Mipjunior 2014 preview by MIPMarkets

SEPTEMBER 2014

www.mipjunior.com The official MIPJunior magazine

mipjunior

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PREVIEW DISNEY PRESENTS

KEYNOTE SHOWCASE

MULTIPLATFORM CONTENT

Star Wars Rebels

Peanuts

Rabbids

Celebrating 65 years

Focus on partnerships

SEE PAGE 10

Meet the creators SEE PAGE 12

MIPJUNIOR WORLD PREMIERE TV SCREENING

Thunderbirds Are Go! Back after 50 years SEE PAGE 14

Joss Dufﬁeld VP, Distribution & Sales T: +44 (0)20 7691 6644 E: joss.dufﬁeld@fremantlemedia.com

Bob Higgins EVP, Children’s Programming & Family Entertainment T: +1 212 541 2874 E: bob.higgins@fremantlemedia.com

create

stories and characters which

connect with kids the world over…

Join us for the next exciting episode! Tree Fu Tom © BBC & FremantleMedia Limited MMX. Ella the Elephant © 2014 CJ Ella Productions Inc. ©2014 KMM Productions Inc., a Nerd Corps Company. Strange Hill High © BBC and FremantleMedia Limited MMIX. Max Steel © 2012 Mattel, Inc. All Rights Reserved.

Stand Croisette 11 www.fremantlemedia.com

Contents News

8 What’s happening at MIPJunior Keynotes, special sessions, MIPJunior International Pitch, and more...

Product News

16 What’s for sale Highlighting some of the content showcased at MIPJunior, and onwards at MIPCOM

This year MIPJunior includes a series of networking events focusing on Mexico, MIPCOM 2014’s Country Of Honour. These include: a Snack & Screen session at 12.30 on Sunday, October 12, where you will discover the country’s best new kids content, and the MIPJunior Opening Party sponsored by ProMexico, on the evening of Saturday, October 11 at 19.00.

Also inside : 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:

INSIDE:

Have you prepared your transportation? Have you arranged your transfer to Cannes?

World Premiere

Have you booked your accommodation? if not, book now at www.mipcom.b-network.com and choose from a wide selection of hotels and apartments at special rates

• GETTING TO CANNES

Have you got connected to the Online Database on Mymip to ﬁnd out in advance who else is attending the show, to set up meetings?

• ON-SITE SERVICES

Have you checked the full show programme of MIPJunior conferences, screenings and events not to be missed?

• UPON YOUR ARRIVAL

• MARKET MAP

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

Thunderbirds Are Go! A new version of the Gerry and Sylvia Anderson classic series is the MIPJunior World Premiere TV Screening

49 Tips & Services

7 i t ﬂi ht

Conference & events programme

Programming for connected kid TV, Books, Games, Toys… Hit-IPs on every screen feed the ev Ride the wave with kids entertainment experts to build the future of k THUNDERBIRDS ARE GO! The new incarnation of the cult kids’ show produced by ITV Studios and New Zealand-based Pukeko Pictures, in collaboration with worldfamous Weta Workshop (Avatar, The Lord of the Rings) will be the ﬁrst MIPJunior World Premiere TV Screening. Saturday 11 October, 17.45

PEANUTS REIMAGINED

21 Conferences

Find out more about the future for Charlie Brown and his friends from Kim Towner, SVP - Media, Peanuts Worldwide; Julien Borde, Executive Director, France Télévisions and Alexis Lavillat, Producer, Normaal Animation. Saturday 11 October, 12.20

Features Buying for Junior

Rachel Murrell meets MIPJunior buyers

Kids enter a new age

Juliana Koranteng looks at how kids are interacting with content

Where are the ideas coming from?

Andy Fry takes a 360º-look at kids’ content

Signs of growth for kids digital market Juliana Koranteng looks at the growth in digital entertainment

THE NEW-LOOK MIPJUNIOR OVER 600 of the world’s top kids buyers from around the world will be at MIPJunior in its new Palm Beach location. With numbers up on last year this is already the bestattended MIPJunior in the event’s history. Over the weekend of October 11 and 12, MIPJunior buyers will have access to content via the world’s biggest kids’ digital library. On the Saturday, at 13.00, Saban Brands is sponsoring the MIPJunior Networking Lunch, which brings together buyers and sellers of kids’ content. Close to the Palm Beach there are many restaurants and bars perfect for lunching, dining and networking, and the venue is constantly connected to the Palais des Festivals as well as hotels in and outside Cannes via regular free shuttle services. Other options include taxis, town buses and tuk-tuks.

preview magazine I September 2014 I www.mipjunior.com

Over 35.6m Over 35.6m watched watched in EMEA* in EMEA*

COME AND JOIN COME AND JOIN US US

MIPCOM STAND MIPCOM STAND P0.A2 P0.A2

*TechEdge, Local Targets, Local KidsQ2 Dayparts, Q2 2014 *TechEdge, Local Kids Kids Targets, Local Kids Dayparts, 2014

News Q THE MIPJUNIOR INTERNATIONAL PITCH ITALIAN animation Koouka won last year’s MIPJunior International Pitch. The slapstick animation comedy about a chameleon is produced by Italy’s Vallaround with Aldebaran Distribution. Contenders included Goris The Gorilla, created by Chilean animation studio Gong! and produced in Brazil by Split Studio, among the ﬁrst-ever animated coproductions between the two countries. The MIPJunior International Pitch is designed to highlight new kids TV projects with potential for commissioning and multiplatform extension. The competition is for projects currently in development with between 25% and 75% of ﬁnance in place. The projects are judged on their potential for television and extension across platforms, and their originality and overall appeal in story and storytelling techniques, characters, look and themes. They are also judged on their potential to target international audiences. Finalists present their projects on Sunday, October 12, at 11.00 in the MIPJunior Agora. Jury members for MIPJunior International Pitch are: Ana Cruz Navarro of Canal 22, Mexico; Patricia Hidalgo of Turner Broadcasting Systems Europe, UK; Remi Jimenez of M6, France; Emma Rigney of National Geographic Kids, US; and Tara Sorensen of Amazon Studios, US. The jury is chaired by author and consultant Christophe Erbes.

Koouka, last year’s winner

PUBLISHERS MEET PRODUCERS

Delegates hear how ideas travel from book to screen, and back AT THE MIPJunior session Publishers & Producers: Creative Collaboration From Book To Screen on Saturday, October 11, at 15.15 in the Junior Agora, delegates will get a look at how collaboration with the publishing community is giving birth to new forms of content. “Given the continuing prevalence of adaptations from book to screen, clearly the publishing industry remains a source of inspiration to the worlds of film and TV,” said Jacks Thomas of the session’s organiser, The London Book Fair (LBF).

London Book Fair’s Jacks Thomas

“It works both ways, as publishers complement successful ﬁlm and TV projects with books — from Downton Abbey to Dora The Explorer. “The most important thing for us remains the story, characters and world,” said panelist Richard Haines of the UK’s Penguin Children’s. “If it is is great and we see potential, then we think about the best way to tell the story and if it could exist or should exist in multiple areas or platforms. Not everything can or should exist in multiple platforms.” “When we launched our ﬂagship characters Aku & Kamu, we had in mind the potential to take them from book to screen while at the same time ensuring that there was scope to exploit all media and platforms,” said panelist Asif Bashir of the UK’s Unique Inspiration. “I strongly believe that the future is all about cross-media.” The panel also features Paul Young of Ireland’s Cartoon Saloon.

Masterclass has the key to longevity THE MIPJUNIOR Programming For Connected Kids series of conferences includes a Licensing Masterclass in partnership with License! Global, on Saturday, October 11, at 17.00 in the MIPJunior Agora. License! Global’s Tony Lisanti will introduce two franchise case studies during the session: 4K Media’s Yu Gi Oh!, And Sega’s Sonic The Hedgehog. 4K Media’s Jennifer Coleman will tell the story of Yu Gi Oh! Which began as a manga series. It went on to enjoy global success with anime, initially from Toei Animation and Nihon Ad System. It has also enjoyed global success in trading cards and video games. Sonic The Hedgehog dates back further, to 1991, and Sega Europe’s Sissel Henno, says the much-loved character has always benefitted from being among the first console game characters. “We and Nintendo were first in the market and so that has helped to give the character longevity.” While Nintendo remained in the hardware business, Sega evolved into a publisher and software company, with considerable success

in strategy games, notably the Total War franchise. And now “the time is right” to revive Sonic, who has graduated from console to mobile and now back to television with Sonic Boom, a new CGI series co-produced with French children’s channel Gulli, French production company OuiDo, distributed by Lagardere Entertainment Rights — incorporating “beautiful quality CGI” and humour for a new take on Sonic’s adventures. “The key to strong content is to engage with your core customers and in our case that’s the people who play or played the game,” Henno said. “Mobile has done that with considerable success, both with new players and with those who played it back in the early days and who want a reminder of the fun they had when they were younger.”

preview magazine I September 2014 I www.mipjunior.com

Sega Europe’s Sissel Henno

n 5 io 01 7’ a t 2 x im all 52 an m f I G fro C D le H lab ai av

Miffy’s Adventures Big and Small

Thoroughly modern and more adorable than ever!

Production: Mercis bv and Mercis Media bv. Studio: Blue Zoo Productions For information contact: Frank Padberg; frank@mercis.nl or Sjoerd Raemakers; sjoerd@telescreen.nl

See Miffy at Booth R7.H3 at MipCom 2014 - www.miffy.com

News Q SPAIN GETS ANIMATED

KEYNOTE SHOWCASE

ANIMATION From Spain, an initiative of Spanish trade and investment body ICEX, is screening examples of new animated content from Spain, on Saturday, October 11, at 16.15 in the Junior Agora. Speaker at the event, Justine Bannister, said delegates can expect “a very fresh and varied session”, with new launches, new seasons of bestselling series as well as a “novel entertaining format for children”. Asked what separates Spain from other countries, animation expert Bannister said: “If I had to point out some key factors, they would be the variety of original products, concerning design as well as the high quality of the studios.” She added: “They are highly price-competitive and hold in Europe the key to the doors of Latin America.” Bannister named David The Gnome, Willy Fog and The Triplets among the enduring hits to have come out of the country, “and more recently of course Pocoyo”, where “the producers have managed to combine characters and stories able to touch the hearts of young people and their families throughout cultures and continents. The audience can feel that the producers put their souls into their work in order to succeed with their toughest public: their own children.” Following the session delegates will be served Spanish tapas and wine courtesy of ICEX, platinum sponsor of the MIPJunior programme of conferences.

Peanuts reimagined to mark 65 years of Charlie Brown

Pocoyo, an enduring hit from Spain

FRANCE Televisions’ long tradition of adapting iconic characters to the television screen continues with Charles Schultz’ Peanuts, which celebrates its 65th anniversary in 2015. And in Cannes on Saturday, October 11, at 12.20 in the MIPJunior Agora, the people involved in putting the series together give the Keynote showcase: Peanuts Reimagined. France Televisions’ Julien Borde worked closely with the creator’s widow Jeanne, Peanuts Worldwide’s K im Towner and Normaal Animation’s Alexis Lavillat “to ﬁnd the best way to bring to our audience the Peanuts universe”, Borde said. The team met Jeanne Schultz at the Angouleme International Comics Festival in 2011. “She saw in our animated TV series, Gaston Lagaffe, a very respectful graphic interpretation that was true to the spirit of Andre Franquin’s comics,” Lavillat said. Towner added: “We had a great desire to explore the Peanuts comic strip in a new way, but we wanted our animation to be distinctly true to Charles Schulz’s work. And then one day, Julien showed us Gaston Lagaffe. You

The Normaal Animation studio

can feel the hand of the original artist. It is so uniquely inspired. In Normaal and France Televisions we have a really talented team with a great passion for Schulz. The team has captured the heart, depth, humour and universal appeal of the Peanuts characters in a very fresh and beautiful way.” The series is being made available as 104 x seven-minute shows or 500 x 90-second interstitials. Early buyers include Canal+ and Rai. France Televisions plans to announce further acquisitions during MIPJunior and MIPCOM.

Rabbids set for second invasion IN THE MIPJunior session Where Will Your Next Partnership Take You? Nickelodeon’s Russell Hicks discusses the multiplatform adaptation of the hit game Rabbids — in the MIPJunior Agora, Sunday October 12, at 18.00. He will be joined by Ubisoft’s Jean-Julien Baronnet and France Televisions’ Tiphaine De Raguenel. F r a n c e Te l e v i s i o n s D i s t r i but io n s ( F T D) CEO Yann Chapellon said Rabbids, now in its second series, is a good example of how to maximise a property’s potential. Created in 2006 by Ubisoft’s French studios, the Rabbids video game has sold over 14 million copies. With the participation of France Televisions, Ubisoft preview magazine I September 2014 I www.mipjunior.com

Motion Pictures then made a 78 x seven-minute series for seven- to 12-year-olds. “Rabbids is the most-watched children’s TV series in France,” Chapellon said. “The show was launched on Nickelodeon US in August 2013 and has achieved average audiences of 2.2 million and over 50 million views.” F T D has sold 25,0 0 0 DV Ds of Rabbids Invasion part one and 20,000 DVDs of part two, season one. November 2014 will see the launch of Rabbids Appisodes — and season two on air in the fourth quarter of 2015.

The good-hearted guardian of childrenâ&#x20AC;&#x2122;s fantasies ! P-1.C50.D51 PRODUCED BY

WITH THE SUPPORT OF

MIPCOM BOOTH

www.newendistribution.com

News Junior gets sneak peak at new-look Star Wars series MIPJUNIOR delegates are invited to meet the people from Disney on Sunday, October 12. Star Wars Rebels is a CGI animation that draws on elements of all the Star Wars movies, but which exists on its own and showrunner Dave Filoni and Disney Channels Worldwide president Gary Marsh will be on hand to talk about the genesis and the execution of the series. Filoni was supervising director on Star Wars: The Clone Wars so has a background in the franchise. Filoni and Marsh are executive producers on the series. Star Wars Rebels is set between the events of the third and fourth Star Wars ﬁlms, two decades never previously explored on screen. The Galactic Empire is tightening its grip on the galaxy and hunting down the last of the Jedi knights, just as a new rebellion against the Empire is building. “The entire team at Lucasﬁlm has provided extraordinary creativity and innovation for over three decades,” Marsh said. Filoni said that he feels a responsibility to remain true to the Lucas vision in “the post-George era”, but is mindful of the need to continue to create and tell compelling stories. “It’s important that Rebels be its own thing,” he said. Following a one-hour special, Star Wars Rebels: Spark Of Rebellion, broadcast on October 3, half-hour episodes of Star Wars Rebels begin airing in the regular timeslot of Monday, October 13 at 21:00 on Disney XD. The series will air in 34 languages across 163 countries in over 400 million households.

preview magazine I September 2014 I www.mipjunior.com

Come Meet Our Malaysian Producers at MIPJunior/Mipcom 2014 we are at booth P-1.F24/P-1.G23

At MDeC, we recognize the promising potential of the Creative Multimedia industry. Focusing on the fundamentals of Creative Multimedia, we invest on the long term prospect of the sector, by giving access to funding, discovering new talents, opening market opportunities and access, providing infrastructure development, policy intervention, and forming strategic alliances. Our effort is further enhanced with the establishment of the Malaysia Animation Content Creative Centre or better known as MAC3. MAC3 serves as an avenue for individuals and players in the industry, providing technology and resources, while focusing on homegrown talent development and offering funding opportunities. In moving towards our aspiration to make Malaysia as the leader of creative digital content provider, MDeC, through MSC Malaysia will continue to put our best foot forward in supporting the Creative Multimedia industry. Discover more at www.mscmalaysia.my and be part of our aspiration. Contact: Michelle Sta Maria

Head of Market Access, IBD

M : +6019 6623617

e : michelle@mdec.com.my

News MIPJUNIOR WORLD PREMIERE TV SCREENING

Thunderbirds Are Go! A re-working of the original Thunderbirds series from the Sixties, is this year’s MIPJunior World Premiere TV Screening. Julian Newby reports

M Executive producer Giles Ridge

IPJunior delegates are in for a rare treat on Saturday, October 11, when they get the chance to see a complete episode of the new ITV Studios-produced series Thunderbirds Are Go!. A reinvention of the classic Sixties Supermarionation series from Jerry and Sylvia Anderson, Thunderbirds Are Go! mixes CGI animation and live-action model sets to bring the action stories of the Tracy family right up to date — while retaining much of the charm of the original. “ITV has the privilege of owning all of the franchises of Jerry and Sylvia Anderson from the Sixties, starting with Supercar and Fireball XL5, through Stingray, and then later Captain Scarlett and Joe 90,” said Giles Ridge, the series’ executive producer. “Then in the middle of that, in 1965, comes what people regard as the jewel in the crown, which is Thunderbirds.” The original filmed between 1964 and 1966 — and so turns 50 this year. It tells of the adventures of the

Tracy Family, who live on a secret island from where they operate International Rescue, which carries out rescue operations in space, under water, and on land. Ridge believes it’s the core values of the series that gives it its longevity. “I’m talking about the qualities of bravery, heroism, and ingenuity and selﬂessness. All wonderful positive aspects to have in an action-adventure series,” he said.

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“And then, layered on top of that is the fact that you’ve got this family at the heart of it, on a secret hideaway island, with all these machines and crafts at their disposal. It’s not a bad way to start.” Ridge was careful to choose co-production partners who “shared the same sort of love and affection and passion for the series as we do”, which he eventually found in Wellington, NZ-based Pukeko Pictures, and Peter Jackson’s Miramar, NZ-based Weta Workshop — both companies sharing a cofounder in Sir Richard Taylor. “They put to us the idea of going for a mixed-media approach, building the crafts and characters in traditional CGI — so kind of moving away from the marionette puppets of the Sixties — which were fantastic for their time, but our audience

has grown up and is used to a more contemporary look now,” Ridge said. “So basically we’re building all of our backgrounds, our buildings, our exteriors, as live-action miniature sets and that’s the aspect that gives this series the special look that it’s going to have. So our MIPCOM screening will showcase this mixed-media approach and this wonderful look that we are starting to see coming through from New Zealand.” Other nods to the original series include the 5-4-3-2-1 intro sequence to each episode, and the voice of Lady Penelope’s chauffeur, Parker, which will be that of actor David Graham who voiced the character in the original. Graham’s co-star Lady Penelope is voiced by actress Rosamund Pike. “It’s such a treat. I watched Thunderbirds as a child and to get to play someone as iconic as Lady Penelope… I’ve played a Bond girl and now I’m getting to play Lady Penelope. I feel really very lucky.” Of her co-stars she said: “There are some of the boys who are playing the Tracy brothers who grew up and cannot believe that they’re playing Scott or Alan Tracy now. You couldn’t have told their 13-year-old selves that that was going to be the case.”

MIPJUNIOR WORLD PREMIERE TV SCREENING “Thunderbirds Are Go!” by ITV STUDIOS Saturday 11 October, 17.45-18.30, Agora

Thunderbird 4

And then there’s the music, another deﬁning element of the original series. “We’ve appointed two composers, Ben and Nick Foster, two wonderful guys,” Ridge said. “Ben’s a very accomplished orchestrator in his own right and works very closely with Murray Gold in Doctor Who. But the reason we chose them was that their vision was like ours. We wanted to create a big epic orchestral score very much like Barry Gray did in the original, so our score will feature big strings, big brass and big percussion — Barry Gray brought that very kind of militarytype march sound to the original with lots of percussion and snare drums. And we’ve given it a modern twist. It still feels absolutely Barry Gray at its heart, but also feels modern and contemporary at the same time.” ITV has initially commissioned 26 halfhour episodes, one of which will be premiered in the MIPJunior Agora, at 17.45, on Saturday, October 11, before the MIPJunior Opening Party.

Tracy Island, home of International Rescue

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Product News MIPJunior Preview highlights some of the content on sale from around the world at MIPJunior, and onwards at MIPCOM LITTLE AIRPLANE PRODUCTIONS NEW 2D-animated property for pre-

MEDIATOON DISTRIBUTION FRANCE’s Mediatoon Distribution is

schoolers, P.King Duckling (52 x 11 mins) is aimed at 4- to 7-year-olds and features the adventurous but hapless bird with his friends Wombat and Chumpkins. The co-production from New York-based Little Airplane Productions and China’s UYoung aims to encourage children to see setbacks in a positive light and keep on dreaming, imagining and doing.

highlighting two of its latest series at MIPCOM. The Crumpets, already picked up by Canal+ Family, features an oddball family including Ma who is busy inventing revolutionary machines and a money-making Granny. Linkers, prebought by Gulli, follows ﬁve teen heroes who ﬁnd that their online friend and game designer Cassiel is trapped inside his own video game.

CYBER GROUP STUDIOS NEW EPISODES of Mini Ninjas (52 x 11 mins 2D/HD) are brought to MIPCOM by Cyber Group Studios, a coproduction based on a video game and app, from Cyber, TF1 Production and Enamination. The French producer and distributor also brings the second season of Zou (104 x 11 mins), which aims to teach young viewers valuable lessons about family and growing up; and the ﬁrst episodes of Zorro The Chronicles (26 x 22 mins), a CG-animated series featuring the masked swordsman, produced by Cyber for France Televisions and RAI.

KARTUN STUDIOS MALAYSIA’s Kartun Studios is prioritising

The Crumpets (Mediatoon Distribution) P.King Duckling (Little Airplane Productions)

FREMANTLEMEDIA KIDS & FAMILY ENTERTAINMENT DANGER Mouse, a popular secret agent animated character from the 1980s, makes his return at MIPCOM in a 52 x 11-minute series co-produced by the UK’s CBBC, FremantleMedia Kids & Family Entertainment and Boulder Media. The series features new characters, gadgets and high-tech vehicles.

GENIUS BRANDS INTERNATIONAL (GBI) THOMAS Edison’s Secret Lab is a new animated series developed with American Public Television, scheduled to premiere in 2015, and brought to MIPCOM by Genius Brands International. With the pilot episode written by Emmy-nominated Steve Banks (SpongeBob SquarePants), the 52 x 11-minute episodes of the multimedia property encourage kids to engage in the fun and exploration of science with 12-year-old prodigy Angie and her science club. They discover a scientist’s ultimate dream lab, including two of Edison’s very last inventions: a hologram that brings Mr. Edison himself “to life,” and a robot named Von Bolt.

three titles at MIPCOM: Geckoman features a superhero created after an accident in a school science lab, aimed at eight- to 11-year-olds; Rex Squared, about six-year-old Rex and his adventures through literary classics with his dinosaur toy; and Ribbit, a 3D-animated series based on an animated feature ﬁlm about an adventurous frog and his friends in the Amazon Rainforest and their efforts to foil a megalomaniacal Witch Doctor.

Thomas Edison’s Secret Lab (GBI)

Danger Mouse (FremantleMedia Kids & Family Entertainment)

Geckoman (Kartun Studios) preview magazine I September 2014 I www.mipjunior.com

SHEEP AND WOLVES Animation, 80 min WIZART ANIMATION

ALISA KNOWS WHAT TO DO! Action/ Adventure, 90 min ANIMATION STUDIO “MOSKVA” CO.

THE MAGIC TOWER Historical Fantasy, 77 min MASTERFILM STUDIO

THE FIXIES 104 Episodes 6 Minutes AEROPLANE PRODUCTIONS

Product News MARVISTA ENTERTAINMENT MARVISTA debuts the action-adventure

HASBRO STUDIOS THE TRANSFORMERS characters return in

ABC COMMERCIAL PRISONER ZERO (26 x 30 mins/HD) is a

animated series Heroes: Legend Of The Battle Disks at MIPCOM. Targeted at ﬁve- to 10-year-old boys, the 26 x halfhour series (also available as 52 x 13 mins) is set in a galaxy near the centre of the universe. The Heroes live on Planet Aernia, home to an Academy that trains them to ﬁght against the Dark Desire that is trying to destroy the world.

the new series Transformers: Robots In Disguise, brought to MIPCOM by the US’ Hasbro Studios. The story in the 78-episode series follows Bumblebee who is summoned by Optimus Prime to save Earth from a new faction of Decepticons.

fast-paced, animated sci-ﬁ series following teen heroes Tag and Gem, and their mysterious friend Prisoner Zero as they battle the evil Imperium. The series is aimed at eight- to 12-year-olds. The Australian distributor also brings the second season of The New Adventures Of Figaro Pho (39 x 8 mins/HD), featuring a warm-hearted character who is afﬂicted with a multitude of phobias and his dog and best friend, Rivet. Prisoner Zero (ABC Commercial)

Heroes: Legend Of The Battle Disks (MarVista Entertainment)

MEDIA I.M. TOPPING the recently launched Londonbased distribution company Media I.M.’s MIPCOM slate is The Bubbles (52 x 6.5 mins). From Russia’s Studio Nebo, the 3D series emphasises kids’ development, with themes including the importance of friendship, strength, generosity, courage and creativity. Action takes place on an amazing planet where everything is constantly ﬂying, bursting and exploding.

The Bubbles (Media I.M.)

Transformers: Robots In Disguise (Hasbro Studios)

PICTURE BOX DISTRIBUTION TWO PRODUCTIONS head the slate for Canada’s Picture Box Distribution. Liveaction series Annedroids (52 x 30 mins/ HD), follows Anne’s scientiﬁc problemsolving with her droids PAL, EYES and HANDS, and her assistants Nick and Shania. The Bagel Show (52 x 11 mins/ HD) is a fast-paced comedy animation about a brother and sister who just happen to be a dog and cat, who continually ﬁnd themselves in trouble. Both shows are aimed at six- to nine-year-olds.

ZDF ENTERPRISES (ZDFE) GERMAN distributor ZDFE brings a new HD series to MIPCOM, Marcus Level (52 x 13 mins), that follows the adventures of a young boy who is transported into his new computer game. The company also brings Skinner Boys (26 x 24 mins/HD), an animated series about three young boys who inherit from their grandfather a mansion complete with objects that possess incredible powers. With their cousin Tara, they must protect their collection from evil forces. Marcus Level (ZDFE)

Annedroids (Picture Box Distribution) preview magazine I September 2014 I www.mipjunior.com

NEW Creative Europe MEDIA AT MIPJUNIOR 2014

Use your time eȐciently Creative Europe MEDIA is oȎering a matchmaking service. Obtain advance information on what the European independent companies under the Creative Europe MEDIA umbrella have to oȎer and set up targeted meetings.

ȩ ȩ Contact our expert now at mipjunior@media-stands.eu or during MIPJunior on VIP Table 4 in the private meeting area.

Check out the lineup at www.media-stands.eu

media-stands.eu

Product News NIPPON TELEVISION NETWORK CORPORATION (NIPPON TV) COMMERCIAL broadcaster Nippon TV brings Parasyte – The Maxim, to MIPCOM. The 10 x 30-minute animated show (additional episodes to be announced shortly) premieres this month in Japan. The series, based on a sci-ﬁ comic, follows a high-school student who is attacked by a parasite from space which lodges itself in his arm, beginning a peculiar symbiotic relationship. Two live-action movies are also planned.

IMIRA ENTERTAINMENT ON THE MIPCOM Imira Entertainment

BRB INTERNACIONAL A NEW series based on the polar bear

slate comes: Austrian live-action series about a mystery-solving talking bike, Tom Turbo (188 x 26 mins), for which it has worldwide distribution rights (excluding Austria and China); Tom Turbo, The Movie (1 x 82 mins), for which Imira holds global distribution rights (excluding Austria); and animation Lucky Fred (104 x 12 mins), now greenlit for its second season, about a 13-yearold boy and his shape-shifting robot.

animation series Bernard is brought to MIPCOM by Spain’s BRB Internacional. In the new HD series, SuperBernard (52 x 11 mins), Bernard has unusual superpowers. The show is due for delivery at the end of 2016. Worldwide distribution excluding Asia is handled by BRB.

Tom Turbo (Imira Entertainment)

TWOFOUR STUDIOS THE UK’s Twofour Studios brings Toot The Tiny Tugboat (52 x 11 mins), a new 2D pre-school series, to MIPCOM. The show features an ambitious tugboat and his aquatic friends in stories that promote imagination, community and learning. Due to air on Channel 5’s Milkshake! and S4C, the series is produced by Lupus Films, Cloth Cat Animation and Boom Kids.

Parasyte – The Maxim - (Nippon TV)

ENTERTAINMENT ONE (EONE) HEADING eOne’s kids’ MIPCOM slate is

KARROT ENTERTAINMENT JIMMY’s Jammies is a new 26

a 15-minute Peppa Pig special celebrating 10 years, which will be available at the end of this year. Due to premiere on Channel 5 Milkshake! and Nick Jr., the episode centres on Peppa’s quest to ﬁnd her golden boots and take part in the Puddle Jumping Peppa Pig (eOne) Competition.

x 11-minute pre-school series from the UK’s Karrot Entertainment, about six-yearold Jimmy who’s father is a curator of an inner-city museum. Every morning, Jimmy wakes up early to explore the museum, knocking on the Totem pole to wake up Raven, his magical best friend. When they spot an artefact with a symbol matching Jimmy’s patterned pyjamas, they are whisked off on an adventure to where that item originated.

SuperBernard (BRB Internacional)

NERD CORPS ENTERTAINMENT A THIRD movie in the Slugterra franchise is due this year, following on from theatrical screenings of Slugterra: Return Of The Elementals. The ﬁrst 40-minute ﬁlm was Ghoul From Beyond. The Canadian company is also prioritising its animation series Endangered Species (52 x 11 mins), including plans for interactive content, including web and mobile games.

Jimmy’s Jammies (Karrot Entertainment)

preview magazine I September 2014 I www.mipjunior.com

Conference & events programme

Programming for connected kids

11-12 October 2014, Palm Beach, Cannes

TV, Books, Games, Toys… Hit-IPs on every screen feed the ever-hungry-for-entertainment connected kids. Ride the wave with kids entertainment experts to build the future of kids programming. THUNDERBIRDS ARE GO!

REBEL RULES

The new incarnation of the cult kids’ show produced by ITV Studios and New Zealand-based Pukeko Pictures, in collaboration with worldfamous Weta Workshop (Avatar, The Lord of the Rings) will be the ﬁrst MIPJunior World Premiere TV Screening.

When Disney Channels Worldwide President and Chief Creative Ofﬁcer Gary Marsh combines forces with Lucasﬁlm’s Dave Filoni (Star Wars: The Clone Wars) the result is galactic. Join us for a look at Star Wars Rebels the latest in Star Wars storytelling and take a journey through the unique creative process behind the phenomenon that continues to entertain audiences worldwide.

Saturday 11 October, 17.45

Sunday 12 October, 11.15

PEANUTS REIMAGINED

WHERE WILL YOUR NEXT CROSS-MEDIA PARTNERSHIP TAKE YOU?

Get insights from Russell Hicks, President, Content Development and Production, Nickelodeon Group and dive into the “Rabbids” case study when he is joined by Jean-Julien Baronnet, CEO, Ubisoft Motion Pictures and Tiphaine de Raguenel, Head of Children and Youth Activities, France Télévisions.

Saturday 11 October, 12.20

Sunday 12 October, 17.00

Saturday 11 October

Sunday 12 October

8.30–9.00 Networking lounge New visitors tour 10.30–11.00 Agora The new crop of innovative children’s & youth content from Canada Screening by the Canada Media Fund & Teleﬁlm Canada Followed by a networking coffee break

11.30–12.10 Agora Kids & multi-screens But what are these pint-sized multi-taskers really watching? 12.20-12.50 Agora MIPJunior keynote: Peanuts reimagined Featuring Kim Towner, Peanuts Worldwide; Julien Borde, France Télévisions & Alexis Lavillat, Normaal Animation

10.00–11.00 Agora MIPJunior international pitch Discover the next gen TV projects for connected kids

By The London Book Fair One2one pre-registered meetings

11.15–11.45 Agora Rebel rules Featuring Disney Channels Worldwide President and Chief Creative Ofﬁcer Gary Marsh & Lucasﬁlm’s Dave Filoni (Star Wars: The Clone Wars) 12.30–14.00 Agora Discover the new best kids content from Mexico

14.15–15.00 Agora The digital strategists show & tell Hit-IPs breaking through all screens

14.00–15.00 Networking lounge The licensing matchmaking #1 Producers pitch licensing agents

15.15–16.00 Agora Publishers & producers: Creative collaboration from book to screen

15.15-16.15 Networking lounge The buyers & commissioners matchmaking Producers pitch the buyers

One2one pre-registered meetings

16.15–16.45 Agora The latest and best-selling Spanish animation and programmes for kids Screening by Animation from Spain (ICEX, Spain Trade and Investment) Followed by Spanish tapas and wine

17.00–17.30 Agora Licensing for plugged-in fans Learn from star gaming franchises conquering all screens

14.15–14.45 Agora Family entertainment: what do parents want? Keeping up with connected kids

14.15–15.15 Networking lounge The licensing matchmaking #2 Producers pitch licensing agents One2one pre-registered meetings

15.00–15.30 Agora Online originals for the new kids on the block A guide to developing the future kids classics on the web 15.45–16.30 Agora Follow us to Russia Ready to sell – ready to buy By Russian Cinema Fund

16.45–17.30 Agora Where will your next cross-media partnership take you? Share an industry leader’s vision and then dive into the hit case study “Rabbids” Featuring Russell Hicks, Nickelodeon Group, Jean-Julien Baronnet, Ubisoft Motion Pictures & Tiphaine de Raguenel, France Télévisions

17.45–18.30 Agora MIPJunior world premiere TV screening: ‘Thunderbirds Are Go!’

17.45–18.30 Agora The publishers show & tell Bringing books to the screen

By ITV STUDIOS

By The London Book Fair

From 19.00 Party zone MIPJunior opening party

18.30–20.30 Carlton Hotel, Salon La Côte Dreamworks party

In partnership with ProMexico

Access by invitation only

Programme as of 2 September 2014. Subject to change.

In partnership with Saban Brands

MIPJunior thanks its sponsors & partners:

10.00–11.00 Networking lounge The publishing matchmaking Producers pitch publishers

Snack & screen by ProMexico

13.00–14.30 Party zone, seating limited MIPJunior networking lunch

By The London Book Fair

9.00–9.45 Agora View from the top: what do buyers want? Emerging multi-platform acquisition trends

Product News BETA FILM/WUNDERBOX TOPPING the MIPCOM slate for

MOODY STUDIOS NEW YORK -based Moody Studios is at

Germany’s Beta Film/Wunderbox are: The Famous Five III (1 x 95 mins), featuring author Enid Blyton’s wellknown children experiencing adventures on an exotic island; Bibi & Tina (1 x 101 mins), a live-action adaptation of the story about young witch Bibi Blocksberg; pre-school ﬁlm Fiddlesticks (1 x 90 mins); Lola On The Pea (1 x 90 mins), about nine-year-old Lola who befriends an illegal immigrant; and animation Wild Soccer Bunch (26 x 24 mins).

MIPCOM seeking broadcast and distribution partners for Rock (52 x 11 mins), co-developed with IClear Choice Entertainment. Rock is a 13-year-old pop superstar and one day lightning hits his Lear jet and sends him back to the Stone Age. With his electric guitar he teams up with cave-girl Rain to create the ﬁrst rock band.

SUPERIGHTS MIPCOM highlights for Paris-based distributor Superights include educational comedy Kika & Bob (52 x 13 mins), already airing on Canal+ Family (France), RTBF and VRT (Belgium), NPO (The Netherlands) and DR (Denmark), and due on Discovery Kids Asia Paciﬁc, MBC (Middle East), RTP (Portugal) and NRK (Norway). The company also brings pre-school series Picnic With Cake (13 x 5 mins/26-minute special).

SPLASH ENTERTAINMENT RECENTLY launched Splash

Rock (Moody Studios)

GURU STUDIO GURU Arcade, the new interactive

Famous Five III (Beta Film/Wunderbox)

PBS INTERNATIONAL TWO TITLES head the kids slate for PBS International. Martha Speaks (16 x 30 mins) stars a dog who accidentally eats alphabet soup which gives her the power of speech. Aimed at children aged four to seven, the goal is to teach kids new words, with each episode introducing 10 new words and their meanings. In WordWorld (45 x 30 mins/ HD) a group of WordFriends invite preschool viewers to join them on adventures where problems can only be resolved by building the right word, letter by letter, sound by sound.

Martha Speaks (PBS International)

venture from Guru Studio, is producing mobile games in development with the CMF Experimental Fund and in partnership with Treehouse, for pre-school series Dinopaws (52 x 11 mins), a Guru coproduction with Kindle Entertainment and Laughing Gravy Media about three inquisitive dinosaurs. Last year the Guru Arcade team launched Jig Jag Jog, an iOS app with three mini games for its own series, Justin Time.

Entertainment highlights a new 26 x 30-minute series G.U.N.K. Aliens, produced in partnership with Foothill Entertainment and its London-based afﬁliate Foothill Europe. The series is based on best-selling children’s books from HarperCollins. The stories feature Jack, his robotic dog Snivel and his pals, Oscar and Ruby, who work for a secret alien-ﬁghting organisation called C.L.E.A.N. The only thing standing between Earth and the G.U.N.K. Aliens, is a band of extra-terrestrials committed to a toxic invasion of Earth.

DISTRIBUTION360 TORONTO -based Distribution360 highlights two shows at MIPCOM. YOUniverse (26 x 2.15’) is about space exploration from the perspective of a child, and Planet Echo (52 x 22 mins) is a mixture of stories about people and places infused with adventure and fun facts.

YOUniverse (Distribution360)

G.U.N.K. Aliens (Splash Entertainment)

PGS ENTERTAINMENT AT MIPCOM from France’s PGS Entertainment comes: Super 4 (52 x 11 mins/HD), featuring Playmobil characters; The Jungle Bunch To The Rescue! (52 x 11 mins/26 x 1’30” + movie); series three of The Little Prince, (78 x 26 mins/37 mini movies/HD-3D); Miraculous LadyBug (26 x 30 mins/HD), about a young fashionable Parisian superhero; and Robin Hood (52 x 11 mins/HD.

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Photos Vietnam, Kirghizie, Madagascar: Winds / E. Guionet. Photos Inde, Népal, Malaisie: Winds / Y. L’Hénoret. Photos Israel. Winds / E. Guionet.

Product News 9 STORY ENTERTAINMENT PEG + CAT (80 x 12 mins) is a pre-school

EDEBE AUDIOVISUAL SPANISH producer Edebe has partnered

TOMAVISTAS BARCELONA -based Tomavistas returns

series that follows a spirited little girl and her sidekick as they embark on adventures while learning basic math concepts and skills. The Canadian company is also highlighting the second season of Numb Chucks (52 x 11 mins), targeted at six- to 11-year-olds, about two half-witted woodchuck vigilantes who use their non-existent kung-fu skills to protect Ding-A-Ling Springs.

with Majorca-based Cinetica Produccions to develop animation series Isi (52 x 11 mins). Isi is a curious little girl who lives with her rockabilly Dad, her stressed-out Mom, a brother who thinks he’s a superhero, an eccentric grandfather and a robot. They live in a world made of paper, fabric, yarn and other recycled items.

to MIPCOM with a series in development currently entitled Lara In Be Tween (26 x 11 mins), a spin-off of their series Ask Lara. The company is also beginning production of Rudy The Cloud Boy (52 x 11 mins) and The Nanooz season I (26 x 11 mins).

Isi (Edebe Audiovisual) Peg + Cat (9 Story Entertainment)

44 TOONS OSMAR, The Heel Of The Loaf (52 x

MONSTER PIP AHOY! (52 x 11 mins) is being produced by CHF Entertainment, the new incarnation of Cosgrove Hall Films, based in Manchester, UK, and is brought to MIPCOM by Dublin, Ireland-based Monster. Featuring the voice of Sir David Jason, Pip Ahoy! airs on the UK’s Channel 5. The series follows the adventures of a young pup called Pip and his best friend, a kitten, around the seaside resort of Salty Cove.

BALEUKO AVAILABLE in Spanish and English, Blackie & Company tells the musical stories of animals at a farm where the dog and the black sheep are having a romance, the cow sings opera and a ﬂy wants to be a Bollywood star. The series is brought to MIPCOM by Spain’s Baleuko.

Blackie & Company (Baleuko)

11 mins), from Brazilian studio 44 Toons, features shy Osmar, a little slice of bread, that has been forgotten in the package. The ﬁrst 26 new episodes are in production and a theatrical feature ﬁlm in scheduled for 2017.

FICCION PRODUCCIONES ON THE MIPCOM roster from Spain’s Ficcion Producciones comes: Day Of The Dead (1 x 90 mins), due in 2016, a family fantasy adventure about a girl who in searching for the identity of her parents embarks on a journey with her friends encountering ghosts, skeletons and the underworld; Little Tom (1 x 74 mins), about a little boy who ﬁnds a magic mirror that leads him into fantastic adventure and danger; and Tutu! (13 x 7 mins), a pre-school animation about a kangaroo and his best friend, a tiny ﬂea.

Day Of The Dead (Ficcion Producciones)

Lara In Be Tween (Tomavistas)

PRODUCTIONS TOONDRAW IN GENIUS Genie (39 x 5 mins), brought to MIPCOM by Montreal-based Toondraw, Noah, Nouk and Lili tackle problems as though they are fun challenges, and despite a not-sobrilliant genie, who claims he’s an expert problem solver, it’s the kids who surprise the surrounding adults by ﬁnding creative solutions to every problem.

Genius Genie (Productions Toondraw)

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Product News CINERAMA BRASILIS LEO AND Lisa — The Adventures Of Little Da Vinci (26 x 11 mins) is set in a small village where Leo spends his days drawing and inventing. The father of his best friend Lisa wants to steal his inventions, but Leo is aided by the mysterious Druidess in the forest.

NHK

VERALIA

THINK Like A Crow! — The Scientific Method is brought to MIPCOM by Japan’s NHK. With its title taken from one of Aesop’s Fables in which a crow cleverly uses pebbles to drink water from the bottom of a pitcher, this educational series aims to teach children the four steps of the scientific method: observation, hypothesis, experiment, and evaluation. Humorous segments demonstrate the first three steps, and the audience is left to think about the evaluation.

SPAIN’s Veralia brings its new series Magic Mania (26 x 11 mins) to MIPCOM. The show teaches youngsters how to build magic tricks using household materials such as glue and paper.

Leo And Lisa — The Adventures Of Little Da Vinci (Cinerama Brasilis)

Magic Mania (Veralia)

HENSON INDEPENDENT PROPERTIES (HIP)

SONY CREATIVE PRODUCTS

ELIAS the rescue boat ﬁrst gained popularity as a children’s book in Norway, and is now rolling out as an entertainment brand from HIP (Henson Independent Properties), The Jim Henson Company’s distribution and licensing banner, which has recently acquired rights for global consumer products and media distribution. MIPCOM is the debut for 52 x 11-minute episodes of the CGI pre-school series, Elias: Rescue Team Adventures, in production from Iceland’s Caoz Animation. The series is set to air on Norway’s NRK.

FOOTHILL ENTERTAINMENT SANTA-Barbara, California-based Foothill Entertainment brings pre-school animation Rollie & Friends (52 x 11 mins) to MIPCOM. The CGI series features Rollie the rollercoaster and his friends at Sunshine Cove amusement park. Characters include Charlie the helicopter, Sammy the submarine, Flash the spaceship and his best friend Tootie.

Rollie & Friends (Foothill Entertainment)

Think Like A Crow! — The Scientific Method (NHK)

BEYOND DISTRIBUTION BEYOND’s new series for MIPCOM features 10-year-old naturalist Robert Irwin, son of Crocodile Hunter Steve Irwin, with science geek Isabel Yamazaki in Wild But True, a series exploring how nature and wildlife have inﬂuenced modern life.

MOFY, a pre-school series set in a world made of soft cotton puffs, now airs in more than 20 countries and is brought to MIPCOM by Japan’s Sony Creative Products. Season two is due at the end of this year, and the company has greenlit season three, which is scheduled for the end of 2015, bringing the number of episodes to 78. Mofy is a stop-frame animation produced by the Italy’s Misseri Studio.

SCHOLASTIC MEDIA ASTROBLAST!, a co-production between Scholastic Media and the Sprout network, is a pre-school CGI show based on a Scholastic book series. The stories, set on the Astroblast! Space Station, emphasise embracing differences, positive relationships and healthy habits. Scholastic Media, along with Netflix, is set to launch The Magic School Bus 360°, based on Scholastic Media’s series The Magic School Bus. The new CGI series features Ms Frizzle’s class and a high-tech bus that takes children on scientific adventures. The 26 episodes will launch on Netflix in 2016.

Mofy (Sony Creative Products)

NOTTINGHAM FOREST SPAIN’s Nottingham Forest returns to MIPCOM with its series Sendokai Champions, co-produced by Kotoc, TVE and Planeta Junior. The animation series, with transmedia and interactive elements, emphasises friendship, fairplay, teamwork and heroism. Sendokai Champions (Nottingham Forest)

Astroblast! (Scholastic Media) preview magazine I September 2014 I www.mipjunior.com

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Product News MILLIMAGES MILLIMAGES brings a new series of Mouk to MIPCOM. Mouk travels the world with his best friend, Chavapa. France Televisions launched series two in September, coinciding with the launch of two new apps. The France-based production and distribution company is also in development on new preschool series Pirata & Capitano (52 x 11 mins) which follows the quest for treasure of Pirata, the captain of the Pink Skull ship, and her best friend and ﬂying ace Capitano.

BREAKTHROUGH ENTERTAINMENT PIRATE Express is a series aimed at seven- to 11-year olds about Newt, the son of Poseidon, who leads a motley crew of unruly pirates on bizarre voyages. The series is brought to MIPCOM by US-based Breakthrough Entertainment.

Pirate Express (Breakthrough Entertainment)

SLAP HAPPY CARTOONS VANCOUVER-based Slap Happy Cartoons is in production on the second season of Nerds And Monsters (40 x 22 mins.). The show features a group of nerdy kids on a fantastic uncharted island who have to survive the relentless attacks by the island’s inhabitants, a tribe of hideous monsters.

GRUPPO ALCUNI ITALIAN producer Gruppo Alcuni brings the second series of Leonardo (26 x 13 mins) to MIPCOM. In the 3D series the young genius meets new characters including a group of sinister pirates, but also sees the return of old favourites such as Gioconda, Lorenzo, Gottardo with his sneaky sister Laura. The company also brings family ﬁlm Pet Pals In Windland (1 x 80 mins/3D), in which the Pet Pals are up against their nemesis Crow Witch; and pre-school series Mini Pet Pals (52 x 6 mins), set on a farm.

Leonardo (Gruppo Alcuni) preview magazine I September 2014 I www.mipjunior.com

Feature CHILDREN’S BUYERS

Buying for Junior Quirky one-offs? High-concept live action? Retro brands? Want to know what MIPJunior’s 550-plus buyers from 65 countries will be looking for this October in Cannes? Rachel Murrell has been asking around MARGARET CAMERON, CHANNEL EDITOR, BBC ALBA, UK

LYSIA CHATRINE, GENERAL MANAGER, PT UNGGUL CIPTA PIRANTI, INDONESIA

Buying for: BBC ALBA.

Buying: Indonesian home-video rights.

Looking for: Mainly children’s animation for a seven-plus audience, but also selected factual programmes, music documentaries.

Looking for: Children’s programmes in education, animation and documentary. and

performance

Key acquisitions: Pororo The Little Penguin, Pocoyo, Dibo The Gift Dragon.

Channel-deﬁning shows include: Peppa Pig (eOne), The Life And Times Of Paul The Psychic Octopus (Autlook), The Little Prince (PGS) and the forthcoming Small Hands In A Big War (Looks Film & TV).

Good to know: In animation, we prefer the 3D format. We dub some titles into Bahasa Indonesia and some we subtitle only.

Good to know: BBC ALBA is the BBC’s Gaelic-language television channel, launched in 2008 as a partnership between the BBC and MG Alba. We air all our programming in Scottish Gaelic — ‘Alba’ is the Gaelic word for ‘Scotland’ — and we operate within BBC license editorial guidelines, which seek to inform, educate and entertain our audience. But we have our own identity distinct from BBC Scotland, and from CBBC and CBeebies, and we buy separately.

Favourite Cannes treat: Seafood!

We like classic characters, comedy, natural history and quirky one-offs. And our audience skews slightly male — both at the younger demographics and among adults — so we particularly seek programming with a strong appeal to women and girls. We sometimes co-produce, as in the case of Small Hands In A Big War, a children’s programme about the First World War, which we came upon at MIPCOM a while back. We felt it was perfect for our audience, and we were one of a number of European broadcasters who came on board to help fund it. Additional rights sought: BBC iPlayer, web assets and, possibly, digital-download rights. Favourite Cannes treat: Given the weather in Scotland in October, I like to walk barefoot on the warm sand with a Cosmopolitan in my hand — but only after a hard day’s work, of course…

Additional rights sought: Indonesian home-video rights only.

BEATHE DAAE, HEAD OF CHILDREN’S PROGRAMMES AND SENIOR ACQUISITION EXECUTIVE, TV2 NORWAY Buying for: TV2 Norway. Looking for: Mainly animated series for two- to 11-year-olds with strong characters, good stories, humour and no violence. Can be any format and length, for TX on Saturday and Sunday between 06.00-09.00, plus all holidays. Channel-deﬁning shows include: Lego Legends Of Chima, Pokemon, Winx Club, Thomas The Tank Engine and Everything’s Rosie. Good to know: Our web-service TV 2 SUMO is very important for us. Children today are used to watching what they want, when they want, on the device they want. This will be a major media consumption pattern of the future. Additional rights sought: SVOD rights for TV 2 SUMO. Favourite Cannes treat: A private helicopter lift from Palm Beach to Nice airport… You can always dream!

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Feature HITOSHI FURUKAWA, SENIOR PRODUCER, NHK, JAPAN Buying for: E-Tele, NHK’s educational channel. Looking for: Animation for children from preschoolers to teens, ideally ﬁve- or 30- minutes in duration, and in series of 26 episodes. We want creative, innovative animation to nurture young children’s creativity. For teens, we’re looking for animation that’s totally different from the familiar anime. Channel-deﬁning shows include: In-house productions such as PythagoraSwitch, Design Ah! and Discover Science. Acquisitions such as Curious George and Shaun The Sheep are also popular. Good to know: We aren’t just interested in acquiring programmes at MIPJunior, but would also like to explore the possibility of international co-productions. Additional rights sought: All rights for Japan including, where appropriate, merchandising rights.

SYLVIE LANGLOIS, MANAGER, ACQUISITIONS, CONTENT YOUTH AND FAMILY, CONTENU QMI, CANADA Buying for: Yoopa, the Quebecois pre-school channel, and two of Videotron’s multiplatform kids’ channels: illico On Demand, a FVOD (free video-on-demand) service for six- to 11-yearolds; and Club illico, a French SVOD channel for tweens and teens. Looking for: Great animation for pre-schoolers, tweens and teens. Channel-deﬁning shows include: On Yoopa, Peppa Pig, Kung Fu Panda and Tree Fu Tom; on illico, Les Lapins Cretins, Odd Buds and Atomic Betty; and on Club illico, Totally Spies, Dinosaur Train and Naruto. Good to know: Club illico is still very new and, at this point, we don’t have any subscription numbers to share. But we’re very satisﬁed with its progress. Additional rights sought: We only buy French-language rights.

Favourite Cannes treat: Almond croissants, a private helicopter ride and a late-night Pink Squirrel at The Grand… Do I sound too greedy?

Favourite Cannes treat: Perfume, body cream and, of course, champagne at The Grand. I love bubbles!

NICOLE KEEB, HEAD OF INTERNATIONAL COPRODUCTIONS AND ACQUISITIONS, CHILDREN & YOUTH, ZDF, GERMANY

PETRINA NAGTZAAM, CONTENT CO-ORDINATOR, RTL TELEKIDS, RTL NETHERLANDS

Buying for: Germany’s main channel, ZDF, and the ZDF/ARD kids’ channel, KiKA. Looking for: High-profile live-action, such as H2O, Wicked Science and Mako. We’re also looking for finance partners with whom to co-produce this kind of show. It would be great to produce a good European live-action show from scratch, but it’s not easy. Channel-defining shows include: H2O: Just Add Water, Mako, Jungle Book, Peter Pan and Little Nick. Good to know: We don’t acquire comedy because we have to dub it and it tends not to work for our audience. Additional rights sought: We need all German-speaking rights, including free-to-air, pay TV, VOD and DVD, to recoup the costs of making a German dub. And this covers Austria and Switzerland too, as we supply some youth and kids’ programming to their public channels ORF and SRS respectively. The length of the license period we seek varies, depending on the level of our investment and our estimate of the programme’s likely shelf life. Favourite Cannes treat: My early morning swim in the sea with Arne [Lohmann, ZDF Enterprises’ director of co-production, children and youth]. We try to go at least once every MIPTV and MIPCOM. We’re famous for it.

Buying for: RTL Telekids, which is free-toair, and RTL Telekids 24/7, a digital ‘low-pay’ TV channel — ie, only available to viewers with a subscription to the kids’ package. Looking for: Series and movies, animated or live-action, for three- to eight-year-olds. Channel-deﬁning shows: We have several international properties but our channel-deﬁning shows are locally produced ones, such as wsv De Optimist, a drama series about sailing; Het Mysterie Van…, a hybrid drama-game show; and GreenKids, an educational programme about nature. Good to know: Our core values are non-violence, humour, education and inspiration. We are able to reach kids through an app, tablets, musical school, toys and live events, and we have a licensing team to help build, position and exploit brands across the territory. Additional rights sought: VOD rights are an absolute musthave for our apps, Telekids and RTL XL websites and, most importantly, Videoland, now the Netherlands’ biggest VOD provider. And as we’re a kids’ channel, rights for licensing and live entertainment are also very important. Favourite Cannes treat: There’s a small shoe shop at the end of the rue d’Antibes whose owner designs the most lovely shoes. I can’t go to Cannes without paying a visit.

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Feature FRANCESCA NEWINGTON, HEAD OF CHILDREN’S CHANNELS, CSC MEDIA GROUP, UK

MEVELYN NORIEGA, SENIOR VICE-PRESIDENT, SALES AND ADMINISTRATION, SPLASH ENTERTAINMENT, US

Buying for: Tiny Pop, Pop, PopGirl and Kix.

Screening for: Kabillion’s two US ondemand TV networks: Kabillion, geared to boys aged six to 12; and Kabillion Girls Rule!, aimed at girls aged six to 12.

Looking for: An energetic live-action or presenter-led series to play in the mornings on Tiny Pop, plus 11-minute series for three- to seven-year-olds with strong dialogue, great storylines, humour and pace. For Pop, we need comedy, art, science and ‘how-to’ series for boys and girls aged four to nine, as well as animation, live-action and hybrid shows. For PopGirl, we need tween live-action comedy and drama for girls aged seven to 12, and this year I’m also looking for movies. For Kix, the focus is on action and superhero series for boys aged seven to 12, but I’d like to find one or two comedies to keep the channel varied. Channel-defining shows include: On Tiny Pop, Maya The Bee, Care Bears and Peg + Cat. On Pop, Littlest Pet Shop, Sally Bollywood: Super Detective and Finding Stuff Out. On PopGirl, Unfabulous and Zoey 101. And on Kix, Power Rangers and Yu-Gi-Oh! Good to know: We license 11-minute or 22-minute series with a minimum of 26 episodes. Six or seven minutes and longer than 22 minutes is hard to schedule, due to our commercial breaks. This year, the focus is also on movies, particularly liveaction tween or family films. Additional rights sought: We’re in the process of launching several apps, so SVOD and FVOD rights are an important new requirement. Additional website elements to support the programmes are also a big plus. Favourite Cannes treat: A glass of rose. It’s the only time I ever drink it.

Looking for: Mainly animation, both new and retro titles, with an emphasis on girls’ content. We’re also interested in live-action series. Platform-deﬁning shows include: Masha And The Bear, Nutri Ventures, DaVincibles, Dive Olly Dive and Strawberry Shortcake. Good to know: Kabillion has a unique business model. Kabillion and Kabillion Girls Rule! are not just ad-supported networks reaching over 45 million US households — they also allow us to help partners with digital distribution in the US, while providing a marketing platform for their titles. Additional rights sought: It depends on the property. We just signed a deal with VHX, one of the leading direct-to-fan distribution platforms, whereby parents can now download and own episodes of their kids’ favourite Kabillion titles for streaming on multiple devices. Favourite Cannes treat: A mani-pedi from a lovely French lady dressed head-to-toe in Chanel while viewing the Mediterranean from my hotel balcony.

TARA SORENSEN, HEAD OF KIDS’ PROGRAMMING, AMAZON STUDIOS, US Screening for: Amazon originals for Prime Instant Video for the US, the UK and Germany. Looking for: Character- and story-driven series in 11- and 22-minute formats for pre-school and kids aged six to 11. We’re open to all genres, but nothing unscripted. Channel-deﬁning shows include: Tumble Leaf, Creative Galaxy and Annedroids Good to know: We are looking for original content and innovative ideas, not straight acquisitions. Projects need to go through our pilot process. Favourite Cannes treat: An evening stroll on the Croisette.

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Feature CHANGING BEHAVIOUR

Kids enter a new age These days, a show without accompanying apps has virtually no place in children’s screen entertainment. Juliana Koranteng looks at how kids are inspiring inventive ways to access and interact with TV content

NTERNATIONAL broadcasters, content-licensing companies and production groups targeting pre-schoolers, tweens and young teenagers have had no choice but to confront the digital-entertainment revolution full on. Their young audience expects video and TV entertainment to be available around-the-clock on any connected device with a screen. They are the digital-native 360-degree screen consumers who demand nothing less than compelling storylines with immersive narratives. From touchscreen mobile devices to large ﬂat-screen TVs, the growing penetration of digital platforms is driving content creators and distributors to come up with adventurous ways to conceive, develop and deliver shows. “When we create and commission a show, we do so with our omni-screen strategy at the forefront to ensure our audiences have an on-going immersive experience with our brands,” says Finn Arnesen, senior vice-president of international distribution and development at US children’s entertainment giant Hasbro Studios. The company, famous for, among others, My Little Pony and Littlest Pet Shop, extends brands across all platforms — a growing trend among kids’ specialists.

“When we create and commission a show, we do so with our omniscreen strategy at the forefront to ensure our audiences have an ongoing immersive experience” Finn Arnesen

Imira’s Lucky Fred, which has been sold in 165 territories

“We make sure our shows are available across pay and free linear TV, as well as tablets, online and mobile [via the Hasbro Arcade apps], while respecting the various rights holdbacks and exclusivities that exist in the global distribution business,” Arnesen adds. Furthermore, each content brand needs to constantly evolve to prevent easily bored youngsters from being distracted elsewhere. “With our new Transformers: Robots In Disguise series,

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Feature we are introducing a more comedic element within the action-adventure genre, reflecting the zeitgeist,” he says. “And for My Little Pony and Littlest Pet Shop, we are giving our dedicated girls’ audience the ability to socially engage online by swapping and trading characters.” BBC Worldwide, the multiplatform commercial division of the UK public-broadcast giant, has a reputation for pioneering children’s entertainment. Shows like The Next Step and Go Jetters on CBeebies and World’s End on CBBC have been crafted for the digitally screen-fed generation. “Kids are more exposed to lean-forward platforms [PCs, tablets, smartphones] and creators and broadcasters need to build new ways to tell stories that take advantage of these and span the many platforms outside of the TV screen,” says Nathan Waddington, BBC Worldwide’s children’s genre manager. “Providing our audience with stories that are reflective of their own experiences [as in The Next Step] helps them to feel invested in the lives of their favourite characters on screen, and builds a strong relationship with the show’s brand.” John Young is managing director at Temple Street Productions, which develops digital content for CBeebies content. He says: “The Next Step Aftershow has been a great forum for our audiences to relive and rehash the drama of the show.” Spain-based production/distribution group Imira Entertainment, meanwhile, believes kids’ projects stand or fall on their ability to clinch the young viewers’ votes. For Bat Pat, based on a successful book, Imira launched the app before making the series, allowing fans worldwide to interact with their favourite characters in advance of the show. Additional content has been made for Imira’s

My Nick Junior, a “first of its kind” edutainment platform

Room On The Broom — for iPad Lucky Fred, which has been sold in 165 territories, to enable viewers to enjoy the series in between the ﬁrst and the second season, which is currently in production. “For our new series Escape Hockey, we are incorporating a same-screen watch-and-play experience via tailor-made software that Imira has acquired, which allows viewers via smartphones, tablets and interactive devices to play a short video-game while the series is running on the same screen,” says Imira CEO Sergi Reitg. Cutting-edge augmented-reality technology for a new Imira TV series called Planet Play is offering a wide range of interactive experiences. “We need to give children the power to nurture their curiosity and creativity, and not just entertain them,” Reitg adds. At Nickelodeon, the international children’s TV network operated by Viacom International Media Networks (VIMN), My Nick Junior is said to be a “ﬁrst of its kind” edutainment platform that enables parents to create personalised channels for their kids. It is already in France in the form of a 360-degree multiplatform service on TV, PC and mobile, as well as in the UK on Virgin Media and the US on Verizon’s FiOS. It is also soon to launch in Brazil and Mexico. However, it is in China that VIMN has been demonstrating the new opportunities that digital media offers kids. “We have only the

[My Nick Junior] app because we don’t have a pay-TV service there,” says Pierluigi Gazzolo, chief operating ofﬁcer VIMN. By following a three-part strategy based on “creating, curating and connecting”, VIMN offers Nickelodeon audiences experiences that suit the individual viewer. Additionally, the new Nick app, currently available in the UK and Latin America, aims to complement all Nickelodeon content on the non-linear platforms, such as iTunes, over-the-top services including Netflix, YouTube channels, My Nick Junior and app games such as Teenage Mutant Ninga Turtles: Rooftop Run and SpongeBob Moves In. “The app is an extension of the channel. It features about 300 hours of shorts that kids can watch and interact with. These also function

“Providing our audience with stories that are reflective of their own experiences helps them to feel invested in the lives of their favourite characters on screen” Nathan Waddington

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Feature by authors/illustrators Julia Donaldson and Axel Schefﬂer. “We are focused on allowing kids to have fun with these wonderful characters, rather than on creating new stories to suit the devices,” Rose says. Magic Light has extended Room On The Broom into a series of creative digital games, one of which enables the player to help the Dragon character eat as many chips as he can. “There is no scene in the book where this happens, because the games aren’t supposed to feel like the player is driving the narrative, but rather that they are stepping into that world and playing within it,” Rose says.

The Gruffalo, from the books by author Julia Donaldson and illustrator Axel Scheffler as a development source for our producers,” Gazzolo adds. “Our strategy works because we own the content and have our own creative studios, and we can window [every form of] content in a way that is right for it.” A riveting story is critical to creating and delivering children’s entertainment for multi-device consumers, says Michael Rose, co-founder of Magic Light Pictures, which adapted the hit movies The Gruffalo and Room On The Broom from the bestselling children’s books

Success in the digital space for kids, however, does not rely solely on creativity and intuition. Hard-core market research and working closely with broadcasters make the difference between hoping to get it right and actually doing so, observes Eric Garnet, a producer at France-based GO-N. This was the case for Zip Zip, a new show made by GO-N for France Televisions. “An integral factor was a qualitative survey with a marketing-consulting group and focus groups with real kids,” Garnet says. “It was very instructive on how kids perceive the message based on their age group, and it allowed us to sharpen the humour and refine the storytelling.” Such research also led to the creation of 24 x 1 mins episodes based on characters in GON’s Commander Clark animation series. They aired on France Televisions and online on the Mon Ludo website.

Super RTL‘s Claude Schmit

Magic Light Pictures’ Michael Rose

Hasbro’s Finn Arnesen

The SpongeBob SquarePants app game

BBC Worldwide’s Nathan Waddington preview magazine I September 2014 I www.mipjunior.com

Feature Moreover, Garnet believes that such new developments within the production chain have altered the relationship between producers and broadcasters. “Broadcasters are declaring that they need new formats, such as oneminute episodes based on a show, short animated segments of 10 to 15 seconds, online games for websites, teasers and promos,” he says. “This implies a new form of partnership with broadcasters, who are developing and reﬁnancing shows. We need to incorporate their new needs into the production process.” However, engaging young people in the digital domains comes with challenges. Developing technology for kids’ entertainment still requires caution, says Ben Butterworth, a partner at UK-based Snapper Productions. The company produced Q Pootle 5 (QP5), already sold to 70 territories, for CBeebies. Butterworth reports that the experience of extending the show for multiplatform viewing was both rewarding and a revelation. “You’ve got to strike the right balance, especially as some of the technologies are changing so rapidly,” he says. “I don’t think the tablet existed when we started discussing the possibility of producing QP5.” He adds: “The trap you can fall into is to create something in the digital space that does not fulﬁl anyone’s expectations. As a company, we want to really break new ground, but you don’t want something that is costly but ends up not working. For example, I don’t think e-books as they are work for children on their own. They

want someone else in the room to draw them in. You can create an immersive experience that’s not a story, and that’s a challenge for any industry that is based on telling stories.” Ultimately, children’s content on TV and digital platforms requires finance and needs to generate revenues. Simon Flamank, media-investment advisor at UK company Bob & Co and former CEO of German distributor TV-Loonland, points out that the digital elements in kids’ content production can push up the budget — and producers recognise this: “From an initial commissioning perspective, certain broadcasters want to participate in those additional costs. Others do not. And where that is that case, a different ownership/revenue share structure may exist. This, in turn, creates an interesting issue as to which aspect of a property [including merchandise] actually drives awareness and revenues, and so who should be rewarded.” Whatever the outcome of such negotiations, the industry agrees that traditional linear programmes and their popularity remain vital to the success of digital content. “As far as we know, there hasn’t been a format yet that was designed for multi-device use from the beginning and achieved success,” says Claude Schmit, CEO at German kids’ broadcaster Super RTL. “If you produce content that is supposed to be refinancing itself with online advertising, your chances [of profit] are probably very small. From our perspective, it’s absolutely necessary that the content we produce or license first of all works on TV.”

“From our perspective, it’s absolutely necessary that the content we produce or license first of all works on TV” Claude Schmit

Temple Street Productions’ John Young

VIMN’s Pierluigi Gazzolo

The Next Step, crafted for the digitally screen-fed generation preview magazine I September 2014 I www.mipjunior.com

Snapper Productions’ Ben Butterworth

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Inspector Gadget from DHX Kids

360 KIDS

Where are the ideas coming from? Where are the big kids franchises coming from these days? Creatives at the big US studios and Japanese animation houses? Indie studios? Publishing houses? Toy manufacturers? Video games? Andy Fry investigates

HE TOP priority may be the same — to find stories and characters that will capture the imagination of kids — but there are three other questions that children’s content creators now need to consider before embarking on lengthy and expensive projects. Firstly, do their ideas have any in-built awareness that will help cut through the clutter of competition? Secondly, do they lend themselves to digital enhancements that will attract the attention of today’s multi-screening kids? And thirdly, will they work in consumer products? Cyber Group Studios CEO Pierre Sissmann has some original ideas on his development slate, but the majority come with some kind of track record. “Our biggest show at the moment is Zou, a book-based animation series that has sold in more than 150 territories and also been developed into digital with an ebook, apps and a dedicated website,” he says. “Coming up next we have Mini Ninjas, a co-pro with TF1 Productions, which is based on a video game; Mirette, a book-based property; and Mia, an animation series that has been developed from a successful piece of educational software.” Sissmann says there is often a compelling case for going down this route — but it isn’t without its dangers. “One of our biggest properties right now is the animation series entitled Zorro The Chronicles. When you develop a property that has such a strong tradition in TV, film and publishing, you have to do it with great care. People are watching you and they have expectations that are higher than when you launch something new. So we put a lot of effort into getting the look of 1820s California exactly right and being historically correct.” In terms of where ideas are sourced, books still continue to provide inspiration. Rick Glankler, FremantleMedia’s executive vice-president and general manager of Kids & Family Entertainment says that publishing properties lend themselves to this kind of adaptation because they are stories that have already been told. He adds: “Thomas & Friends, which I worked with at Mattel, had proven itself as a book property 40 years before it was a TV series. Here at FremantleMedia, one of our key preschool shows is Ella The Elephant, a publishing property that sells around the world.” In a changing world, however, producers need to be sourcing content from multiple channels, Glanker says: “Our slate includes Max Steel, which started as a Mattel toy brand in Latin America; and Monsuno, which is based on a gaming concept from Jakks Pacific. You also have to take into account properties that have previously enjoyed a successful run on TV. We’re just in the process of relaunching Danger Mouse, a 1970s animation property that was a big success on TV and as a toy brand.” Like his peers, Glankler says there is a compelling need for properties to work as more than just TV shows: “Apps, websites, games and so on are all important touchpoints, particularly if you’re trying to build a brand that can succeed in consumer products [CP]. It takes a

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very long time to build a CP success, so you need all of these additional platforms to deepen the brand’s engagement with audiences. This is just as true for original properties, like our pre-school show Tree Fu Tom, which has three apps and a live event at Alton Towers Theme Park.” Like its counterparts, Germany’s Studio 100 Media has built a robust business around previously known properties. “The new rejuvenated CGI series Maya The Bee, Vic The Viking and Heidi are all based on famous kids’ books and classic TV series from the 1970s and are worldwide success stories,” says Studio 100 Media managing director Patrick Elmendorff. “Our new animated series Tashi is also a book-based property and K3 Animation is based on the successful liveaction TV series and movies.” For Elmendorff, it is the combination of inbuilt recognition and audience affection that make this approach worthwhile. “Based on books with fantastic storylines, our classic brands are well known and highly popular worldwide,” he says. “Maya The Bee, for example, has a recognition level of over 90% across Europe. The original 1970s TV series has been broadcast by countless TV stations and the new CGI series has been sold into 160 territories. Then you have something like Tashi, which is based on the Australian children’s books by Barbara and Anna Fienberg. First published in 1995, over a million copies have been sold in more than 20 countries. The

Every Witch Way (VIMN)

Zorro the Chronicles (Cyber Group Studios)

new CGI series with 2D elements will premiere worldwide in 2015.” Echoing Glankler, Elmendorff says it is vital to look beyond books for great ideas: “Bookbased properties are important but so are different models, such as movie spin-offs. K3 Animation is based on the real girl band K3, which has already been the source of live-action TV series The World Of K3 and Hello

K3, as well as five successful movies.” But the fact that something has been a success in the past is no guarantee it will work again, Elmendorff stresses, adding that close attention needs to be paid to the needs of today’s audience: “Our new CGI TV series are shorter in length. They also contain elements of humour, more action and great story arcs that are in line with modern expectations.” Stephanie Betts, vice-president of development at DHX Kids, says her company has its fair share of reboots, the most high profile of which are new episodes of Inspector Gadget and Teletubbies. Like Elmendorff, Betts believes it is important not to think of this as a guaranteed formula for success: “You have to find ideas that still have relevance. When I look at the Teletubbies with the TV screens on their tummies and all the interactive elements, I see a show that was ahead of its time and that can still work today. You also need to think about who wants to bring the show back. You need people who are passionate about the project, and that’s what we have with Maddy Darrall and Billy McQueen, the team producing the new Teletubbies.” VIACOM-owned Nickelodeon sources its content in two ways: US-originated shows that launch on the US networks before rolling out around the world; and acquisitions, pre-buys and co-pros that are picked up from

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Feature

Feature third parties to complement the US content. Examples of the former are Dora The Explorer, SpongeBob SquarePants and iCarly. In the latter camp are titles like Peppa Pig, House Of Anubis and Alvin And The Chipmunks. The exceptions to the above are the odd occasions where Nick goes out and buys properties in their entirety. The classic example of this was the 2009 purchase of Teenage Mutant Ninja Turtles for $60m. The Turtles were subsequently reinvented and have become one of Nick’s top properties.

“Right now, I think there is a trend towards original ideas among broadcasters” Pierre Sissmann

Within this mix there are numerous 360-style themes worth noting, such as the development of consumer-products strategies around key properties like Dora, SpongeBob, Turtles, Paw Patrol and Bubble Guppies. Ron Johnson, executive vice-president of Nickelodeon and Viacom Consumer Products for Viacom International Media Networks (VIMN), says: “The strategy is to turn our bigger properties into evergreen consumer product brands that are not reliant on TV ratings for their success. SpongeBob is the most established, but Turtles has out-performed expectations.” Johnson says the Nick approach is not to hurry a TV show into the consumer-products

Tashi (Studio 100 Media)

market. “Today’s market is very consumerdriven, so we usually wait for about a year after a show has gone on air in the US to see how the audience reacts and what they like. At that point, we’ll look at doing something in L&M. If it takes longer than that for a show to get the right level of engagement, that’s ﬁne because what we’re aiming for are long-term properties.” Jules Borkent, senior vice-president of global acquisitions for the Nick channels, was the exec who picked up Alvin, a classic property with a heritage that stretches back to the 1950s. Borkent says some kind of prior track record can help the overall Nick effort: “We took the German show House Of Anubis and created an English-language version, which worked well across our other networks. And we have done something similar with the Nick Latin America telenovela Grachi, which was adapted and rolled out internationally as Every Witch Way.” Inevitably these factors can minimise the openings for new ideas. And the situation looks even more challenging when you also consider the work done by the likes of Disney (Marvel spin-offs), Hasbro (toy-based shows) and DreamWorks Animation (movie spinoffs, such as Penguins Of Madagascar, King Julien, Puss In Boots, Monster Vs Aliens and the upcoming Croods). But despite all of this competitive activity, it is important to note that these companies also have original concepts on their slate. In part, says Cyber Group Studios’ Sissmann, this is because kids companies want to be involved in the origination business. But there are also good commercial reasons for backing

Danger Mouse (FremantleMedia) new ideas. “Of course, I’d love to take Harry Potter into animation, but it’s also exciting to create new characters,” Sissmann adds. “Right now, I think there is a trend towards original ideas among broadcasters. You also have to keep in mind that some of the most successful 360 properties were original, such as Peppa Pig and Teletubbies.” A key point to note about originals is this: even if they do not have any track record as a book, ﬁlm, game or classic TV series, they need to behave like multiplatform properties from the get-go. At DHX, for example, a 360-degree strategy is baked into the production and development model, regardless of whether it is a derived or an original property. “We have a creative partnership with publisher Egmont, which allows us to develop properties that are suitable for publishing, TV and digital,” Betts says. “We might see a planned book, which just needs a few small tweaks to make it suitable for other media.” As for the period after TV launch, “you need to keep adding value to your brand in the form of new content”, Betts adds. “Apps might not make a huge amount of money, but they can stop audiences growing tired of a brand.” Echoing DHX’s Egmont partnership, Cyber Group Studios is currently working on a project with a major toy company to develop a new franchise. In other words, this is an example of 360-degree development, with TV and toy being advanced simultaneously. Not only does this make commercial sense, Sissmann says, but it means the property receives creative input from two directions.

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BabyFirst’s Harry The Bunny

ONLINE CONTENT

Signs of growth for kids digital market The international entertainment industry is having some success in making original online video content aimed at children work. Juliana Koranteng looks at the creative and commercial models that are doing the business

N THEORY, making shows designed for kids to watch online only, is a challenge. Digital entertainment, from YouTube to websites and apps, has required major traditional-media brands, from books to TV shows and ﬁlms, to be the marketing trigger that directs young consumers to internet editions. H o we ver, b old p r o d u c er s s u c h a s AwesomenessT V, its parent company DreamWorks Animation, Maker Studios,

Hasbro Studios, BabyFirst and The Jim Henson Company are creating professional digital-first shows and adopting smart usergenerated content (UGC) designed first and foremost for YouTube and/or smartphone apps. Formerly treated as experiments for aspiring TV producers, online-only videos are becoming sturdy stand-alone screen-entertainment brands. “My 10-year-old opens a Netflix window to watch TV; he opens up a Miniclips window to

play games; he opens up a YouTube window to watch Epic Rap Battles Of History; he opens up his Instagram and Vine windows to interact with his friends — all of this simultaneously,” says Michael Ross, general manager, family, at Maker Studios, the US-based YouTube multi-channel network (MCN) recently acquired by the Walt Disney Company. “This is where kids are,” Ross adds. “They live and breathe devices, platforms and content in a completely seamless and interactive

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BabyFirst’s Arik Kerman

Maker Studios’ Meet Me At The Reck

DreamWorks Animation’s Marjorie Cohn

“The second-screen experience is important in how kids connect to content. They want to compare opinions and extend their experience with stories” Marjorie Cohn

way. And to find them, you need to find the creators who speak to them.” Maker Studios’ original online titles for young consumers include the animation Nursery Rhyme Mashups, Meet Me At The Reck (the “Sesame Street for the millennial generation”) and educational series Wonder Quest, which stars YouTube celebrity Stampylonghead. The current trend for original online productions is to focus on shorts. “These range from kids shooting content on their phones to fully financed, professionally crewed content with huge traditional talent,” Ross says. Some of the most popular original online shorts are based on established long-form TV programmes. But these can raise copyright challenges. “There are many off-shoots of established shows and brands in other media, but this often means allowing assets, brands and content to be adapted by creators, who come up with their own vision for the content,” Ross adds. “This can be scary for rights-holders, who live and die by their purity of their intellectual property.” Kids’ toys-and-entertainment group Hasbro is investing heavily in shorts. “Our online content runs the gamut of short-form episodic shows, highlights, character biographies, prequels, trailers, behind-the-scenes activity and music videos,” says Stephen Davis, president of Hasbro Studios and president of Hasbro’s global entertainment and licensing arm.

Music To My Ears, the YouTube shorts based on the Hasbro series Equestria Girls, boasted 3.75 million-plus views from its launch in April to early July. Online-only entertainment for children is being taken to new levels. AwesomenessTV, the YouTube MCN dedicated for young viewers, was acquired in May 2013 by Hollywood kids’ movie giant DreamWorks Animation, which hopes investment in original online video entertainment will compensate for box-ofﬁce unpredictability. AwesomenessTV is now operating DreamWorksTV, a new online channel launched in June to offer original creations from AwesomenessTV and shows based on DreamWorks’ hit animation movies, including the Shrek and Kung Fu Panda franchises. Brett Bouttier, chief operating officer of AwesomenessTV, says that “marrying great original content [with] the native digital generation who love to watch on-demand across devices”, has taught AwesomenessTV a great deal about how to build strong franchises. He adds: “DreamWorksTV will allow us to use what we have learned for a service aimed at both kids and the family. We are bringing both worlds together with the speed and intimacy of digital platforms.” Other new platforms influencing the way in which online content is being produced are the over-the-top (OTT) on-demand

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Feature streaming services, such as Netflix and Hulu. DreamWorks Animation is producing original content for Netflix. For DreamWorks Animation’s first-ever head of TV, Marjorie Cohn, the arrangement enables the development of shows that would not find space on traditional linear broadcast TV. “One of the interesting things about producing for Netflix is the lack of ad sales,” she says. “Animation is often niche and attracts a passionate and specific audience. Linear channels and networks, on the other hand, need to attract a large number of viewers who don’t necessarily have the same viewing tastes for a specific time slot.” In addition, the OTT platforms’ online infrastructure allows young audiences to communicate with each other during a show. “We believe the second-screen experience is important in how kids connect to content,” Cohn adds. “They want to compare opinions with their friends and extend their experience with the stories.” What has not changed is the need to winover parents — and that means making original digital children’s shows available on TV, says Israel-based Arik Kerman, executive vice-president of programming and new media at BabyFirst, an eight-year-old TV channel headquartered in Los Angeles. Aimed at infants and toddlers, BabyFirst is now in 41 million US cable, satellite and IPTV households, and an additional 40 million homes across 32 countries. It is also available as branded blocks on Netflix, Hulu, Amazon. com and YouTube via 30 different mobile apps. Where appropriate, BabyFirst original

content is also made into movies. An example is Harry The Bunny, the TV series that comes with a gamified app and a feature film. “Ours is a multi-layer market where parents choose what the kids will see,” Kerman says. “So the content provision must be done in a way that creates trust with parents.” Even The Jim Henson Company, famous for its iconic physical puppets, has entered the original online-content space. It is extending its popular TV titles, including Pajanimals, Fraggle Rock and Sid The Science Kid, on Jim Henson Family TV, one of the first advertising-free subscription video-on-demand (VOD) services on YouTube. To boost the amount of original content on YouTube, Henson is working with Base79, the international MCN that develops and distributes global original video content and currently boasts more than 750 million views a month across 1,500 YouTube channels served by 850 content producers. Henson has also joined forces with Hulu, the on-demand streaming platform, to debut Doozers, a new original series, exclusively on Hulu Kids in April, as well as on Hulu.com.

“Kids live and breathe devices, platforms and content in a completely seamless and interactive way” Michael Ross

Hasbro Studios’ Stephen Davis These new digital creative and distribution processes are inspiring a new wave of content producers. “There is a new generation of online producers who are looking at creating concepts that bring in interactivity to the video,” says Pinakin Thakkar, a director at Indiabased YouTube MNC Nirvana Digital. A signiﬁcant portion of the 350 million minutes of video that Nirvana Digital delivers monthly, including the 3D education and

Maker Studios’ Michael Ross

Doozers, a new original series for Hulu Kids and Hulu.com. preview magazine I September 2014 I www.mipjunior.com

Nicolas Atlan, Kabillion president and Splash CEO

Feature nursery-rhyme animations Alphabet Train and London Bridge, are targeted at preschool and school-age children. “We are producing some interactive content that encourages kids to interact with the video and be driven to the next one — almost like creating a virtual educational video game for them. We expect to launch this in September,” Thakkar says, describing a new Urdu-language children’s channel planned for YouTube. Content creators have used the internet to bypass the obstacles within traditional media operations, and kids production firms have been no different, according to BabyFirst’s Kerman. “Four to six years ago, you needed to convince an acquisition and development manager [at a network or production company] that you had a good idea,” he adds. “Now, you can go straight to YouTube, create a great app and then find a way to market it.” Getting kids to find this addictive entertainment on the vast internet has triggered some new approaches to media marketing. In addition to the potential reach of YouTube’s one billion active monthly users globally, some of AwesomenessTV’s YouTube shows have been sold to established TV networks. Some of its kids’ titles, including Terry The Tomboy, have been snapped up by the Viacom-owned Nickelodeon, which features a block called AwesomenessTV. And the online and TV editions of Terry The Tomboy will be used to promote the feature film that was released earlier this year. “In terms of marketing and distribution, everything has become more fluid,” Bouttier adds. The [Terry The Tomboy] scenario can be played out with any new franchise, so we

Alphabet Train (Nirvana Digital)

Hero: 108, targeting a global audience shall be doing a lot more for our animation and live-action franchises.” Splash Entertainment subsidiary Kabillion, billed as one of the ‘Top 10 kids free on-demand TV networks’, is now in more than 45 million US homes. The California-based company wants to extend its reach, both in the US and internationally. To do so, it has launched a YouTube version, which will use Base79’s proprietary technology to boost viewing ﬁgures. Nicolas Atlan, Kabillion president and Splash co-CEO, wants a more global audience for

shows like Chloe’s Closet and Hero: 108. He says: “We are producing and delivering online content that coincides with out network’s mission to celebrate the independence of being a kid, and to ﬁnd fun wherever and whenever you want.” Social-media platform, apps and analytics data are frequently used to introduce original online content to young viewers. BabyFirst’s Kerman argues that understanding how digital-media technology works can help highlight new brands. “In the digital arena, using SEO [search engine optimisation], the right keywords and store optimisation for apps gives us more ways to raise awareness. We are constantly getting feedback from fans via our social-media pages, and offering updates on new shows via apps.” However, Kerman warns that easy access to marketing technology has overloaded the market: “The entrance barrier is relatively low, so the market is very crowded out there.” A new marketing platform said to be helping new online shows to cut through the clutter is Vine, Twitter’s six-second video-sharing service. “Vine is incredibly successful with young kids because its discoverability factor is very effective,” AwesomenessTV’s Bouttier says. “In fact, in the time [it takes to] watch a short-form video, they can sample 30 Vines. That’s a high rate of discoverability.”

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Tips & Services

INSIDE:

Have you booked your accommodation? if not, book now at www.mipcom.b-network.com and choose from a wide selection of hotels and apartments at special rates

• GETTING TO CANNES

Have you got connected to the Online Database on Mymip to ﬁnd out in advance who else is attending the show, to set up meetings?

• ON-SITE SERVICES

Have you checked the full show programme of MIPJunior conferences, screenings and events not to be missed?

• UPON YOUR ARRIVAL

• MARKET MAP

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

GETTING TO THE FRENCH RIVIERA BY AIR The nearest airport is Nice Côte d’Azur International (NCE), which provides direct flights to many cities around the world. Special rates with our official partner Air France & KLM. Use the promotion code 22591AF 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. T: +33 (0)8 92 35 35 35 www.tgv-europe.com

GETTING TO MIPJUNIOR TAXI T: +33 (0)8 90 71 22 27 or +33 (0)4 92 99 39 23 or book online www.taxi-cannes.net/en/reservation BUS FROM THE AIRPORT You have several options for bus travel. Tickets must be bought beforehand. Where to get tickets: Desk at Terminal 1: outside arrivals, Gate A0. Opening hours: 8.00 – 23.00 Desk at Terminal 2: outside arrivals, between gates A1 and A2. Opening hours: 8.00 – 24.00 • The Nice AirportXpress line to Cannes (bus N°210) goes to and from Nice Côte d’Azur International

Airport and the Cannes bus station via Le Cannet everyday from 8.00 to 20.00 every 30 minutes. Journey takes 50 minutes. A one-way ticket costs €20 and a return ticket costs €30. Where to catch one: Terminal 1: gate A0, platform 3 Terminal 2: between gates A1 and A2, platform 3 • Bus N°200 also goes to Cannes from Monday to Saturday at 20.45 and 21.55. Where to catch it: Terminal 1: platform 3 • 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. Where to catch it: Terminal 1: platform 3 TRAIN FROM THE AIRPORT To get to the Nice train station from the airport, go to Terminal 1, gate 6, take bus 23, direction Vallon des Fleurs (€1). Buses depart every 5 to 12 minutes. Disembark at Gare SNCF Saint Augustin (second stop). The station is just a few meters walk. Trains for Cannes depart every 5 minutes. A one-way ticket costs from €5,80. Book your train tickets at www.tgv-europe.com or by calling +33 (0)8 92 35 35 35 CAR RENTAL If you wish to rent a car, our ofﬁcial partner Sixt Rent a Car can provide you with preferential rates.

Promotion Code: 9963828* (up to 10% discount) T: +33 (0)1 44 38 55 55 www.sixt.com * Please note that this reduction is subject to availability and only applies to prepaid payment via the Sixt booking centre or on the Internet. HELICOPTER Azur Helicoptère operates regular 7-minute flights between Nice Côte d’Azur International Airport and Cannes. A shuttle takes you from the Cannes heliport to your destination. Show participants benefit from a negotiated rate of €135 per person (+ €15 heliport tax). T: +33 (0)4 93 90 40 70 info@azurhelico.com www.azurhelico.com PRIVATE TRANSFERS For short or long trips, from 1 to 8 people, rent a private car with driver and save over 20% with our official partner Chabé Limousines.

FREE SHUTTLES Free shuttle service - to and from our partner hotels if you are staying outside Cannes during the market. See the schedule on the website - non-stop shuttle service between Palm Beach and the Palais des Festivals, with a stop in front of the Martinez Saturday: 7.30 – 21.30 Sunday: 7.30 – 19.30

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Tips & Services Free Zodiak Kids Shuttle Express to and from the Palm Beach Zodiak Kids offers a complimentary non-stop shuttle service on the Croisette to all MIPJunior delegates on Saturday and Sunday. Embark on one of the delirious GET BLAKE! TukTuk Express for a fun and unexpected ride to your meetings. Saturday - Sunday: 9.00-19.00 Parked in front on the Palm Beach with stops at the Palais and hotels on the Croisette.

UPON YOUR ARRIVAL 1• USEFUL INFORMATION ABOUT CANNES Address: Palm Beach Place FD Roosevelt 06400 Cannes 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 in association with

Russian Cinema Fund 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• PRE-OPENING REGISTRATION ! Palais des Festivals - Protocol 10 October, 14.00-19.30 3• MARKET OPENING Palm Beach 11&12 October, 8.00 -19.00

PLAN YOUR SHOW MAKE APPOINTMENTS AND CONTACTS BEFORE ARRIVAL Connect to the Online Database, the best way to schedule meetings in advance! Visit my-mip.com to: • Identify and contact the right people to meet among all attendees • Increase your own visibility by completing your company and personal proﬁles • Schedule and plan meetings • Select the conferences and events you want to attend

ON-SITE SERVICES 1• DIGITAL LIBRARY The Digital Library for youth programming via individual screening booths. Screening hours: 11&12 October, 8.00 -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 programmes you have screened during the event. This list is available at the dedicated stations in the Networking lounge. It will be sent to your mail box (if you have ﬁlled it in in the contract) at the end of each day. Sellers To view a list of the buyers who have screened your programmes, please log in to the dedicated stations in the Networking lounge with the login & password indicated on your badge: • Login: use the 6 digits displayed on the top left corner after @

• Password: use the badge number on the bottom right corner under the barcode This list will also be sent to your mail box (if you have ﬁlled it in in the contract) at the end of each day. Important: At MIPCOM, ﬁnal lists of buyers who have screened your programmes during MIPJunior and Programmes lists for buyers will be available by request as from Monday October 13 (14.00) to Thursday October 16 (18.00), at the Palais des Festivals (Concierge Service - Palais 0). 2• CLUBS & CONFERENCE ROOM • Networking Lounge: in association with

Russian Cinema Fund Open to all participants. Features include a meeting area & Wi-Fi access • Registration Lounge: in association with

Compania de Medios Digitales Open to all participants. Features include a meeting area & Wi-Fi access • Agora: see conference programme 3• FACILITIES • Bar: snack & beverages at the Palm Beach Terrace. • Connectivity Wi-Fi Free Wi-Fi is available inside the Palm Beach. Connect to: “Palais des Festivals Wi-Fi” network. You can connect one device at a time. Email stations Features computer to check and send email free of charge. Located in the Networking Lounge. Mobile rental If you wish to rent a smartphone, SIM card or 3G data card during MIPJunior, please contact Cellhire at www.cellhire.fr/reedmidem Bars & Restaurants As well as the refreshment areas within the Palm Beach itself there are numerous restaurants and bars perfect for lunching and dining to continue networking in style nearby. Whether you prefer a tranquil atmosphere and a sea view or a bustling French bistrot, there’s a venue to suit your tastes and needs. Extensive list and map available soon on MIPJunior website.

mipjunior PREVIEW The official MIPJunior preview magazine September 2014. 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 Manager Amrane Lamiri Co-ordinators Nour Ezzedeen, Emilie Lambert 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 Entertainment Conference Director and MIPJunior Show Director Lucy Smith Sales Director Frédéric Vaulpré Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Senior Vice President, Americas Robert Marking Sales Director Latin America José-Luis Sanchez Sales Manager Panayiota Pagoulatos Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone, Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi Sales Executive Cyril Szczerbakow New Media Development Manager Bastien Gave Sales Managers, Buyers Cyriane Accolas, Yi-Ping Gerard 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 Germany Representative (Digital Media Sector) Renate Radke Adam India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu UK Representative (Digital Media Sector) David Hedges 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 © 2014, Reed MIDEM Market Publications. Publication registered 3rd quarter 2014. ISSN 2104-2187. Printed on 50% recycled paper

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ABC Commercial Premium Children’s Entertainment

13 x 22’ HD or 39 x 8’ HD

NEW sci-ﬁ series for 8 – 12 year olds 26 x 30’ HD

The premiere series from the brand new Wiggles line up! Series 1: 52 x 11’ HD Series 2: 52 x 11’ HD

See us at MIPCOM # P-1.B89