotland-based Red Kite brings Bradley And Bee (52 x 11 mins) to MIPCOM. Developed by Red Kite and scheduled for delivery later next year, the series features seven-year-old Bradley and his five-year-old sister who have a magical pop-up book which takes them into a world of adventure — through rainforests, deserts and snowy mountains — on board Victor, the model plane sitting on Bradley’s bedside table.

HG DISTRIBUTION

QUEBEC, Canada-based HG Distribution is looking for pre-sales for its new non-dialogue series Big Boing (13 x 5 mins). The puppet vignettes, using characters made of springs, tell short, funny stories in which noises and music emphasise the actions.

Superbook (CBN)

1461

INDEPENDENT UK producer 1461 Ltd has partnered with Studio Liddell, another UK company, on new show Boy And The Dinosaur (52 x 11 mins).

The series, created from a concept by 3D Artist Jason Harding and executive produced by 1461, has secured a number of pre-sales, including Disney.

Foothill Entertainment is handling the world-wide broadcast rights.

FREMANTLEMEDIA

FREMANTLEMEDIA Kids & Family Entertainment is

highlighting a new property from its children’s slate at MIPCOM. Kate & Mim-Mim (26 x 22 mins/52 x 11 mins) is a pre Beckwith Road school series produced and developed by Nerd Corps Entertainment. Aimed at twoto five-year-olds, Kate & Mim-Mim follows the adventures of a spirited little girl and her toy bunny as they travel to an imaginary world where Mim-Mim comes alive as a playmate.

The series is set to launch on CBeebies in the UK in 2014.

Kate & Mim-Mim (FremantleMedia Kids & Family Entertainment)

Bradley And Bee (Red Kite Animation)

DRACCO

Big Boing (HG Distribution)

THE FIRST episodes of the new animated series Filly Funtasia (26 x 30 mins), from Spain’s Dracco, are brought to the international market at MIPCOM. The stories feature unicorn Rose, the newest student at the School of Magic in the kingdom of Funtasia. BRB Internacional distributes the series internationally, outside of Germany.

DISTRIBUTION360

MARBLEMEDIA’s distribution division Distribution360 highlights two titles from its kids’ catalogue at MIPCOM. Japanizi: Going, Going, Gong! (40 x 30 mins) propels four teams into the frantic world of a Japanese game show, full of physical gags, stunts and characters including Host Yoshi, Judge Masa, Shinobi and his ninjas. This Is Scarlett And Isaiah (52 x 6 mins/13 x 30 mins) is the third instalment of a pre-school franchise which includes This Is Daniel Cook and This Is Emily Yeung. Viewers follow the curious six-year-olds as they experience many things for the first time, from building an igloo, to picking apples and putting on a Japanizi: Going, Going, Gong! (Distribution360) magic show. www.mipjunior.com I preview magazine I September 2013 I 19

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iPRODUCTNEWS 9 STORY ENTERTAINMENT

ECHO MEDIA

INCLUDED in the 9 Story Entertainment preschool slate is: Peg + Cat (80 x 12 mins); Daniel Tiger’s Neighborhood (80 x 11 mins/40 x 22 mins); and Guess How Much I Love You (52 x 11 mins), the first adaptation of the best-selling picture book that has sold more than 22 million copies worldwide.

TASTE Buds features two very different characters, Suggy and Curry, who live in a world of spices. The simple humorous stories are targeted at kids aged six to 12. The Montreal based Echo Media also brings Toopy And Binoo Vroom Vroom Zoom, which combines liveaction characters and animated images in the fun-filled universe of a cat and mouse team.

Guess How Much I Love You (9 Story Entertainment)

Taste Buds (Echo Media)

ARTE

FRANCe’s ARTE brings a slate of youth-focused HD

documentaries to MIPCOM, including: Geolino (20 x 13 mins), portraying the daily lives and animal stories of children around the world; cooking series Sarah Wiener And The Kitchen Kids (10 x 43 mins); and Budding Stars (6 x 26 mins +1 x 20 mins/HD), which follows the 130 pupils aged eight to 18 who attend the Paris Opera Ballet School, all driven by the desire one day to dance on the Paris Opera stage.

PGS ENTERTAINMENT

PGS entertainment brings a catalogue of over 1,000 half hours of programming to MIPCOM, including: Heroes United, Robin Hood – Mischief In Sherwood, The Little Prince, Chaplin And Co, Iron Man: Armored Adventures, all titles from Method Animation; Stan Lee’s Mighty Seven, Thomas Edison’s Secret Lab, Secret KidVenture Club, Martha And Friends, Gisele And The Green Team from A Squared Entertainment; The Jungle Bunch and Spike from TAT Productions; League Of Super Evil from Nerd Corps Entertainment; Marsupilami Hoobah Hoobah Hop! From Samka; Leon and Gees from Studio Hari; One Minute Before from Prod Par 4; and Mister Otter from La Station Animation.

MOVIOCA CONTENT HOUSE

BRAZILIAN producer Movioca is highlighting two animation titles at MIPCOM. Tiny And The Umbrella is about a little girl who feeds her carnivore plant daily with ants who come up with a plan to protect themselves. The Zoonets is about a diverse group of young animals who work together to start a soccer championship.

Heroes United (PGS Entertainment)

PICTURE BOX DISTRIBUTION

CANADA’s Picture Box brings the new stop-motion animated series Guardians (6 x 30 mins) to MIPCOM. Produced in association with APTN in Canada, the series follows five youths fighting to survive after a mass extinction event, 41 million years in the future. These Guardians must now rebuild civilisation.

B INTERNATIONAL DISTRIBUTION/ A PGS ENTERTAINMENT

LADY Bug [26 x 26 mins/3D) features youngsters Marinette and Adrien who have been chosen to save Paris and capture the evil creatures called Akumas by transforming into superheroes — however, they don’t know each other’s true identities. The series is commissioned by TF1 and SK Broadband.

Tiny And The Umbrella (Movioca Content House)

SATO COMPANY

RONALDINHO Gaucho’s Team is a series of cartoons

based on a comic character created by Mauricio de Sousa.

Ronaldinho is a quiet and cheerful boy who loves samba, funk and rap, and also happens to be a magician on the football pitch. The show, brought to MIPCOM by Brazil’s Sato, is aimed at kids aged four to seven.

Lady Bug (AB International Distribution/PGS Entertainment) 20 I

Ronaldinho Gaucho’s Team (Sato Company)

Guardians (Picture Box Distribution)

DHX MEDIA

CANADIAN producer and distributor DHX Media brings to MIPCOM the story of a young man who mysteriously receives a pair of magic pants. Young Kyle puts on the glowing pants and is transformed into Dr. Dimensionpants, a superhero with powers of space, time — and a moustache, though he must still cope with homework, girls, and his annoyingly smart sister. Dr. Dimensionpants (26 x 30 mins) is currently in production.

Dr. Dimensionpants (DHX Media)

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ABC COMMERCIAL

NOW IN its third year, preschool property created by ABC TV, Giggle And Hoot, is presented at MIPCOM in interstitial format. The Australian distributor also brings Kaitangata Twitch (1 x 98 mins/HD), a fantasy drama from New Zealand. The film takes place on the tiny island of Kaitangata which is starting to move. The last time it moved was over fifty years ago, when it twitched and a girl disappeared. Now it’s moving again and only 13-year-old Meredith can stop it.

FOOTHILL ENTERTAINMENT

IMIRA ENTERTAINMENT

LONDON and Santa Barbara-based Foothill Entertainment is partnering with Octopus TV for the development of competition show Bizarre Buddies, where one friend pranks another by entering them into the Bizarre Human Talent competition where, if they do not perform, the sponsoring friend has to suffer a humiliating challenge. The show is fronted by UK comedian and magician Andrew Eborn and Los Angeles DJ-MC Scott Topper. The company also brings My Momtourage And Me, about 14-year-old Coco who heads to Las Vegas to live with her pop-star Mom, after growing up in Australia with her Dad.

BARCELONA-based Imira is headlining its MIPCOM slate with new acquisition Liberty Farm (Blackie And Company) (26 x 12 mins). In the 3D/HD series Blackie is a sheep with ambition, who in the film Blackie & Kanuto, which inspired the TV spin-off, resolves to get herself into space. Liberty Farm also includes an opera-singing cow and a pair of song birds. Imira is also highlighting the second series of Lucky Fred (104 x 12 mins).

Bizarrre Buddies (Foothill Entertainment)

Liberty Farm (Blackie And Company) (Imira Entertainment)

Giggle And Hoot (ABC Commercial)

BETA FILM

BETA Film’s family entertainment label Wunderbox brings The Travels Of Young Marco Polo (26 x 25 mins) to MIPCOM, following three friends: the curious Marco, his friend Luigi and the mysterious princess Shi La Won. The German company also brings animation Sandpixies (26 x 5 mins); live action adventure show Spooksville (26 x 30 mins); sitcom Game On (26 x 30 mins); and The Famous Five I & II (2 x 120 mins), based on Enid Blyton’s best-selling stories.

EDEBE AUDIOVISUAL

BARCELONA’s Edebe is at MIPCOM looking for finance for its new 2D animation series I, Elvis Riboldi (52 x 11 mins), based on a collection of graphic novels and targeted at 10- to 14-year-olds. Elvis is a hyperactive boy who has an uncanny ability to break, blow up or bring down anything. I, Elvis Riboldi is a publishing success in Spain and scheduled to roll out in France, the Czech Republic and Turkey.

I Elvis Riboldi (Edebe Audiovisual)

funnyflux entertainment

SUPER Wings! (52 x 11 mins) is a preschool series produced by FunnyFlux Entertainment, QianQi Animation from China and Little Airplane Productions.

Aimed at kids aged three to six, Super Wings! follows a jet plane called Jett who travels the world delivering packages to children, encountering problems which he and his friends — the Super Wings — must work together to solve. The Super Wings have the ability to transform into robot heroes who can run, lift, dig and even dive deep under the sea.

Super Wings! (FunnyFlux Entertainment)

HASBRO STUDIOS

IN TRANSFORMERS Rescue Bots (52 x 22 mins) the robots are given the mission to protect and learn about mankind by their leader Optimus Prime.

Stationed on an island called Griffin Rock, they team up with a family who run the local Emergency Rescue services.

The show is brought to MIPCOM by Los Angeles-based Hasbro Studios, the production and distribution division of Hasbro Inc. Transformers Rescue Bots (Hasbro Studios) www.mipjunior.com I preview magazine I September 2013 I 21

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FEATURE

Shopping for Junior

© iStockphoto.com/dodo4466

MIPJUNIOR: BUYERS

What are acquisitions executives looking for at MIPJunior this year?

Rachel Murrell asks buyers what’s on their shopping list

S

UZANNE Wilson is acquisitions, children’s me- at curriculum development. So I’ll ask all sorts of quesdia content at TVOKids, the children’s division tions about what the learning outcomes are, and who was at Canadian public media outlet TVO. Wilson is involved in ensuring that the educational content is apseeking content around maths, science and literacy. With propriately delivered for its target age. its catchphrase ‘Smart kids now. Smart adults later,’ TVO “But we also want content that’s fun and entertaining and is a non-commercial educational network that strives to that kids and parents are going to enjoy. It’s hard to get the balance just right, but there are so many talented and air “engaging and entertaining children’s content with a committed children’s media producers out there, that ofstrong curriculum base”. ten the hardest thing is making choices be“Our early learning block for children tween multiple great projects.” ages two to five airs weekdays from “Recent acquisitions that have worked well 06.00 to 15.30,” she says. “From 15.30 for us include Dinosaur Train from The to 19.00 and at weekends from 18.00 “We need to Jim Henson Company. The science-based to 16.00 we programme for school-age be where the curriculum is a great fit, and we like the way kids, ages six to nine.” children are” it integrates great animated stories with an “We want shows that are educationally Elin Raustol informative live-action segment featuring sound,” Wilson adds. “But while there’s paleontologist Dr. Scott Sampson. a lot of choice, we do look very carefully www.mipjunior.com I preview magazine I September 2013 I 23

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i FEATURE

YLE’s Vicky Schroderus

TVO’s Suzanne Wilson

NHK’s Naohiko Kuroda

Wilson also acquired several seasons of Mister Maker from Zodiak Rights. “The host, Phil Gallagher, brings a positive energy and enthusiasm that our viewers are going to love,” she says. “And the series contains age-appropriate, well explained, fun projects that will inspire our audience to make stuff at home.”

TVO is fairly aggressive about rights, Wilson says. “Our viewers are looking for our content across multiple platforms, so we’re going to want the ability to deliver that — and also to protect our exclusivity across those platforms in our territory.”

She adds: “We have a very robust online presence at tvokids.com, so we do expect that programming we acquire will include cross platform elements. Online games that support a project’s curriculum work well for us.”

Massimo Bruno, head of television channels at De Agostini Editore in Italy, is looking for a new kind of educational content for DeA Kids, the channel for kids aged six to nine and family.

“We want shows that involve the kids themselves — news formats and factual content,” Bruno says. “We like Project Puppy from Zodiak in Italy. It’s a dog training show in which kids are involved, but it’s more of a howto show.”

Bruno also acquires popular kids’ animated shows and new productions focused on pure entertainment for Super!, a free-to-air DTT channel that targets kids, tweens from eight to 14 years, and families. But sister channels DeA Junior (preschool) and DeA Sapere (learning) are both close to fully programmed for now.

“We are not part of a big network, so we are very open to tailor deals to suit our market and the properties,” says Bruno. “We usually acquire by proposing an investment, and in fact, we prefer to co-produce. We also invest in marketing — unlike some internet buyers.”

Marketing is something rights holders need to focus on more closely, Bruno says. “Rights holders need to be strategic about who they license their property to, and work with broadcasters who will commit to marketing and support over a long period. If they just go for the highest bidder every time, they could find their property being dropped after a few episodes.”

“We want shows that involve the kids themselves — news formats and factual content” De Agostini Editore’s Massimo Bruno

Massimo Bruno

Elin Raustol, head of acquisitions at NRK Super, is also concerned about matching the right content to the right platform.

“We need to be where the children are,” she says. “Some content works best online, and some starts online and

24 I

moves to television later,” she says. “The decisions we make influence the way we structure the deal.”

NRK Super is for two- to 12-year-olds, and Raustol acquires about 250 hours each year spanning animation, live action, entertainment, drama, edutainment, docudrama, and documentary. She doesn’t generally acquire game shows, shows with live presenters, features, sport or shows with violent action.

“We find it harder to reach boys than girls,” she says.

“Good shows for our five- to seven-year-olds are Andy’s Wild Adventures, Jungle Book, Milly And Molly, Tree Fu Tom and Horrid Henry.”

As platforms proliferate, she has to be more creative with distributors to get the rights she needs over the right period. “Five episodes at a time and seven-day catch up is of no interest to us anymore, so we shorten the license period... You have to discuss. The distributors need to earn their money too!”

Across the border in Finland, Vicky Schroderus is acquisitions executive for YLE, buying for TV2’s pre-school block, Tiny2, and kids’ block Galaxi, which caters for seven- to 10-year-olds. She is also responsible for buying animation for YLE’s Swedish-speaking channel Fem (Five).

“For preschool, we want story-driven edutainment with enchanting characters and a look that will charm parents and carers. We prefer visually picture-book content for preschool that offers kids a learning experience while watching it, and strong stories with a humorous twist and captivating characters for the older age groups.”

Recent successful acquisitions include Octonauts, Stella And Sam and Franklin for pre-school, and Shaun The Sheep, Garfield and Mily Miss Questions for children of seven and over, and Schroderus is generally seeking rights for Finnish and/or Swedish speaking TV, free VOD, and online elements.

“I look for websites and apps with innovative gaming elements that YLE can offer viewers free of charge,” says Schroderus. “I am also currently looking for AR [augmented reality] for seven-plus years olds that would work on mobile devices.”

Marta Szwakopf, channel director for kids at Poland’s Canal+ Cyfrowy, buys for preschool channel MiniMini+, and teleTOON+, the newest children’s channel for six-to-12-year-olds.

“For MiniMini+, we look for wise and funny programmes as well as educational productions from all over the world,” she says. “This year, we are focusing our search on boy-skewing titles for preschoolers.”

Recent successful acquisitions include a certain facetious feline: “I am extremely pleased with The Cat In The Hat Knows A Lot About That,” Szwakopf says. “It has educational and fun elements, and absurd humour that kids and parents love. And although Dr Seuss is virtually unknown in Poland, the show receives very good ratings.”

She’s also particularly proud of Parauszek I Przyjaciele

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Shopping for Junior (Parauszek And Friends), the first Polish stop-motion series for children for years from legendary studio Se-ma-for.

For teleTOON+, Szwakopf is looking for funny and adventurous cartoons as well as younger-skewing liveaction. Fantasy series Wizards Vs Aliens has worked well for her, and The Sarah Jane Adventures has a loyal audience.

This year — like everyone else, it seems — Szwakopf is looking for comedy for her children’s channel. But she faces strong competition.

“The most difficult thing is to compete with strong global networks,” she says. “MiniMini+ has been the number one channel for three-to-six year olds in Poland since January, but we’re always up against the big networks like Disney and Nickelodeon.”

Szwakopf fights back with quality acquisitions and an ever-evolving line-up of games and apps. “We have steady and long-lasting relations with international partners like BBC, HIT Entertainment, Zodiak Kids, DHX Media, Cake Entertainment to name but a few,” she says.

She has an additional advantage in the preschool domain.

“MiniMini+ is the most prestigious preschool channel for licensors looking to launch consumer products in the Polish market. The relationship between children’s television and consumer products is getting stronger. These days, nearly every popular toy is related to a TV series, film or show and it’s nearly impossible to sell a product if kids don’t know it from TV.” Jason Ropell is in the happy position of having unlimited space for his acquisitions. As head of international content acquisition, digital video, at Amazon, his job is to populate Prime Instant Video with shows users will love.

“We spend a lot of time listening to our customers and targeting the movies and TV shows they tell us they want to watch,” says Ropell. “In the case of children’s content we think of both parents and children as the customer; co-viewing or having a trusted place to allow children to watch on their own are equally important.”

And he is free to pick up just what his extensive metrics suggest will work.

“With Amazon Instant Video and Prime Instant Video, we don’t have to program against a limited amount of linear channel “shelf-space” that might constrain us to a certain amount of a particular type or category of content. Instead, we do our best to just offer the kinds of shows our customers tell us they want.

For streaming, Ropell generally seeks subscription-video-on-demand (SVOD) rights to television and film content, typically on a flat license fee basis. He’s not so interested in apps and add-ons.

“As part of our licensing of video content we do not generally seek to license rights other than those necessary to provide those movies and TV shows to our customers.

However, the over-the-top (OTT) video space is evolving rapidly and we remain open to new opportunities.”

Amazon’s own original programming is also coming online.

“By offering popular kids’ TV shows that air on linear platforms alongside our Amazon Studios original programming, we’re able to offer parents and children an easy way to watch their favourite kid’s show as well as hopefully introduce them to new favourites,” Ropell says. “This year we added thousands of popular episodes of Nickelodeon and Nick Jr. shows and just recently we announced the production of five more original pilots for kids — in addition to the three already in production for full series.”

Canal+ Cyfrowy’s Marta Szwakopf

“In the case of children’s content we think of both parents and children as the customer” Jason Ropell

Naohiko Kuroda, senior producer, children’s programmes at Japan’s public broadcaster NHK, acquires programming for four domestic TV channels.

“In terms of [preschool] and children’s programmes, as other commercial broadcasters are moving away from children’s content, NHK remains to be a big provider for children’s programmes,” he says. “We also have a big inhouse production team that produces most of our [preschool] programmes. We are, however, always looking for animation. We are looking for either five-minute content or 30-minute content.”

“For our five-minute slot, we tend to look for more creative, innovative animation in visual expression, material that is sensitive to culture, common sense or custom,” he continues. “We prefer stand-alone episodes rather than a story that continues throughout a number of episodes because we sometimes like to programme a few episodes together.”

“For half-hour animation, we are looking for content targeting audiences up to teenage. It is more difficult to attract teens as their preferences tend to vary at this age, but we are trying to attract viewers of this age range, so we’re interested in anything that would appeal to them.”

Kuroda is willing to experiment and is looking for animation that is different from the anime with which his audiences are familiar. “SpongeBob SquarePants and Curious George both started with an experimental broadcast and later became big hits here,” he says.

The rights Kuroda is looking for vary according to the property.

“NHK usually requires exclusive TV broadcast rights for Japan and, depending on the project, we may want to acquire video, DVD, internet, VOD and non-theatrical rights,” he says. “With animation, our subsidiary NHK Enterprises would usually seek to exploit merchandising opportunities, so the more ancillary rights available, the better.”

Amazon’s Jason Ropell

NRK’s Elin Raustol

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i FEATURE MIPJUNIOR: CO-PRODUCTION The Deep (Technicolor)

It’s all about teamwork As a new crop of kids’ shows hits MIPCOM, producers in the children’s space tell Rachel Murrell about their strategies for international co-production

I

T STARTS with the broadcaster, says Alison Warner, ABC’s then controller of kids content, Tim Brook-Hunt, vice-president of IP sales, acquisitions and co-pro- which Aussie production houses he rated, discussed the ductions at Technicolor. “We know which broadcast- project with his recommendations, and selected A Stark Productions. er we want to work with for each Atomic Puppet, an animatshow, and we ensure the show ed comedy action-adventure we’re developing is going to suit “Every show is different. series about a 12-year-old them,” she adds.

Do your homework to boy and a superhero in reWith The Deep (26 x 22 mins), duced circumstances, brought a CGI-animated series about get the right fit. And be Technicolor together with the adventures of a family clear about what you Mercury Filmworks in Canada of underwater explorers, the want and can deliver” and a-soon-to-be-announced broadcaster that Warner had in Alison Warner French production partner. her sights was Australian pubDeveloped with Teletoon in caster ABC Kids. So she asked www.mipjunior.com I preview magazine I September 2013 I 27

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mind, the show is being structured as an official French/ Canada co-pro and there is an offer for a pre-buy on the table from a major network.

“Every show is different,” Warner adds. “Do your homework to get the right fit. And be clear with producers, and the broadcasters, about what you want and can deliver, because they also have their own criteria.”

Nigel Pickard, CEO of Zodiak MEEA (Middle East, Asia and Australasia) and UK Kids & Family, took a more conservative approach to preschool show Zack And Quack (52 x 11 mins). His Korean co-pro partners, High1 Entertainment, had worked with him on a previous show, Tickety Tok. Zack And Quack (formerly Quick Quack Duck) came to him by accident. “I did a speed-date at MIPJunior four years ago and was pitched a show by the Israeli animation producer Gili Dolev based on his short film The Happy Duckling,” Pickard says. “He was working in Scotland at the time and the film had won several awards.”

Dolev moved back to Israel and, after a minor bidding war, Zodiak took on the property and put together a UK/ Israeli/Korean co-production. “Our production company The Foundation managed the scriptwriting process, while High1 provided animation and some investment,” Pickard says. “QDD, our Israeli partner, was involved as a non-cash partner.”

He adds: “The show was licensed by Nick Jr channels worldwide, so it’s driven by the US, which is great for a British producer. Not only is it one of the best-designed shows we have ever done, but the storytelling has a US pace, thanks to our American head writer Robert Vargas and a mixture of US and UK writers.”

Robin Lyons, managing director at Welsh production company Calon, has found co-production getting harder in the second series of Igam Ogam, a pre-school series about a Stone-age girl, her pet dinosaur Doggy and her monkey friend Roly. The show is a Calon/Telegael co-production for three broadcasters S4C (Wales), Five (UK) and TG4 (Ireland), and distributor ZDF Enterprises (Germany).

“ZDF Enterprises invested originally because they were confident they could sell it to their broadcaster,” Lyons says. “But even with a licence fee from two broadcasters — S4C and Five — as well, that wasn’t enough to

Igam Ogam, a Calon/Telegael co-production 28 I

© HFDL

i FEATURE

Filly Funtasia, based on the toy brand Filly

greenlight it. Then we got an investment from Telegael and they tapped into their tax credit under Section 481 and did a sale to TV4. And we got some regional funding from Ireland and Wales.”

Lyons is used to the funding process becoming more complex every time he does it, but never before has he had to ship his workforce overseas. “We set up a stopmotion studio in the west of Ireland,” he says. “Having made this investment, we will probably do more projects that can be made there.”

Lyons is looking East as well as West. “We noticed that Al Jazeera Kids buys all our shows, so we started to develop stuff with an Arab theme that would work for them,” he says. The first fruit of that initiative is Mustafa (52 x 10 mins), a 2D animation series about a young Arab boy who helps his granddad in the souk.

Jim Ballantine, managing director of Sydney’s Flying Bark Productions, is also co-producing with Telegael.

Tashi is an “unofficial” co-production with Telegael and an Indian partner. Aimed at eight- to 11-yearolds, the adventure series is based on the million-selling Australian children’s books by Barbara and Anna Feinberg. Ballantine has structured the work split to maximise Australian government support. “We have two participating Australian networks, some investment from Screen Australia and some state funding,” he says.

“It sounds good, but Sydney is the third most expensive city in the world, salaries are high and the exchange rate is against us.”

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It’s all about teamwork

Invizimals, co-produced by Screen 21 and Sony Computer Entertainment Europe

expectations from the deal,” Reitg Super Mega Hyper Pets was proadds. “This might not be something duced by Studio 100 in Paris and “Venture capital that works for all independent proFlying Bark in Sydney. “There’s no can be a great ducers, but it certainly can be a great Australian/French co-production tool for those who tool for those who can make it work.” treaty, but there is a memorandum C arlos Bier n, C EO of BR B of understanding,” Ballantine says. can make it work” Internacional, is launching two new “You tell the CNC how much you inSergi Reitg co-productions, both based on estend to produce in each country, and tablished toy properties. Invizimals, they say whether it qualifies for supco-produced by Screen 21 (Spain) port or not. It’s important that the and Sony Computer Entertainment Europe (UK), is the creative remains in the country of origin.” first-ever TV series to feature augmented reality (AR) Sergi Reitg, CEO of Imira Entertainment, is exploring bonus action. A Spanish broadcaster is about to sign on. new financing partners for his latest co-production. The animated adventure comedy Bat Pat is an official co-production made with Rai and Atlantyca Entertainment — both based in Italy — and Malaysia’s Inspidea. But Reitg hopes to secure venture capital as well.

“This means our projects need to work not only in the TV space, but also in consumer products and — in the case of venture capital — they need to be a business in their own right,” he says. “This is harder to achieve [than TV/ TV co-productions], but ultimately it’s healthy, as only the strongest properties make it through.”

Locating venture capitalists for individual properties — and perhaps later for company investment — takes a good deal of research. “Venture capital involves a very specific type of partner, with its own parameters and Lanfeust (Gaumont Animation) www.mipjunior.com I preview magazine I September 2013 I 29

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It’s all about teamwork “Invizimals started as a video game in the days when kids had no smartphones,” Biern says. “It’s being developed as a transmedia concept based on the premise that mythical creatures exist and children can help protect them. They do this is by holding their phone in front of the animation to download mini games, clues about the show’s story and special messages from their favourite characters.”

The second property, Filly Funtasia, based on the toy brand Filly, is co-produced with toy partners Dracco (Hong Kong and the Netherlands) and Simba Dickie Group (Germany) for delivery in 2014.

“Filly is a very big property in Germany and Eastern Europe for girls, with 500,000 downloads and 30 million collectable stickers this year alone in Spain and Portugal,” Biern says. “In adapting it, we are trying to broaden its appeal to boys by changing the line-up of characters, creating an academy context and giving it a sitcom edge. That involves using mostly US writers.”

According to Biern, co-production is changing: “It’s much more of a party than it used to be. It’s no longer just about making a great show — though that obviously comes first. It’s now about looking for many more companies to create content with.” Potential partners include games, toy, publishing and music companies, as well as app developers.

Biern also expects territories to become less important.

“We will be releasing a show in several languages at the same time,” he says. “That means streamlining the legal side so we can respond fast enough. We think countries like China and Indonesia will find they have to open up.

Kids want to know what’s going on, and they’ll find it.”

Pierre Belaisch, managing director of Gaumont Animation (formerly Alphanim), is launching two copros next month, both with the advantage of established brand recognition.

Lanfeust is a CGI-animated epic-comedy based on the 10 million-selling French comic book; and Calimero is about a little black chicken first seen in an Italian TV advertising campaign on Rai.tv in 1963.

For Lanfeust (26 x 26 mins), Gaumont’s Indian partner was D Q E nter t a i n ment . “ We worked with DQ on Galactik Football, Zodiak’s Zack... so we know Tapaas [Chakravarti] is reliable and has people with high levels of skill, and we know he listens, respects the budget and that his ways of working fit with ours,” Belaisch says.

When it came to Calimero, which is 50 years old this year, Belaisch looked to Japan for coproduction support. “I felt this

Super Mega Hyper Pet, produced by Studio 100

“Animation is a universal language and great for international co-production” Aton Soumache

property would be very appropriate for Asia,” he says.

“So we created a co-pro structure with TV Tokyo and Kodansha, Japan’s largest publishing house. They invested a huge amount in this, which they don’t normally do for a French production.” The new CGI version of Calimero will premiere on France’s TF1, Italy’s Rai, Disney Junior in selected EU markets and Tele-Quebec.

Aton Soumache, CEO of Method Animation, also looked to Japan for co-producers on Lady Bug. Created

by Jeremy Zag, CEO of Zagtoon, and set in Paris, the Manga-inspired LadyBug is about two teenage friends who become superheroes in order to save their city, but without knowing each other’s true identities. The show is co-produced by Zagtoon and Method with Toei Animation (Japan), SAMG (Korea), AB Group (France) and Curlstone (Jordan) for TF1 (France), SK Broadband (Korea) and Disney. Distribution is by PGS and AB International Distribution.

Soumache and Zag jointly chose their coproduction partners for their track record in specific areas. “We wanted Toei Animation for its knowledge of action-adventure and SAMG for its highquality production pipe in Korea,” Soumache says.

The Method Animation chief also senses that co-production is changing. “Shows need to work on an international scale and meet new demands,” he says. “Animation is a universal language and great for international co-production. But kids’ audiences are evolving and we need to adapt too. Our challenge is to find synergies and new ways to create value for our shows. And our goal as producers will always be to tell the best story possible.”

... And Quack

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i FEATURE MIPJUNIOR: L&M

Toy stories It’s been estimated that around a fifth of all the toys sold are connected to a licensed character. Andy Fry investigates the rewarding, risky — and ruthless — world of brand L&M

Nickelodeon/Viacom’s Paw Patrol

L

ICENSING and merchandising, or L&M, is a critical component of the kids’ content business. In part, this is because of the enormous financial upside if a property is a retail hit. But there are also a growing number of kids’ studios that use L&M forecasts to raise production finance.

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This is a risky strategy, but one that has become more common as a result of the changing economics of the children’s business, says Helen Howells, co-founder of indie kids’ studio Hoho Entertainment. “Ten to 15 years ago, it was possible to make a decent return on a kids’ show from international TV sales and DVD,” she adds.

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Toy stories “But broadcasters have cut their licence fees and the DVD market is in decline. So more independent producers depend on licensing and merchandising to build a funding model.”

But retailers are cautious, Howells says: “They rely heavily on classic properties like Thomas & Friends and Winnie The Pooh, because they know they deliver. You need a strong story for retailers to open up space for a new kids’ brand.”

In the case of Hoho’s pre-school series Cloud Babies, which launched in 2012, the BBC was on board as the broadcaster. “This is the kind of thing retailers like to see,” Howells adds. “Then we had great licensing partners, such as Vivid [toys], Penguin [books] and Abbey Home [DVD].”

That was enough to secure shelf space. “It takes time to build momentum around a kids brand,” Howells says. “If you look at a property like Peppa Pig, it was a few years before it really took off as an L&M hit. From the rights-holder’s perspective, the key is to broaden the consumer product range in years two and three. But to do that you need to show the retailers strong TV ratings, plans for new content and a robust marketing strategy.”

Hasbro’s Littlest Pet Shop: benefiting from TV spin-offs

Lawlor also stresses the imporV&S Entertainment’s managtance of having key building blocks ing director, Vickie Corner, says “You need a strong in place before attempting to pitch her pre-school show Everything’s story for retailers to to retailers. “It’s a very fragmented Rosie was in development for 10 open up space for a TV market, so retailers look hard years before going into production new kids’ brand” at the exposure your property will and finally transmitting for the first have. In the case of Tickety Toc, we time in May 2010. “The scripts and Helen Howells have Nickelodeon as a global partdesign came first and it was only ner while Vivid [Europe] and Just once everything came together afPlay [North America] are the master nearly a decade that the potenter toy partners. The simple fact is that retailers have a lot tial for L&M became apparent,” she adds. of properties to choose from, so they can insist on the lot Corner’s careful management of the brand began to pay off in 2011, when a toy range created by Vivid started — the best TV placement, the best marketing plan, the to sell rapidly, making Everything’s Rosie one of the top right products, the right price...” performing pre-school brands in the UK. Subsequently, the property has begun rolling out as an L&M brand in Carl Lumbard, head of global licensing FremantleMedia Kids & Family Entertainment, says L&M is essential to key European markets.

Like Howells, Corner emphasises the importance of ensure a successful return on investment. “It’s not a case good TV ratings in establishing a property. But broad- of pushing merchandise; it’s a case of ensuring that kids casters should “share in the producer’s vision and support are engaging with the show and then wanting to extend that experience through play,” he says. them with more than just money”, she says.

Lumbard admits that the market is fiercely competitive, but “Conversations about kids’ properties can be difficult if they don’t have any consumer-products potential,” says says there will always be space for carefully targeted shows.

Jennifer Lawlor, Zodiak Rights’ senior vice-president of “Our own Tree Fu Tom is a great example, becoming numconsumer products. “But you can’t go to the other end of ber two [source: NPD] in toys for new pre-school brands.” the spectrum and push product into a show. All that will Typically, Lumbard says, you need to wait until the TV happen in that case is that the show will be compromised. show has bedded down and gained traction with a regular A show that looks forced won’t engage kids and will never audience and time slot. When you factor in development and production, this means it could be two to three years make it as far as L&M.” Zodiak’s big L&M hope right now is Tickety Toc (52 x before you are ready to go to market. “On Tree Fu Tom we 11 mins), a series that originated in South Korea, then did some pre-seeding with a DVD from the first season saw Zodiak come in as a co-production partner. Lawlor to test the market before any other product came out,” he says: “It’s a beautiful property that has elements that lend says. “We then waited 10 months before we launched prodthemselves to licensing. But it wasn’t driven by consum- uct to make sure we had the consumer demand. Mostly, you would launch the publishing and toy ranges first, as er products.” www.mipjunior.com I preview magazine I September 2013 I 33

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i FEATURE we did with Tree Fu Tom and Flair [the toy partner]. The next area tends to be apparel and then further categories.”

There is scope, too, for properties aimed at older kids to break out at retail. Lumbard says: “We have a show called Strange Hill High, which is for a slightly older audience.

The cult following that arose from the announcement of Strange Hill High enabled us to sign eight licensing deals before the show aired.”

Tokyo-based Sony Creative Products (SCP) specialises in character licensing. It is the master agent in Japan of properties such as Peanuts (Snoopy), Thomas & Friends, Peter Rabbit and Pingu, but it also produces and co-produces its own properties.

Key titles in the SCP portfolio include Mofy (26 x 5 mins), a preschool property that was co-produced with Misseri Studio, Rai Fiction and ZDF Enterprises; and Gaspard & Lisa, a French picture-book property that has been aired in more than 80 countries. Perhaps surprisingly, Gaspard & Lisa is a huge merchandising hit in Japan, where it has even spawned an amusement park. SCP is so upbeat about the property that it plans to take merchandising to other Asian countries, including Korea, China, Hong Kong and Taiwan.

As for Mofy, the show has aired in Japan (NHK), France (France Televisions), Australia (ABC), Italy (RAI), Germany (ZDF) and Russia (Karousel), and will be in more than 20 countries by the end of 2013. With a second series now in production, SCP’s senior vice-president of worldwide sales, Fumitaka Torio, says the way the show was produced lends itself perfectly to L&M: “Our challenge was to create an animation where you can virtually feel the softness. That is why the animation is done using stop frame and the characters and scenes are made of cotton puffs. We have had numerous offers from toy manufacturers and other licensees.” He adds: “The demand for Mofy merchandising aimed at children is stronger in Europe and the US than in the Asian

V&S Entertainment’s Everything’s Rosie was in development for 10 years before going into production 34 I

Sony Creative Products’ Mofy

market, where character merchandising is very popular among adult women and children. As a result, Mofy and Gaspard & Lisa are dual targeted in Asia.”

L&M is also important to the US studios, which manage to have hits across the range of children’s demographics.

Mark Kingston, general manager and senior vice-president for Nickelodeon & Viacom Consumer Products

“Conversations about kids’ properties can be difficult if they don’t have any consumerproducts potential” Jennifer Lawlor (NVCP), Europe, Middle East, Africa & Australia, says: “There was such a buzz around our acquisition and relaunch of Teenage Mutant Ninja Turtles that the UK retailers actually wanted us to bring the launch of our action figures forward to hit the Christmas market. It worked, because Turtles became the number one in its category, overtaking historic market leader Star Wars.”

Kingston is in the fortunate position of having well established properties like Dora The Explorer and SpongeBob SquarePants in his portfolio. This provides a solid infrastructure for bringing through new properties, such as Bubble Guppies, a pre-school show that has Fisher-Price on board as toy partner. It also means he is well positioned to spot third-party opportunities: “For the most part, we are looking at brands that can work across a number of territories.

But we pitched for the UK business on Henson’s Dinosaur Train and are very happy with the results.”

While it is important to offer retailers new properties, Kingston says that nurturing established brands is a parallel priority. Dora The Explorer, for example, is now 12 years old and due for a new burst of activity, Kingston

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Toy stories says, adding: “There’s a new series, Dora & Friends, coming in 2014, which ages her up slightly. We have got L&M plans lined up for 2015 to refresh Dora.”

Interestingly, NVCP’s L&M business is not very active in tween live action, a niche that plays a key role in Nick’s TV profile. “It’s a tough area,” says Kingston, who worked with properties like High School Musical while at rival Disney. “The problem is that it’s hard to predict because of the speed at which shows like this become hits — or not. That’s difficult for retailers, which prefer brands that are easier to forecast.”

Meanwhile, the content and consumer products industries are becoming much more intertwined. Mattel now owns pre-school studio HIT Entertainment, while Hasbro has a fully functioning content creation division.

Hasbro Studios launched in 2009 and is headed by president Stephen J Davis. According to Davis, Hasbro CEO Brian Goldner wanted to enhance the company’s 1,500plus global brands with great TV. “And that is where our focus has been,” he adds. “We take his challenge very seriously, being true to the brands while re-inventing, reimagining and re-igniting them for a new generation.”

Brands benefiting from T V spin-offs include Transformers, My Little Pony and Littlest Pet Shop. “The idea is to execute a focused and aggressive plan to extend our brand franchises in ways that engage consumers worldwide,” Davis says. He adds: “Building on the momentum of the My Little Pony: Friendship Is Magic animated series, Hasbro continues to grow the My Little Pony franchise with the launch of the My Little Pony: Equestria Girls brand.”

On the film side, Hasbro Studios is developing and producing Transformers 4 (Paramount), GI Joe 4 (Paramount), Stretch Armstrong (Relativity Media) and Candy Land (Sony). In terms of new franchises, Hasbro has Kaijudo, based on the trading card game Duel Masters, which includes online games and an animated TV show.

“The retail market wants proven properties that create an emotional connection with consumers” Stephen J Davis

With its excellent retail relationships, how does Hasbro view the market for licensed product? “The retail market is definitely moving towards licensing because it wants proven properties that create an emotional connection with consumers,” Davis says. “Also, we know retailers want people to shop their entire space, so they prefer properties that can be executed throughout the retail environment.”

At MIPCOM, Spin Master Entertainment, the content division of toyco Spin Master, and Nickelodeon/Viacom

NVCP’s Teenage Mutant Ninja Turtles: beat Star Wars

are set to launch Paw Patrol, a pre-school series that has been devised by Keith Chapman (Bob The Builder). In this case Spin Master owns the worldwide toy rights while Nickelodeon has the global distribution rights (excluding Canada), as well as all the ancillary rights, including L&M. In short, this is a classic example of how toycos and content companies are developing 360 brand concepts from the earliest stages.

MIPJUNIOR LICENSING SESSIONS THE LICENSING Marketplace is a MIPJunior conference session taking place on Saturday, October 6 at 17.40. In partnership with Global License!, the session will present case studies from Mattel and Nickelodeon.

At 12.00 on the same day, delegates will pitch their properties to licensing agents from Russia in the Matchmaking Lounge.

Two further pitching sessions take place the following day: at 14.00 when MIPJunior delegates get the opportunity to pitch to licensing agents from the Asia Pacific region; and at 15.15 when licensing agents from The Americas will consider pitches from delegates.

The three pitching sessions are in partnership with Total Licensing.

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i FEATURE MIPJUNIOR: DIGITAL KIDS

© Darrall Macquee

Living in a virtual world

CBeebies’ Baby Jake

The world of children’s entertainment is a busy place in 2013, with apps, tablets, smartphones, social media, YouTube, virtual playgrounds and online games all jostling for attention. No wonder lines are blurring, Juliana Koranteng reports

T

HE CHILDREN’s entertainment landscape is Benelux countries. shifting in the uncompromising way that tecton- When Netflix failed to agree similar exclusive rights to ic plates realign themselves. The changes became shows from Viacom’s Nickelodeon network, Amazon indisputable when the jousting for the multi-million dol- stepped in and snapped those up. Amazon has also inlar licensing rights to the most popular existing and new vested in its own original kids shows. original children’s shows intensified among the leading Then came the news that Netflix and Amazon are sharfilm and TV streaming giants Netflix, Hulu and Amazon. ing the rights to programmes such as Caillou, Arthur and Netflix arguably came up trumps. DreamWorks Dinosaur Train from PBS Kids. There was a time when Animation, Hollywood producer of the Shrek and the top international cable networks would have been the Madagascar movies, has agreed to create 300 hours contenders — but not in the new digital topography.

This was amply illustrated on of original series that will preAugust 23 when the Walt Disney miere on Netflix starting next year.

Company was scheduled to unveil Netflix has a similar deal for the “We aim to create Disney Infinity, the media and enshows on Time Warner’s Cartoon entertainment that tertainment giant’s “most ambiNetwork. And it recently agreed to tious video-game initiative ever”. It buy the exclusive premiere rights to breaks the barrier confirmed that using casual online Mako Mermaids, a live-action chilbetween physical games to interact with young audidren’s fantasy series by Australia’s and digital play” ences is no longer enough.

Jonathan M Shiff Productions, for Rachel Webber Aimed at seven- to 15-year-olds, North America, Latin America, the Disney Infinity amalgamates the UK, Ireland, Scandinavia and the 36 I

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Living in a virtual world

Disney Infinity’s John Day

More kids’ brands, such as the UK’s Bin Weevils, are originating from the digital space

game’s on-screen action in an imaginary world with interactive characters based on popular Disney and Pixar Animation franchises, including Pirates Of The Caribbean, Monsters University or The Incredibles. It also comes with collectible figurine toys. To play, youngsters take on the role of any of the Disney or Pixar characters, who are located in imaginary universes (called Play Sets) created by Disney. They then embark on adventures or complete quests by battling villains, solving puzzles or taking on other challenges.

A player can change the storyline by placing any of the figurines on a Disney Infinity Base. This is a physical board that transmits near-field communication (NFC) wireless signals to the games console to introduce the extra characters into the game. Players can create their own narratives and, via cloud-based technology, Disney will select the best ones to make available for others to play online.

Created by Disney’s games-development subsidiary Avalanche Software, Disney Infinity can be played on leading consoles such as Nintendo’s Wii and Wii U, Microsoft’s Xbox 360, Sony’s PlayStation 3 and mobile devices.

And as industry experts have noted, Disney Infinity is competing head on with Skylanders, the hit franchise from the world’s most profitable video-games giant Activision Blizzard. “The figurines are the only thing we have in common with Skylanders,” John Day, Disney Infinity’s producer, says. “Our users create their own world — it’s not one created for them. It can support any Disney TV show, movie and event. With our [sports TV network] ESPN, for example, we can set up a world where the players can create their own soccer team. It will appeal to core gamers and to a broader audience. And if we wanted to offer characters based on Disney’s old Hollywood classics, we can. We’re not ignoring the back catalogues either.”

VIMN’s Philip Bourchier O’Ferrall

Viacom International Media Networks (VIMN) and its Nickelodeon channels have embraced games linked to its shows. In addition to several action-adventure, skillsbased, puzzle, sport and strategy games online, VIMN has joined forces with Activision to launch globally a new console video game based on Nickelodeon’s CGI-animation hit series Teenage Mutant Ninja Turtles (TMNT).

Last year, Nickelodeon made a significant foray into MMO (massively multiplayer online) games with SpongeBob Monkey Quest, starting in Asia where the MMO format is firmly established. “It was arguably the hardest place to launch, but we’re excited about it,” Philip Bourchier O’Ferrall, VIMN’s senior vice-president, digi- Rovio Entertainment’s Rachel Webber tal media, says.

The BBC has adopted games to engage more closely with very young audiences and their parents. When the UK public broadcaster relaunched the Cbeebies’ website in April, it tripled the quantity of content, with for example a game of the CBeebies, Darrall Macqueen, Jam Media series Baby Jake, used responsive design technology to ensure it is multiplatform, making it accessible by any internet-connected device, and added new games such as Feeding Time With Sarah & Duck.

Even toy-making giant Hasbro, after launching its own TV service The Hub Network with Discovery Communications, Bin Weevils’ Rod Henwood has turned to digital games.

M L P Racing Is Magic, MLP Adventure Ponies, Transformers Prime Relic “Kids are part of the multiHunter and Pet Shop Rock are, tasking generation. They do respectively, based on original many things simultaneously” programming linked to the My Rod Henwood Little Pony, Transformers and Littlest Pet Shop brands. www.mipjunior.com I preview magazine I September 2013 I 37

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i FEATURE While the traditional children’s TV networks are turning into games developers, a new generation of games creators plan to conquer TV and movie production territory. UK-based Mind Candy made online gaming key to Moshi Monsters, the subscription-based virtual world of adoptable digital pet monsters that has more than 80 million registered users. The company is making a movie and a kids’ series based on its rapidly growing franchise.

Meanwhile, Rovio Entertainment’s phenomenally successful Angry Birds mobile games have been downloaded more than 1.7 billion times across all digital platforms.

But says Rachel Webber, vice-president of video at the Finnish company, the move to produce an animation series this year followed by a movie scheduled for a July 2016 release was always inevitable.

Called Angry Birds Toons, each 2.45-minute episode premieres on about 20 channels worldwide. They are also available as video-on-demand (VOD) via Rovio’s own Toons channel in the games’ apps, on Samsung Smart TV, internet platform Roku and US-based Comcast’s XFINITY On Demand.

“We began producing animated shorts telling stories about the rivalry between the birds and the pigs soon after we released our first Angry Birds games, and it was clear that our fans loved learning about their favourite characters,” Webber says. “So, early on, we brought on a team of [dedicated] animators and we have been growing our studio ever since.”

She adds: “In addition to our series, we have many cinematic shorts, behind-the-scenes videos and other specials available on TV, and on our VOD channels and YouTube channel. We aim to create entertainment that fans can enjoy by playing games, watching videos and breaking the barrier between physical and digital play in innovative ways.”

More kids’ brands, such as Canada-based streaming platform Kidoodle.tv, rights-development company SupperTime Entertainment in California, and the UK’s Bin Weevils, are originating from the digital space.

Supplying linear content, such as Johnny Test, to online platforms, is a long-term strategy for DHX Media 38 I

Rovio Entertainment’s phenomenally successful Angry Birds mobile games have been downloaded more than 1.7 billion times across all digital platforms

The privately owned BAFTA award-winning Bin Weevils is a UK social web portal for kids aged between six and 12 who can create their own avatars to interact with the Bin Weevils characters in a virtual world. Currently, it has more than two million unique users a month and 20 million-plus registered users in total (double the number it had in early 2012), who can watch more than 80 hours of on-demand Cartoon Network and Nickelodeon programming via the portal.

The company linked up with Sony Music Entertainment to launch a competition that will see four young winners work with the UK’s Aardman Animations, makers of the Wallace & Gromit brand, to produce a pop video for the Binweevils.com first album. Called Bin Tunes, it was released in July.

Additionally, fans can download stand-alone mobile apps. “We shall be launching a third app, which will be an extension of what our members can do online and enable us to become genuinely mobile and portable,” Bin Weevils’ CEO Rod Henwood says. He adds: “Kids are part of the multi-tasking generation. They do many things simultaneously. So our main priorities for 2013 are to invest in more content, develop our [licensing] products and be relevant to their day-to-day activities.”

Digital technology has enabled a traditional programmeseller like Canada’s DHX Media to enter what was uncharted waters as recently as five years ago. In addition to selling branded apps via apps stores, it operates the DHX Kids, DHX Junior and DHX Retro channels as part of the subscription-funded on-demand services recently introduced on YouTube. This has turned DHX Media, a traditional B2B company into a D2C (direct-toconsumer) pay-TV enterprise as well.

“There was no way to go direct-to-consumer before,” Toronto-based Josh Scherba, DHX Media’s senior vice-president of distribution, says. “You had to get a retailer or a broadcaster. An app store gives us direct access, so we can monitor sales ourselves. It’s a supplement to traditional merchandise, but it also enables us to know what is resonating with kids.”

VIMN’s Bouchier O’Farrell emphasises the need to respond to what young consumers want. This

DIGITAL KIDS THE DIGITAL Kids sessions on Sunday, October 6, include an overview by SuperAwesome CEO Dylan Collins. SuperAwesome is the result of a merger between Box Of Awesome, a startup that sends free toys and books to kids around the UK, and online trading community Swapit, where 6- to 18-year-olds swap items and earn rewards. The newly merged company claims a network of some some eight million unique users in the UK monthly, across some 30-plus kids and teen sites.

The network offers brands the opportunity to run campaigns across multiple communities and sites through one media partner.

Collins describes the company as the “biggest kids platform in the UK”, with the mission of “building a next-generation marketing infrastructure for kids that’s safe, compliant and that is effective for brands as well”.

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Living in a virtual world means constantly offering relevant content and mo- completed shows to numerous TV-streaming platforms and apps stores. An example of the latter is Californiabile apps linked to Nickelodeon and Nick Jr shows such as SpongeBob SquarePants, Bubble Guppies, Team based LeapFrog Enterprises, which offers educational entertainment via apps. It already distributes Nickelodeon Umizoomi Carnival and Dora The Explorer.

“Research is a big part of everything we do for our fran- educational content in French-speaking France, Belgium chises. So we have planned everything we are doing dig- and Switzerland, and the original English editions in itally to support our shows for the next 18 months. Our the US, the UK, Canada, Australia, New Zealand and [free and paid-for] apps business is growing, but not to the Ireland.

As DHX Media’s Josh Scherba detriment of our websites.” is quick to note, this proves “peoVIMN’s most successful app to ple are still watching linear TV, date is TMNT’s Rooftop Run, “People are still believe it or not”. For examwhich is a top-five iPad game in watching linear TV, ple, DHX Media’s new titles at more than 80 countries and holds MIPCOM include SheZow and Dr the number-one spot in more believe it or not” Dimensionpants, which are being than 50. Furthermore, VIMN has Josh Scherba aired by US cable service Disney launched Mon Nickelodeon Junior XD and Canada’s Teletoon respecin France. Set to roll out into other territories, this enables parents to control and manage tively. The internet and other digital platforms just hapthe type of content their kids watch on computer tablets pen to have opened up new opportunities.

Supplying linear content such as Yo Gabba Gabba!, and for how long.

In North America, a companion app called the Nick App Johnny Test and Caillou to online platforms, including offers exclusive short-form content and games to extend Amazon’s LoveFilm, Netflix, and Kidoodle.tv, is a longthe life of characters outside the original shows. This will term strategy. “Those platforms are focusing, first and foremost, on what the big linear broadcasters are having also be available internationally.

Yet despite children’s fondness for interactive enter- success with,” Scherba adds. “Having had exposure on tainment, they still cannot get enough of linear TV TV first and resonated with audiences, the content has programmes.

Nickelodeon sells a large volume of its built awareness, which gives it value.”

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Digital Kids sessions include: Digital Kids: The Future of IPS at 09.00 • Brian Robbins’ Media Mastermind Keynote at 10.30 • Digital Kids Matchmaking at 11.00 and 17.15 • Digital Kids sessions on Apps and Edutainment at 14.30 and 15.15 • and Media Mastermind Keynotes from Sandy Wax at 16.00 and Michael Acton Smith at 16.30

Multi-Platform

Emmy® Nominated

The Story Forever Alive Superbook takes children ages 6+ on an exciting journey through the Bible to discover ancient tales while teaching valuable life lessons.

MIPCOM Stand 18.9

Superbook.TV/press

13x22’ | HD | Ages 6+ 30+ Languages

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TIPS & SERVICES Welcome to MIPJunior!

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

To ensure you start off with a bang, please refer to our Quick Checklist Things to do before the Show: n Have you prepared your transportation? Have you arranged your transfer to Cannes? n Have you booked your accommodation? (If not, call our accommodations department for preferential pricing on your lodging: +33 (0)1 79 71 99 43 / 97 43) n Have you visited the Online Database on my-mip.com to find out in advance who else is attending the show, to set up meetings and discover projects? n Have you checked the full show programme to plan the conferences and events not to be missed?

inside: • Getting to cannes • Upon your arrival • on-Site Services

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

Getting to Cannes By air: The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Book your flight with Air France and KLM Global Meetings and benefit from preferential rates using discount code 19390AF www.airfranceklm-globalmeetings.com By train: The Cannes train station is a short walk away from the Palais des Festivals. Please note that the station is currently under renovation. Works might make the access a little less fluid. Book your tickets or check departure times at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35.

Getting to Cannes from the Airport You have five options: 1• TAXI Taxis are available at the Nice Côte d’Azur International Airport.

4 Where to catch one: Terminal 1 (Gate A1) and Terminal 2 (Gate A3)

Reserve a taxi in advance at no extra cost: call +33 (0) 8 90 71 22 27 (24 hours) or +33 (0) 492 99 39 23 or send an email to taxi.allo@wanadoo.fr

2• BUS You have several options for bus travel, but you must buy tickets beforehand.

4 Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0.

Opening hours: 08.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 08.00 – 20.00 •T he Nice AirportXpress line to Cannes (bus N°210) goes

to and from Nice Côte d’Azur International Airport and the Cannes bus station via Le Cannet everyday from 08.00 to 20.00 every 30 minutes. Journey takes 50 minutes.

A one-way ticket costs €17,60 and a return ticket costs €28,50.

4 Where to catch it: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 •B us N°200 also goes to Cannes from Monday-

Saturday at 20.45 and 21.55.

4 Where to catch it: Terminal 1: platform 3

• Noctam’Bus N°200 will get you to Cannes in the evenings. It is available Thursday, Friday and Saturday nights and travels from 23.30 to 04.10 every hour and a half.

3• CAR RENTAL If you wish to rent a car, our partner Sixt Rent a Car can provide you with preferential rates mentioning promotion code 9963828.

Book in advance at www.sixt.com or call +33 (0)8 20 00 74 98.

4• HELICOPTER Azur Helicoptère is available at the Arrivals Concourse in both Terminals 1 and 2.

The flight duration is 6 minutes to Cannes. A free shuttle service is available in Cannes for transfers between the Palm Beach heliport and your final destination downtown.

Preferential rates are applied to MIPJunior participants.

Tel: +33 (0)4 93 90 40 70 www.azurhelico.com 5• LIMOUSINE Le Privilège Limousine is a Reed MIDEM preferred partner. The company specialises in airport transfers as well as charters for private or business engagements.

Contact Stéphanie Plot: Tel: +33 (0)6 25 75 34 54 Email: stephanie@le-privilege.com Website: www.le-privilege.com

4 Where to catch it: Terminal 1: platform 3

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iTIPS & SERVICES Shuttles to our partner hotels MIPJunior offers you free shuttle service to and from your hotel if you are staying outside Cannes during the market.

UPON YOUR ARRIVAL 1• USEFUL INFORMATION ABOUT CANNES: The Carlton Hotel is on the famous Croisette Address: Carlton Hotel 58 La Croisette 06400 Cannes Tel: +33 (0)4 93 06 40 06 or visit www.intercontinental-carlton-cannes.com Country dialling code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz. Round two-pin plugs are standard Measurement system: Metric Currency: Euro 2• YOUR BADGE: Your Badge is your primary means of identification during the market. It provides access to the conference sessions, networking events and the digital library (buyers only) during opening hours.

Please carry it at all times, and be ready to show it at entry points and security checks around the area.

Do not exchange your badge with anyone. Even if your photo does not appear on the badge, it will appear on security guards’ monitors when they scan it.

Shared badges will be confiscated and not returned.

Collecting Your Badge 1• REGISTRATION All participants & press representatives can pick up their badges at the Registration area.

Important: E-ticket holders: E-tickets will be sent to you via email a few days before the show. They include a barcode for ID recognition.

Don’t forget to print it out to save time at the Registration area.

2• REGISTRATION OPENING HOURS • Friday 4 October: 14.00-19.30 • Saturday 5 October: 8.00-19.00 • Sunday 6 October: 8.30-19.00 3• MARKET OPENING HOURS • Saturday 5 October: 8.30-19.00 • Sunday 6 October: 8.30-19.00

Plan your show 1• Make appointments and contacts before arrival.

Connect to the Online Database, the best way to schedule meetings in advance! Visit my-mip.com to: • Identify and contact the right people to meet among all attendees • Increase your own visibility by completing your company and personal profiles • S howcase and identify projects of interest • S chedule and plan meetings • Select the conferences and events you want to attend 2• Events NEW: The Closing Cocktail will be replaced with an Opening Cocktail.

• MIPJunior Networking Lunch in partnership with Turner Broadcasting, Saturday 5 October, 13.00, Majestic Hotel, Salon Croisette • MIPJunior Opening Cocktail in partnership with the Argentine National Film Board (INCAA), Saturday 5 October, 19.00, Carlton Beach • Snack & Screen in partnership with Canada Media Fund & Telefilm Canada, Sunday 6 October, 12.00, Carlton Hotel, Conference Room • DreamWorks Animation Reception, Sunday 6 October, 18.30, Carlton Beach, by invitation

ON-SITE SERVICEs 1• DIGITAL LIBRARY The Digital Library for youth programming via individual screening booths.

Screening hours: • Saturday 5 October: 8.30-19.00 • Sunday 6 October: 8.30-19.00

Buyers Log in to the digital library with the login & password indicated on your badge: • Login : use the 6 digits displayed on the top left corner after @ • Password : use the badge number on the bottom right corner under the barcode.

You can review a list of the content you have screened during the event. This list is available at the dedicated stations in the Hotel Lobby. It will be sent to your mail box (if you have filled it in in the contract) at the end of each day .

Sellers To view a list of the buyers who have screened your programmes, please log in to the dedicated stations in the Hotel Lobby with the login & password indicated on your badge: • Login : use the 6 digits displayed on the top left corner after @ • Password : use the badge number on the bottom right corner under the barcode This list will also be sent to your mail box (if you have filled it in in the contract) at the end of each day.

Important: At MIPCOM, final lists of buyers who have screened your programmes during MIPJunior and Content lists for buyers will be available by request as from Monday 7 October (14.00) to Thursday 10 October (14.00), at the Palais des Festivals (Concierge Service – Level 0).

2• CLUBS & CONFERENCE ROOMS Networking Lounge & • Networking Lounge: Registration Lounge in Open to all participants. partnership with Features include a meeting area & Wi-Fi access • Registration Lounge: Open to all participants.

Features include a meeting area & Wi-Fi access • Conference Room: see schedule • Matchmaking Lounge: see schedule • Screening Booths: for buyers only 3• FACILITIES • Business centre: Provides a complete range of secretarial & administrative services (fax, printing services).

• Bar: Snack & beverages at the Carlton Brasserie and at the Carlton Beach.

• Connectivity Wi-Fi Free Wi-Fi is available in the Registration Lounge, Networking Lounge, Matchmaking Lounge and conference venues. Connect to: mipjunior_wifi Email stations Features computer to check and send email free of charge. Located in the Hotel Lobby.

Mobile rental If you wish to rent a smartphone, SIM card or 3G data card during MIPJunior, please contact Cellhire at www.cellhire.fr/reedm

mipjunior PREVIEW The official MIPJunior preview magazine September 2013. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designer Carole Peres Sub Editor Joanna Stephens Contributors Andy Fry, Juliana Koranteng, Rachel Murrell 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 Sales Director Frédéric Vaulpré Conference Director Lucy Smith Director of Market Development Ted Baracos Marketing Director Stéphane Gambetta Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager David Hedges 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 Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Managers Paul Barbaro, Nancy Denole, Nathalie Gastone, Samira Haddi New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Yi-Ping Gerard, Andry Ramilia Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives 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 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 © 2013, Reed MIDEM Market Publications. Publication registered 3rd quarter 2013. ISSN 2104-2179. Printed on 50% recycled paper ®

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