MIPTV 2011 News 3

Wednesday

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MIPTV News #3

6 April 2011

www.miptv.com

DIGITAL EMMY® AWARDS JON M Chu, recipient of the Pioneer Prize with Academy president Bruce L Paisner at the International Digital Emmy® Awards on Monday night. Yesterday Chu gave the opening Connected Creativity keynote. Emmy winners and ceremony pictures, see page 20

BRAND OF THE YEAR AWARD MARIE Devlin, American Express senior vice-president of global advertising, media and sponsorships, accepted the MIPTV Brand Of The Year Award during the Branded Entertainment keynote given yesterday by Ogilvy CEO Miles Young See page 12

TODAY’S KEYNOTE FILMMAKER and artist Tiffany Shlain gives the joint Connected Creativity and MIPTV keynote at 17.35 in Esterel, on Level 5 of the Palais des Festivals. The keynote is followed by a screening of her latest film Connected: An Autoblogography About Love, Death And Technology.

Connected Creativity special features begin on page 47

ASIAN ANIMATION SCREENINGS THE ASIAN Animation Screenings take place today with 30 new Asian animations bowing, including some of the latest 3D projects. The screenings begin at 10.00 in Auditorium K in the Palais des Festivals.

See page 16

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CONTENTS

Delegates can ride the Croisette in colourful tuk tuks courtesy of Saban Brands’ Power Rangers Samurai series — which is distributed by MarVista Entertainment

MIPTV News 3 The Official MIPTV Daily Newspaper

Wednesday, April 6, 2011 Director of publications: Paul Zilk Editorial Department: Editor in Chief: Julian Newby • Deputy Editor: Debbie Lincoln • Sub Editors: Sarah Kovandzich, Max Leonard • Reporters: Marlene Edmunds, Andy Fry, Emelia Jones, Juliana Koranteng, Rachel Murrell, Gary Smith, Phil Sommerich, Joanna Stephens • Technical Editor in Chief: Herve Traisnel • Deputy Technical Editor in Chief: Frederic Beauseigneur • Graphic Designers: Veronique Duthille, Carole Peres • Head of Photographers: Yann Coatsaliou – 360 Medias • Photographers: Christian Alminana, Georges Auclaire, Olivier Houeix, Michel Johner • Editorial Management: Boutique Editions Ltd. Production Department: Content Director: Jean-Marc Andre • Publications Production and Development Manager: Martin Screpel • Publishing Product Manager: Chealsy Choquette • Publishing Coordinators: Emilie Lambert, Amrane Lamiri, David Le Chapelain, Bruno Piauger • Production Assistant: Veronica Pirim • Production Assistant, Cannes Office: Eric Laurent • Printer: Riccobono Imprimeurs, Le Muy (France) Management, Marketing & Sales Team: Director of the Television Division: Laurine Garaude • Director of Digital Media: Ted Baracos • Sales Director: Sabine Chemaly • Brand Manager: Dee Perryman • Programme Director: Karine Bouteiller • Managing Director (UK / Australia / New Zealand): Peter Rhodes OBE • Sales Manager: Elizabeth Delaney • Vice President Sales and Business Development, Americas: Robert Marking • Vice President Business Development, North America: JP Bommel • Executive Sales Director, North America: MJ Sorenson • Sales Executive: Panayiota Pagoulatos • Sales Managers: Paul Barbaro, Nathalie Gastone • International Sales Manager: Fabienne Germond • Sales Executives: Liliane Dacruz, Cyril Szczerbakow • Sales Manager: Samira Haddi • Digital Media Sales Manager: Nancy Denole • Australia and New Zealand Representative: Natalie Apostolou • China Representative: Anke Redl • CIS Representative: Alexandra Modestova • English Speaking Africa Representative: Arnaud de Nanteuil • India Representative: Anil Wanvari • Israel Representative: Guy Martinovsky • Japan Representative: Lily Ono • Latin America Representative: Elisa Aquino • Middle-East Representative: Bassil Hajjar • Poland Representative: Monika Bednarek • South Korea Representative: Sunny Kim • Taiwan Representative: Irene Liu • Germany Representative (Digital Media Sector): Renate Radke Adam Published by Reed MIDEM, BP 572 11, rue du Colonel Pierre Avia 75726 Paris Cedex 15 Contents © 2011, Reed MIDEM Market Publications Publication Printed on 100% Registered: 2nd quarter 2011

NEWS 10 Deals and conferences CONFERENCE AND EVENTS SCHEDULE 36 All today’s conferences and 45

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MIPTV is live on MIPBlog!

• Liveblogs and conference videos of MIPTV day 2 & Connected Creativity Forum's launch day • Real-time coverage of MIPTV & CCF's jam-packed 3rd & 2nd days + exclusive star videos, games & more!

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CONNECTED CREATIVITY SPECIAL FEATURES

recycled paper

www.miptv.com

special events at a glance Connected Creativity Forum programme

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Catching up with the future Innovation in a crowded market Who is the most connected of them all?

Both eyes on everything Content gets social

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Photos: Bill Cooper and Hugo Glendinning

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INNOVATION INTERLUDE AT INNOVATION Around The World, companies had 10 minutes to show off their best projects. Mind Candy CEO Michael Acton Smith runs online games site, Moshi Monsters, the Flash-based browser game which now has almost 40 million registered users worldwide.

“Two years ago we were teetering on the edge of bankruptcy and now we’ll do about $100m gross in sales of Moshi Monsters this year,” Acton Smith said.

Interlude founder and CEO Yoni Bloch got into technology when he wanted to make an interactive video online, but couldn’t find any company making what he was after. “When the internet came, online videos stayed the same,” he said. “Interlude’s idea is that people watch a music video, but every so often get prompted to make a choice, which then changes the video.”

Austin Chang, CEO of Fridge, explained how the private social network operated. “It’s all about how people engage with each other today,” he said. “They are simple, private groups for you to share your photos, videos, your events with friends.” Chang said that people tend to have between four and six separate groups of friends — school friends, family, work friends and hobby friends — who don’t interact with each other much.

Mind Candy CEO Michael Acton Smith

Justin Bieber on film – with the director’s commentary “I LOVE the fact that we are in a day and age where you can release a film and then talk to the audience while they’re watching the movie,” director Jon Chu told Brian Seth Hurst of The Opportunity Management Company, in the opening keynote at the inau-

gural Connected Creativity Forum.

Chu is best known for Never Say Never, the film that brought teen idol Justin Bieber to cinemas around the world, Step Up 2: The Streets and Step Up 3D, which won a Digital Emmy this week.

Jon Chu: tweeted instructions to fans

Bieber tweeted about Chu’s role before Never Say Never was made, which led to tens of thousands of fans tweeting to tell him what they thought should be in the movie. Then Chu tweeted out instructions during the shooting of Bieber’s tour — for example, encouraging fans coming to one gig to bring glowsticks. “That conversation was not even possible before,” Chu said.

He was also enthusiastic about how young people can create their own stories on YouTube, without needing access to a studio or a big budget. “It’s going to be the new reading and writing to know audiovisual grammar,” he said. “It’s going to be extremely empowering.”

He raised the possibility cinema-goers being able to watch a film and get the director’s commentary streamed to a mobile device as it played. “Cinema owners will probably hate it!” he laughed.

Smartphones lead comms market TECHOLOGY giant Ericsson is so committed to a world of connected communications, it is spending $4.5bn annually on research and development, president/CEO Hans Vestberg said during his Connected Creativity keynote speech.

Referring to “the networked society” that will have more than 50 billion internet-connected devices by 2020, more than eight billion mobile subscribers by 2015, and with 90% of online traffic being HD videos, Vestberg predicted a world we might not recognise today.

But that world’s building blocks are already here, he said. Thanks to mobile media, broadband communications and cloud technology, the way we communicate will

continue to change radically.

Already, more than 70% of the time on smartphones is used for non-voice activities, including downloading, streaming or sharing content.

“And the cost of smartphones is coming down with scale, so there are many more smartphones coming on to the market, leading to innovative uses by consumers, businesses and governments.”

Ericsson’s Hans Vestberg predicts the future for communications

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Connected TV gives audiences the power “FOR 60 years, television faked the audience,” Kevin Slavin of Starling.tv told delegates at the Content 360 Supersession, referring to the comedy laughter tracks which filled the void

Starling.tv’s Kevin Slavin

of the absent millions making up the audience.

“If you thought that was weird, it’s about to get really weird,” he added.

“The TV audience has now become a character in its own right.”

This happens, for instance, when viewers — “somebody who’s not on screen, who’s made up of all of us” — vote for reality show contestants.

Gary Carter of FMX, said one idea TV producers had rid themselves of was the idea that audiences are passive couch potatoes. They were still surprised, he said, that viewers make relationships with each other around shows.

Bruno Patino of France Televisions noted another fact that producers were slow to recognise: that people are no longer watching the same content in the same place at the same time.

“They have to understand they are not the bosses any more,” he said. “The audience is taking the power. If we want to do real connected TV, we have to let them be the boss.”

FMX’s Gary Carter

Experience is more important than content “EXPERIENCE is your product,” Nick Thomas told the audience at the Connected Creativity day of sessions on the Connected Consumer. The senior analyst of consumer product strategy at Forrester Research went on to say that content alone is not enough to succeed in the evolving digital landscape.

He cited the importance of Facebook as a way of consuming content: “It is now one of the top five sites for viewing videos in the US and Europe.”

Also on the panel was Ned Sherman, CEO and publisher of Digital Media Wire. Sherman talked about the importance of tablets, citing research showing iPad users in the US are much more likely to give up or downgrade their satellite or cable plan.

Tomi Ahonen, author and 3G strategy consultant, said that the content business spends too much time thinking about smartphone apps: “There are 5.2 billion total mobile phone subscriptions globally of which only 2% are smartphones. If you develop an iPhone app and you are a media brand, you are deliberately ignoring 98% of your available audience.”

The Connected Creativity Happy Hour & Pub Quiz took place yesterday evening at The Experience Hub featuring questions about music and popular culture, and moderated by a traditional English-style quizmaster Forrester’s Nick Thomas

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CONNECTED APPS’ NEXT CHALLENGE Endemol’s David Jullien

THE LATEST TV industry buzz, ‘two-screen interaction’, was centre stage at the Multiplatform Engagement Through Apps conference, which looked at the trend for viewers to watch TV while using a smartphone or tablet computer — and the potential for connected apps this presents. Moderator Richard Kastelstein of Agora Media Innovation cited a report saying that 80% of UK teenagers use a second screen to communicate with friends while watching TV. “Early adopters may be the youth, but the rise of the tablet is a game changer,” he said.

David Jullien of Endemol described the evolution of TVshow interaction from Big Brother to last year’s Million Dollar Drop, where viewers are given a virtual £1m to bet on questions along with the screen contestants. Numbers peaked at 189,000 people playing in one show. For connected features to work in a programme they needed to get “inside its DNA”, he said.

‘Social television’ will be given a boost later this year with the launch of Samsung’s connected TVs, which will have socialnetworking apps “side by side with linear broadcasting”, said Daniel Saunders of Samsung Electronics Europe.

Amex named Brand Of The Year for ‘unique perspective’ AMERICAN Express is the winner of the first ever MIPTV Brand Of The Year Award.

Collected on behalf of Amex by Marie Devlin, senior vice-president of global advertising, media and sponsorships, the award recognises a global brand for its outstanding contribution to the development and production of branded-entertainment programming.

Accepting the award, Devlin said she was “thrilled and delighted” with the honour. She added: “By connecting our brands with the events our customers care most about in music, sport and entertainment, we are giving them a unique perspective on the world through the lens of American Express.”

Amex is extremely active in branded content. Examples of its work include Unstaged, a concert experience with

Brand master: American Express’ Marie Devlin, Reed MIDEM’s Anne de Kerckhove and Ogilvy’s Miles Young

some of the music industry’s breakthrough artists, developed in partnership with YouTube and VEVO. Other stand-out projects include My Movie Pitch, the Amex Skybox Report and Next Contenders, which saw the company take its card members

behind-the-scenes to meet US tennis stars.

Other partners and brands with which Amex has worked include the hit Fox show Glee, Conan O'Brien, Ellen DeGeneres, M Night Shyamalan and Jerry Seinfeld.

‘Partnered content’ the way forward THE BRANDED-content eco-system is not a random thing, but should be “meticulously and carefully designed”, said Miles Young, CEO of Ogilvy & Mather Worldwide, at yesterday’s Branded Entertainment keynote.

Young went on to propose an alternative taxonomy to the conventional models of consumer engagement. He divided branded content into documentary and entertainment, with four categories of each.

‘Leveraged’ and ‘sponsored’ content associate the brand with existing content, whereas ‘partnered’ and ‘originated’ content involve the brand in creating the content itself. In all cases, the goal is a great balance between story and strategy.

Ogilvy got IBM’s Watson computer to compete in the quiz show Jeopardy, inspiring people to think about how

IBM could help build a smarter planet. The agency also persuaded BBC World News to create a documentary series about research-led companies that DuPont would sponsor. This complemented DuPont’s story about R&D in the areas of food, energy and protection.

Ogilvy also convinced Europcar to build its Autoliberte car-rental brand

with candid-camera-style films in which people’s own cars were trashed on camera — promoting the idea that rental is an easier option. The films got 2.5 million views on YouTube and rental subscriptions went up 83%.

“Originated and partnered content is the territory of the future,” Young concluded. “They all allow the brand to converse with the audience.”

Ogilvy & Mather Worldwide’s Miles Young: “Originated and partnered content is the territory of the future”

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BRANDED SUCCESS TAKES FLEXIBILITY BUSINESS models for branded entertainment must remain flexible. That was the key message at the Branded Entertainment Essentials: How To Get Started? conference session. “Often what success is changes during the process and you have to be adaptable to that,” Colby Gaines of Leftfield Creative said.

It was also important to not think product placement was sufficient in itself. “Placement is only as good as your ability to extend and activate it,” Doug Scott of Ogilvy Entertainment said.

He described as “true transmedia” the game I Am Player, in which Nike is involved.

The proverbial elephant in the room remains the unresolved question of distribution: “There is some trepidation among traditional distributors about the idea of brands getting involved,” Scott said. “But all of us face the challenge of shrinking and fragmenting audiences, and if networks don’t embrace the idea of letting brands get involved further up the food chain and share in IP benefits, the TV industry risks going the same way as the music industry.”

Ogilvy Entertainment’s Doug Scott: brands need share of IP

IPTV: the right choice for brands making content?

ETV’s Mark Cullen: measurability is the mantra

“MEASURABILITY is a core mantra of this decade,” said ETV CEO Mark Cullen, at Tuesday’s Branded Content Solutions: Case Studies.

“And broadcasters can’t offer the sta-

tistics that IPTV can.” A veteran branded-content strategist and producer, Cullen contends that IPTV can offer brands much more than broadcasters, and with fewer headaches.

“The broadcasters’ desire for control can throttle projects, while their commercial departments often derail them,” he said.

IPTV platforms can bypass the broadcasters and speak directly to the consumer — and will do so on the brand’s terms.

“The future of branded content is hard to predict, but won’t continue to be just a broadcaster-centric affair,” he said. “It will be social, mobile, local, ‘gameified’, personal and interactive.”

Fellow speaker Matt Jagger of Naked Communication gave a case study of how he brought Foster’s to branded entertainment.

His strategy was to identify a brandable social currency for Foster’s target market of ‘tribal drinkers’, 18-34 year old men, and create exclusive content for it. The result was Mid Morning Matters, a spoof radio show hosted by comedian Steve Coogan, and available exclusively from Fosters’ platforms online, on mobile, and on social networks.

Speed-dating brands and content LEADING content creators met world-class brands at Elevator Pitches With The World’s Greatest Brands, a speed-dating session organised by Ogilvy.

On one side of the pitching table, Endemol, Shine, Zodiak and FremantleMedia; on the other, IBM, Ikea, Coke Zero and British Airways.

Session organiser Patou Nuytemans, Ogilvy’s chief digital officer for EMEA, explained the thinking behind the session: “We realised both sides were talking about each other a lot, but didn’t have many opportunities to work

together — so we set up this forum.”

A few weeks before MIPTV, brands sent a marketing brief to the content creators, and were then pitched with ideas intended to fit the brief. Said Nuytemans: “The idea is not to try and strike a deal right there, but it provides a framework and context for proper conversations.”

Nuytemans is convinced both sides are benefiting: “It’s not just about developing branded content — but recognising that both sides face the same challenge in reaching consumers.”

Ogilvy’s Patou Nuytemans: we face the same challenges

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ASIA GETS ANIMATED MIPTV’s Asian Animation Screenings, featuring some of the most talented and innovative animation content coming out of various Asian territories take place today, in partnership with AnimatonXpress.com, CAA, ContentAsia, Finas and GCMA. Japan, China, Malaysia, Korea and India will each showcase six titles, with a short analysis of each title.

“As the screenings show, animation industries in many Asian markets have made significant progress in their ambitions to create their own intellectual property,” said Janine Stein, editorial director of ContentAsia and a moderator along with Anand Gurnani, co-founder, CEO and managing editor, AnimationXpress.com.

“Some of the programmes selected are good indicators of Asia’s ability to work with international companies to create compelling content,” said Stein.

Among the titles being screened are Romance Of The Three Kingdoms from China, Shonen Jump Heroes double-billing Toriko 3DBegin The Gourmet Adventure and One Piece 3D-Mugiwara Chase from Japan, KungFu Chicken from Malaysia, Tayo The Little Bus from Korea and Peter Pan from India.

Toei Animation’s Shonen Jump Heroes

Canal+ has original spin on successful co-productions “THE DIGITAL wave sweeping our business gives viewers ‘hyper-choice’ and fragments audiences, resulting in the over-abundance of well-estab-

lished programming and the ‘banalisation’ of highly franchised content,” said Canal+ joint director general Rodolphe Belmer in his keynote.

Canal+’s Rodolphe Belmer: “world-class content”

The Canal+ response is to be omnipresent — on five channels and every platform — and to invest more in original content in the form of ‘mega-films’ — television series that attract huge audiences and have high production values. Such shows currently in production or development are XIII, Les Borgia, Versailles, Les Oligarques and La Patrouille Perdue.

“To be strong in a globalising television market, European television groups need world-class content,” said Belmer. “How they finance it is critical: €1m ($1.4m) an hour is not enough to make world-class drama.”

Canal+ aims to co-produce two 12hour series co-productions a year (at €2.5-3m an hour) and to create longterm partnerships through which to do it. “We need a structured relationship with European and US producers and broadcasters to regularly nourish both Canal+ broadcasts and its communication,” Belmer said.

Frank discussion on building new entity DAVID Frank, CEO of Zodiak Media Group, gave a MIPTV keynote. His production company RDF Media produced a slate of popular shows in the UK and US after its launch in 1993.

Last year, it became part of the new Zodiak Media Group. With 45 production companies across 17 countries, and a catalogue of more than 10,000 hours of content, it is valued at up to €1bn ($1.4bn).

Interviewed in the session by C21Media editor-in-chief David Jenkinson, he explained that the challenge of putting together the new group was to “connect the bits and pieces to make sense of it all” around creativity. “How does one combine the fantastic local talent operating in different markets

with the centre, without destroying the local creativity?” he said.

Asked what he would consider the definition of a hit in the multi-platform world, he suggested that for broadcasters, a hit is “channel-defining”, whereas Zodiak would see a hit as something that ends up as being “valuable”. Shows can be both — big entertainment shows, for example – —but not always, he added.

He criticised broadcasters for thinking that “360 has to start online”. He said producers had the chance to make their shows more relevant by understanding the digital world, rather than simply shifting content online.

David Frank: protecting local creativity

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The Quick Interview

Marc Dorcel’s Ghislain Faribeault

GHISLAIN Faribeault is chief operating officer and newmedia manager of adult-content production company, Marc Dorcel.

What is Marc Dorcel doing at MIPTV? “We are focusing on 3D and connected TV, and introducing our interactive solutions for IPTV, cable, connected TV or any connectable device.”

What is your 3D strategy?

“We are working with 3DLized, which specialises in cinematographic 3D and 3D events. We have invested €1.2m in 3D, but today’s homes are not yet equipped with 3D-compatible devices, so it’s a gamble.”

What is Marc Dorcel doing in VOD? “We launched our first 3D VOD service in IPTV on France’s FREE in November. We also launched our first 3D video-downloads offer without DRM and compatible with PCs and 3D TVs in November on our VOD website.”

What are you working on in connected TV? “We see connected TV as the next logical step. Content management has become a new profession for TV manufacturers. Some have cold feet about offering adult services when the ‘classical’ service offer is still small. However, we have a volume of 3D content that is ideal for connected 3D-TV manufacturers.”

eOne sees co-pro opportunities in fall-out from channel explosion JOHN Morayniss, CEO of Entertainment One (eOne) Television, is at MIPTV to support his distribution team and discuss new shows in the development pipeline. “Sometimes the discussions we have in Cannes help us decide which productions we should go forward with,” he said.

According to Morayniss, times are good for eOne, an independent studio active in the production, distribution and financing of content.

“Because of the proliferation of channels, there are a lot of people looking for quality content,” he said. “For a company like ours, which knows the international space, this means opportunities to build co-productions.”

Not that co-production is quite the

right word any more, Morayniss added: “It implies those projects where you do it under treaty and split the creative elements according to regulatory requirements, having to use German actors, not use US writers and so on. The new model is more about identifying an idea you believe in and then building the right partnerships.”

As case in point is Haven, “which is essentially a US show but one that was supported initially by NBC Universal’s international channels. It was only later that we sold it into Syfy in the US. Or look at The Walking Dead, which involved eOne, the US cable channel AMC and Fox’s international channels.”

Entertainment One’s John Morayniss: “opportunities to build co-productions”

Making a date with the over-Fifties THE MIPFormats Fresh Talent Pitch was won by “a dating show of the moment”, said jury member Colin Jarvis of Colin Jarvis Media.

On The Wave Of Love, presented by Alexandra Crucq and Marie-Julie Michelet of France’s Newen, is set on a cruise ship and aimed at would-be daters over the age of 50. “It’s great fun, it has wonderful characters, it’s on trend and it pushes the limits,” Jarvis added.

Crucq said: “This award is not only important to us personally and for Newen as a company with its eye on the international market, but it is also flying the flag for French creativity.”

Jarvis and fellow jurors, Fox’s David Lyle and SVT’s Annie Wegelius, were pitched six uncommissioned format projects culled from over 100 candidates by research company The WIT. “A good pitch is a simple concept that takes no time or effort to understand,” said The WIT’s CEO, Virginia

Mouseler, explaining the selection criteria.

The finalists proved her point: the concepts included a ‘dating on wheels’ show from Spain’s P52TV; a giant community crossword challenge from Germany’s SEO Entertainment; a

Dracula-themed reality challenge from Romania’s Media Factory; a guess-the-baby’s-name quiz from France’s Little Nemo; and a multiplatform celebrity fashion format from Germany’s Notorious Entertainment.

Fresh Talent Pitch winners: Alexandra Crucq (left) and Marie-Julie Michelet of Newen

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Bruce Paisner, the IATAS’ president/CEO; Reed MIDEM’s Paul Zilk, awards nominees and MIPTV delegates kick off the 2011 International Digital Emmy Awards Winners

Digital Emmy winners on the ‘cutting edge’ THE INTERNATIONAL Academy of Television Arts & Sciences announced, on Monday night, the winners of the International Digital Emmy Awards at a ceremony during the MIPTV Opening Night Party, attended by over 300 interHighrise/Out My Window

national executives from the television, broadband and mobile industries.

Highrise/Out My Window (National Film Board of Canada), an interactive web documentary about high-rise buildings and the stories of the people who live in them across 13 different cities, won in the Non-Fiction category.

Battlefront II (Raw TV/Airlock for Channel 4), which follows 12 young people running campaigns to change the world, won its second Digital Emmy Award in the Children & Young People category.

Shankaboot (Batoota films/BBC World Service Trust), a web series conceived as a vehicle for exploring social problems which are often overlooked by

mainstream media in the Arab world, won the first Digital Emmy Award for Lebanon in the Fiction category.

The Pioneer Prize was presented to Jon M Chu, creator and executive producer of the global online dance phenomenon The Legion Of Extraordinary

Battlefront II

Shankaboot

Dancers for innovative contributions to the field of digital entertainment.

Bruce Paisner, president & CEO of The International Academy of Television Arts & Sciences said: “We congratulate them for being on the cutting edge of a vital new form of expression.”

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THE STARS and the best of the international digital creative community walked the red carpet into The Carlton hotel on Monday night for the International Digital Emmy Awards ceremony, which is jointly organised by Reed MIDEM and the International Academy of Television Arts & Sciences

Jamie Campbell Bower, — Arthur in new blockbuster Camelot — celebrates the winner of the International Digital Emmy category for Children and Young People

Hollywood producer and creator of Heroes Tim Kring builds up to announce the winner of the International Digital Emmy Awards’ Pioneer Prize

Joseph Fiennes, who stars as the conniving Merlin in epic series Camelot, prepares to reveal winner of Digital Programme: Non-Fiction category

Endgame leading man Shawn Doyle names the winner of the International Emmy category Digital Programme: Fiction

Tom Perlmutter, of the National Film Board of Canada, nabs the International Digital Emmy Non-Fiction prize for Highrise: Out My Window

Overjoyed representatives of Lebanon-based Batoota Films collect the International Digital Emmy prize for Shankaboot, its entry in the Fiction category. (Left to right): Chris Carey, Katia Saleh, Bass Breish, and Toni Oyry

Jon M Chu (right) is congratulated by the Academy’s Bruce Paisner (left) for winning the 2011 Pioneer Prize to acknowledge Chu’s work with the online dance phenomenon The Legion Of Extraordinary Dancers

Representatives from UK network Channel 4, production team Raw TV, and digital agency Airlock celebrate their victory in the International Digital Emmy Children & Young People category for Battlefront II

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DQE DEALS WITH METHOD AND JCC DQ ENTERTAINMENT (DQE) has signed a co-production agreement with France’s Method Animation for a new HD 3D-animated series Robin Hood: Mischief In Sherwood.

The title, aimed at six- to nineyear-olds, features Robin Hood as a kid. “Robin Hood is an iconic tale that has entertained kids and adults for 50 years but this series is about his youth, and that is a new angle,” said Aton Soumache, chairman and co-founder of Method Animation.

Tapaas Chakravarti, CEO and chairman of DQE, said: “This is Robin Hood as a mischievous kid: nice but also extraordinary.”

Classic literary figures star on Russian slate RUSSIA’s public broadcaster Russia Television and Radio (RTR) is in Cannes this week with a strong line-up of dramas, documentaries and telenovelas.

RTR, which controls flagship channels Russia 1 and Russia 2, invests heavily in high-quality original content, said Julia Matiash, director of RTR’s international distribution arm Sovtele-

RTR’s Galina Ikryannikova and Julia Matiash of Sovteleexport

export. “Attracting a lot of interest at the market is an 8 x 44 mins drama about the life of Fyodor Dostoevsky.

We are also launching The White Guard, a 10 x 44 mins series based on the novel by Mikhail Bulgakov.”

Sovteleexport is also selling high-end single documentaries such as Alaska: The Big Deal, the story of how Russia sold Alaska to the US, and Moscow Metro, a film about the construction of the capital’s underground train system.

RTR has built a base of international partners after a decade in Cannes. “We have strong relationships with partners in the CIS and major European markets like France and Germany,” Matiash said. “Recently we have also done important deals with CCTV China and Discovery Enterprises International, which took 125 hours of content for its own channels and distribution.”

MBC takes Got Talent east DQE’s Tapaas Chakravarti (left)and Method’s Aton Soumache

DQE has also inked a deal with Al Jazeera Children’s Channel (JCC) for three of its titles: HD animated series The New Adventures Of Lassie, the second season of 3D-animated series The Jungle Book, and 2Danimated series Feluda.

“Content like this is not easy to find,” said Mazen Rifka, JCC’s acquisitions and distribution senior manager. “We’re interested in titles that increase awareness of other countries but that also reflect positive social values.”

FREMANTLEMEDIA Enterprises (FME) has signed a multi-year deal with the Middle East Broadcasting Company (MBC) that will see FME license the Idols format in the Middle East. The deal will also see MBC take rights to the Got Talent format for an additional two seasons and complete a three-year volume deal on FME’s extensive library.

Jamie Lynn, FME’s senior vice-president of distribution for the Middle East, Southern Europe and Africa, said MBC will produce three seasons of a Pan-Arab Idols series, and added: “Arabs Got Talent has proved very popular with MBC viewers and we are confident the Idols format will also establish itself as a must-watch TV title for them. We plan to launch the show on a scale that has not been seen in

this region and trust that Idols will become part of Arabic society as it has done in other territories.”

Tim Riordan, group TV director at MBC Group said: “Our partnership

with FME has been a great formula for success in the recent past and we look forward to taking the next step with additional formats for the Arab world.”

MBC’s John Whitehead (left), FME’s Mel Alcock, MBC’s Tim Riordan, FME’s Jamie Lynn, and FME’s David Ellender

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Torchwood: ‘Something exceptional’ THE FOURTH series of Torchwood, BBC’s sci-fi drama, takes efficient coproduction working to new heights, with near 24-hour, round-the-clock shooting at the twin production centres in Los Angeles and Cardiff.

Executive producer Jane Tranter of BBC Worldwide Productions, who is now based in LA, said it was very exciting to be working on a genuine co-production — with Starz, the US premium cable channel — but the programme would retain its roots in Wales.

“We are taking the Welsh global — retaining the best of British drama while learning all about US production values. Previously, America was represented in our stories by two people in US military uniforms. Now we can

tell a truly global story with actors of the calibre of Bill Pullman.”

Pullman said he “knew from page one” that there was something exceptional in the dialogue of Russell T Davies’ script and signed up to the project straight away. He joins forces with John Barrowman, who has turned the hero, Captain Jack Harkness, originally a character in BBC’s Dr Who, into an iconic figure. Barrowman said the US collaboration was a natural move in the development of the series. “The work we are seeing coming out of this production looks fantastic,” he said.

Torchwood: Miracle Day begins its 10-episode run on Starz in July, with a date for broadcast by the BBC yet to be confirmed.

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KBS confirms doc focus with deals for The Amur ;LS !

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ing 12% in 2010. The money available will be put to good use shooting on location around the globe, Gil added.

Among the new programmes is Dharma, a documentary about The Tripitaka Koreana, the worldâ&#x20AC;&#x2122;s oldest intact version of the Buddhist canon in Hanja script. A Unesco World Heritage site in Korea, it comprises 81,350 wooden printing blocks created in the 13th century.

Also being produced is The Map. â&#x20AC;&#x153;The Map is a documentary that interests me because our ability to make maps has played a pivotal role in the rise of civilization,â&#x20AC;? said Gil. Superfish, a documentary about fishing communities around the globe, is also on the production schedule this year.

Gil says both drama and documentaries are important storytelling devices, but he has some 30 years experience as a documentary producer: â&#x20AC;&#x153;My creative talents lie in the documentary world, so thatâ&#x20AC;&#x2122;s where my focus is.

However, both documentary and drama, in different ways, tell stories that touch the hearts of people, and thatâ&#x20AC;&#x2122;s whatâ&#x20AC;&#x2122;s Gil Hwan-Young: documentary budgets increasing important.â&#x20AC;?

KOREAN public broadcaster KBS has signed deals with two territories, Hong Kong and Thailand, for its newest title, The Amur. The Amur, the story of the worldâ&#x20AC;&#x2122;s 10th longest river, which divides Russia and north-eastern China, is just part of a major focus

by KBS on documentaries.

Gil Hwan-Young, executive managing director of KBSâ&#x20AC;&#x2122; content division, stated the budget for documentaries increased by 10% for 2011, after ris-

FashionOneTV signs with KT FASHIONONETV is set to enter the Korean market after a memorandum of understanding with KT (formerly Korea Telecom) was signed at MIPTV. The deal was facilitated by GlobeCast, FashonOneâ&#x20AC;&#x2122;s exclusive distributor in Asia. FashionOne mixes coverage from international fashion weeks, profiles of designers, models and photogra-

phers and exclusive events and parties with a daily input of entertainment.

The channel is expected to launch on KTâ&#x20AC;&#x2122;s IPTV platform in mid-2011.

KT is also set to sign a memorandum of understanding for HighTV 3D, the global 3D entertainment channel and a sister channel of FashionOneTV, during MIPTV.

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FOOD MAVERICK IN ASIAN CO-PROD LI TV International has teamed up with Ochre Pictures in a coproduction supported by Singapore’s Media Development Authority.

LI (Life Inspired) TV is Asia’s new 24-hour HD lifestyle TV channel. Ochre and LI TV will co-produce The Maverick Chef, a six-part series with selftaught Michelin-starred chef Alvin Leung. Leung is know as ‘The Demon Chef’ and specialises in re-inventing tried-and-tested recipes.

The series sees Leung deconstruct the most popular local dishes in Hong Kong, Singapore, Kuala Lumpur, Jakarta, Bangkok and Taipei.

IN THE DOGHOUSE WITH ITV STUDIOS ITV STUDIOS Global Entertainment is launching a new series, A Different Breed, at MIPTV. The documentary entertainment series from Pulse Films, which premieres on UK’s Sky 1 this week, takes a sideways look at the world of dog grooming salons, kennels and vets. It introduces a fantasy element, using editing tricks and voiceovers to make the dogs the stars of the show. ITV has already partnered with Pulse on Pineapple Dance Studios and its successor, Louie Spence’s Showbusiness. Richard Life, head of acquisitions and coproductions at ITV Studios, commented: “A Different Breed is packed with shockingly funny characters and promises a truly indefinable show.”

Chefs’ battle in Cannes kick starts transatlantic contest ONLY Lifestyle, the Parisian distributor of lifestyle programming, held a cook-off last night, to celebrate the pilot of France Chef America, the new cooking show it describes as the “Formula 1 of cookery shows”.

Cannes delegates saw two Michelinstarred chefs, Laurent Peugeot and Sebastien Broda, compete to create the highest-quality three-course meal. Although a friendly contest, it will form the basis of a new heated cookery competition show.

Should the concept find enough interested buyers, producer France Chef TV will create a 12-part, 44-minute series conjuring the intense rivalry between American and French chefs — a team competition where the contesting chefs have to make a meal for a discerning panel using a secret basket of ingredients. The judges will

Laurent Peugeot: defending national culinary honour

comprise chefs, cookery fans and journalists from around the world.

The 12 episodes, expected to take more than a year to complete, will be targeted at the broadcast-TV market, with separate rights for digital distribution.

“At the moment, potential buyers can see a one-episode pilot, which illustrates the concept,” said Olivier Viatour, France Chef TV’s CEO and founder.

“The winner’s prize? To have defended the honour of the national flag.”

Mediahub delivers FTD to world FRANCE Televisions Distribution (FTD) has become the first subscriber of the new Mediahub e-platform, a business-to-business service that al-

lows companies such as FTD to market their programming to buyers around the world.

The news was announced at MIPTV

FTD’s Nathalie Bobineau and GMCD’s Hugues B d’Annoux

by Nathalie Bobineau, FTD’s senior vice-president of international sales to French-speaking territories and the US, and Hugues B d’Annoux, chairman of WGMH Switzerland and the Global Media Centre for Development (GMCD), two of the organisations behind Mediahub. The other partner is the Asia Pacific Institute for Broadcasting Development.

According to the partners, Kuala Lumpur-based Mediahub is a cost-effective and convenient way for content providers to get their IP in front of potential buyers.

Under the terms of its three-year deal, for example, FTD can securely showcase trailers across genres to the 140 broadcasters and content users involved in the Mediahub project, most of which are based in Asia-Pacific, the Middle East and Africa.

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MIPTV NEWCOMER

GAO HONGXIN, Chairman of the board, Hong Kong TV International Media Group “HONG Kong TV International Media Group [HKS] is a fastdeveloping media conglomerate showcasing a new China to the world by satellite, cable and the internet. Our anchors are from all over the world, including China, the US, France, Germany, Italy, Russia, Hong Kong, Taiwan and Macau, and they are fluent in Mandarin Chinese and other languages. Our goal is to integrate views and elements from the East and the West, and we intend to establish our reputation in this way. HKS also invests in movies and TV series, and we are looking for partners for co-productions and distribution. An example is the movie The Tale Of Three Kingdoms: Jingzhou, written by Zhu Sujin and directed by Gao XiXi, which is expected to air in 2012. HKS is also investing in Woscar Future Studio, to be constructed in Xiaogan, Hubei.

This is a movie-based theme park and production studios, based on the concept of Universal Studios. Since its formation, HKS has maintained good relations with domestic and foreign mediaentertainment companies. We will fulfill our promise to deliver high-quality programmes to our audiences all over the world.”

Former Miss World wedded to success of Indian Bride format COULD dating format The Incredible Indian Bride (12 x 60 mins) be the first reality show from the sub-continent to make it in the international market?

Mumbai-based Colosceum Media hopes so. Creator and producer Aditya Bhat has brought former Miss World Diana Hayden, star of the show, to Cannes to launch an international format that aims to find her dream husband.

Hayden, an actress, television host and charity spokeswoman, is the first would-be bride to host the show. Four other former beauty queens are lined up to host four other local versions.

The show takes the seven vows made by an Indian groom at his wedding and turns them into seven challenges.

“The vows are relevant to all brides in all cultures,” Hayden said. “They concern things like ‘protect your bride’ and ‘care for your children’. So for instance, we turned the vow to protect your bride into a challenge to learn a martial art.” The tasks take place in seven of India’s best-known and most beautiful locations, culminating in one at the Taj Mahal.

Colosceum’s CEO, Ajit Andhare, said he is in talks with UK and US broadcasters, and will be speaking to Australians too. The show is exclusively international and is not intended for the Indian market.

Is there a cash prize too? Bhat looked amazed: “You get to marry Miss World.

Why would you need a cash prize!”

Former Miss World Diana Hayden: reality format to find her dream husband

New support for Chinese animation THE CHINESE government is showing support for Chinese animation by championing the new China Animation Association stand at MIPTV. Jin Delong, deputy chief editor of The State Administration of Radio, Film and TV (SARFT), is in Cannes to highlight the rapid development of animation production in China.

“SARFT encourages local government

in China to support animation companies and their projects,” Jin said.

“We have established many award schemes to support the industry and keep the quality of content high.”

The China Animation Association has sponsored select animation companies to travel to MIPTV, enabling them to interact in a bigger marketplace at a new umbrella stand in the

China United pavilion.

“We want to continue to develop our own animation output and we are looking abroad to see how other countries work and also how they are being supported,” Jin said. “We want to forge new partnerships and we will also import outstanding foreign animation that educates young audiences about different cultures.”

China Animation Association’s Xu Shu Feng (left) and Peixia Yu, SARFT’s Delong Jin, and CCTV Animation’s Cai Zhijun and Dong Hang

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Talent in town

Marta Gastini plays Giulia Farnese, Rodrigo Borgia’s mistress

In town to promote the $34m co-production Borgia: Andrea Sawatzki (playing Adriana de Mila), Assumpta Serna (Vannozza Cattanei), John Doman (Rodrigo Borgia), Isolda Dychauk (Lucrezia Borgia) and Marta Gastini (Giulia Farnese)

John Doman (The Wire) stars as Rodrigo Borgia, head of the powerful Spanish/Italian clan, in Borgia

Richard Yearwood (left), Natalie Lisinska and Remy Girard, stars of Tricon Films & Television’s send-up of the spy/crime procedural genre InSecurity

Itziar Miranda and Manu Baqueiro, stars of RTVE’s Love In Difficult Times

Former Miss World, Diana Hayden, in Cannes to raise interest in the Indian format, The Incredible Indian Bride

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OCTOPUS SYSTEM DELIVERS COST AND TIME SAVINGS OCTOPUS Media Technology is at MIPTV to launch Octopus Digital Courier, its new cloud-based digital-delivery service with accelerated transfer capabilities.

The company’s president and CEO, Andrew Eborn, said: “Octopus has revolutionised the way business is conducted and content managed, monetised and delivered. The Octopus Digital Courier empowers companies to save significant amounts of time and money in the management and delivery of their programmes.” The Octopus system allows virtually any file to be ingested, unlimited numbers of administrators and users, online previews with or without downloads, multiple file delivery, statistical reporting, automatic transcoding to several formats, greater security and the ability to maintain a permanent online library accessible anywhere.

Eborn reported that Octopus has built up a diverse international client base including broadcasters, producers, distributors, content-owners, advertising agencies, brands and sporting bodies.

Octopus Media Technology’s Andrew Eborn

Nokia and Kring hatch plot to expand Conspiracy For Good

Good friends: Hollywood creator Tim Kring (left) and Nokia’s Tero Ojanpera

THE INTERNATIONAL Digital Emmy nomination for Conspiracy For Good (CFG), the ‘social-benefit storytelling’ production created last year with Hollywood producer Tim Kring, has helped justify the project’s continuing support from giant mobile-phone company Nokia.

Tero Ojanpera, Nokia’s executive vicepresident of services, joined Kring and Company P, the Swedish multi-platform production company, at the awards ceremony on Monday.

Although CFG did not win, Ojanpera and Kring disclosed they want to expand the London-based thriller. It combines connected media and reallife events to narrate a drama about a virtual global conspiracy.

The social-benefit element comes from CFG’s audience participation and their contributions, which helped build real-life libraries for deprived villages in Zambia.

“We want CFG to become something bigger, with everyone having access to

the content via apps,” Kring said.

They are also learning from the London experience, Ojanpera added.

“Now we want to scale it into a massmarket concept, so that it’s no longer about the technology, but about how anyone can take part.”

To this end, Nokia and Kring are putting together a business plan in order to attract more partners to help broaden CFG’s connected-media drama, including its philanthropic elements.

Watching brief from Jesta Digital JESTA Digital demonstrated its new digital-content platform Bitbop in the MIPTV Experience Hub yesterday.

Due to launch in Germany, Bitbop is a groundbreaking way of watching highquality video via a variety of digital platforms, though tablets and smartphones are its main sphere of activity.

Leading the demo was Jesta Digital’s executive vice-president of global products, Joe Bilman, who said: “Consumer mindshare is up for grabs because of three shifts in the market: the increasing use of smartphones, the move towards on-demand and the way in which the web has gone from

being a singular to a social experience.”

In terms of well-known TV brands supplying content to Bitbop for the

German launch, examples include Sony Pictures Television, MTV, HBO, ZDF, ARD and Sat.1.

Jesta Digital’s Joe Bilman: “Consumer mindshare is up for grabs”

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Korea explores the future of 3DTV without glasses KOREA is looking to propose a new technology standard for stereoscopic 3DTV before the end of the year and its government is now carrying out major new research and discussions with top experts regarding the human factors involved in the widespread use of stereoscopic 3DTV. That’s the word from Young-su Oh, director of the Convergence Policy Bureau of the Korea Communications Commission (KCC). “Currently we are in a preliminary stage when it comes to regulations and we’ve been focused on promoting the industry, rather than restricting it,” said Oh, who is a speaker at today’s Global 3D Spotlight session entitled 3D Overview: Update On The Latest 3D Technologies And Applications.

Oh said that Korea has been at the forefront of stereoscopic 3D develop-

KCC’s Young-su Oh: “rapid progress”

ment. It test-launched the first satellite 3DTV channel in January 2009 then launched terrestrial stereoscopic

3DTV in 2010. LG Electronics and Samsung will launch auto-stereoscopic (glasses free) 3D laptops this month. LG has also released an autostereoscopic 3D smartphone and Samsung plans to release its version before the end of the year.

“We are currently in a stage of rapid technological progress when it comes to auto-stereoscopic 3D,” said Oh, adding that live trials of stereoscopic HD 3DTV broadcasting technology are set for the IAAF World Championships Daegu 2011 and the Expo 2012 Yeosu.

Oh said that cost had prevented 3D content from keeping pace with the development of stereoscopic 3DTV devices, however, and is one of the reasons Korea has created an investment fund to help support production of 3D content.

Gedeon deals in 3D feature films latter with ARTE and Discovery UK. The new feature film Coasts Of France In 3D (90 mins) explores the natural, architectural, cultural and gastronomic diversity of France’s coastlines.

Makay: The Lost World’s Raiders fol-

Photograph: Evrard Wendenbaum/Naturevolution

GEDEON Programmes has three major 3D films currently in production or preproduction: Makay: The Lost World’s Raiders, Paris Over The Ages and The Coasts Of France In 3D. At MIPTV, it has signed a co-production deal for the

Makay: The Lost World’s Raiders: a lost Eden in 3D

lows a team of scientists to a forgotten Eden in Madagascar untouched since pre-history while Paris Over The Ages explores the last 3,000 years in the French capital’s history through the people and events that created it.

Company president Stephane Milliere said 2011 is turning out to be an “exceptional” year for the French independent: “Our business increased by more than 30% in 2010 and we expect that trend to continue in 2011. We have big programmes including: The Wings Of The Sun, Mission Earth and Tracking The Blue Diamond, airing in primetime on a lot of channels, both in France and abroad; the production of our new long feature has started in Brazil; we have launched a press agency called Docland Yard; and we are developing new formats and concepts.”

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MIPTV NEWCOMER

SALVADOR PUIG, sales manager, D4D, Spain.

D4D Ingenieria Visual is a feature film and television production company based in Spain, specialised in 3D shooting.

We cover pre-production advice through to production stage, conformed files to take away to your preferred post-production house and post-production advice after the shooting stage.

We are at MIPTV because this is the biggest window for TV content. This our first time because we shoot only in 3D, so last year the 3D market was not big enough.

We believe that this is the year to push hard in this market. We generate our own 3D content but are also open to listening to others. We are at MIPTV looking for buyers, licensors and coproducers for 3D content.

During the last year we did commercials, broadcasts, TV series, documentaries, etc, but that was for other companies.

This year we’re producing our own content — last year was 90% service, but now we are 80% producer.

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DISNEY TAKES ON BABYSITTER FREMANTLEMEDIA has signed a major distribution deal with Disney Channel for Fresh TV’s adventure-comedy My Babysitter’s A Vampire, which sees the series taking a bite out of popular culture phenomena such as Twilight. The Fresh TVproduced title will be presented on Disney Channels or Disney XD channels around the world.

The 13 x 30 mins series and accompanying 90 mins movie will launch to a core teen and tween audience via Disneyowned channels in the US, Latin America, the UK, Australia and New Zealand, Central and Eastern Europe, the Middle East and Africa, the Netherlands, and Nordic territories.

FremantleMedia also has global rights (excluding Canada) for home entertainment and brand licensing, and is looking for partners across other brand extension platforms.

TBS and Yoshimoto believe US is ready for Oka’s Serious Fun

TBS’ Masashi Yamamoto (left), Yoshimoto’s Aki Yorihiro and TBS’ Makito Sugiyama

JAPANESE broadcaster TBS and entertainment giant Yoshimoto Kogyo are in Cannes this week to promote an ambitious new concept.

Aki Yorihiro, CEO of Yoshimoto En-

tertainment USA, said: “We are working with TBS, Shine Reveille and Masi Oka (star of NBC’s Heroes) on a format which will take the Japanese variety show concept and reinvent it

for the US and international markets.”

The one-hour format, Serious Fun With Masi Oka, consists of four or five entertainment strands presented to a master of ceremonies by comedians.

“At the end of it, viewers vote for their favourite who is invited back the next week to compete against new entertainers,” said Yorihiro.

A Japanese version of the show, hosted

by Koji Imada, has just aired on TBS where it rated well, said Makito Sugiyama, chief/international programme sales vice-president, media business division, whose company will handle Asian distribution.

In terms of the US pitch, Oka (who is also an advisor to Yoshimoto Kogyo) travelled to Japan and shot English-language introductions to each segment of the show.

These will be shown to potential US broadcasters. Any eventual pick-up would see Oka as host, working with US domestic comic talent.

DESERTS IS HOT PROPERTY

MTV Networks seals Victorious deals

GREEN Bay Media has announced a $1.6m deal at MIPTV for Deserts, a 6 x 60 mins series documenting life in deserts worldwide. Partners in the deal are Welsh broadcaster S4C, distributor Parthenon Entertainment and France Televisions. Co-executive producer John Geraint said: “The ability to come to Cannes and talk to international distributors and broadcasters is crucial to our business, and our presence on the UK Indies stand has really helped build a profile for us in the international marketplace.”

MTV NETWORKS has signed agreements with five international broadcasters for the Nickelodeon hit live-action show Victorious.

Only recently launched for international syndication, the teen comedy is now airing on France’s TF1 as the channel’s premiere live-action series, and also in Italy (Rai), New Zealand (Four) and in Latin America through deals with Chile’s Megavision and ATB in Bolivia.

The new agreements build on the ratings success of Victorious in Australia, Korea, Mexico, Singapore, the UK and the US. “Multi-talented Victoria Justice is the star of the show and I believe she is MTV Networks’ next big star,” said Steve Grieder, executive vice-pres-

ident, Nickelodeon International and international programme sales at MTV Networks International. “The

series is a co-production with Sony Music and we will be seeing Victoria branching out into a music career.”

“Next big star” Victoria Justice (centre) and her Victorious co-stars

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Imira deals sees animated Carlo Bixio remembered Lola & Virginia get real

Going live with Lola & Virginia: Brave Film’s Gian Paolo Brugnoli (left) and Veronica Brugnoli with Imira Entertainment’s Sergi Reitg

SPANISH animation house Imira Entertainment has signed a co-production deal with Rai and Brave Film in Rome to make a live-action version of its hit animated series Lola & Virginia.

The live-action series, Lola & Virginia (26 x 26 mins), is about to go into production and is due for delivery in September. It will air on Rai 2, Rai

Gulp and Nickelodeon in Italy, and on Nickelodeon in Spain and Portugal.

Distribution will be by Imira Entertainment.

“The broadcasters came to us and asked for the live-action show,” said Imira’s CEO Sergi Reitg. “The liveaction will skew slightly older – 8-12 – and slightly less female than the original.”

WITH the passing of Carlo Andrea Bixio, the international TV industry has lost a much-loved and internationally renowned producer.

At the beginning of the 80s, Carlo Bixio bought out 50% of Publispei’s holdings and consequently produced over 1,000 hours of television programmes, events, variety shows, TV dramas and music shows which aired in Italy and around Europe including Un Disco Per L’Estate, Uno Due Tre RAI, La Vela D’Oro, Regalo Di Natale, Festival Disney, Gran Premio With Pippo Baudo, and Cuando Calienta El Sol, which was the first television variety show produced and broadcast in both Italy and Spain.

Throughout the years, Bixio produced and exported a host of Italian formats abroad. After his success in Spain with Cuando Calienta El Sol, Bixio diversified into TV drama, producing the Italian version of hit Spanish series Un Medico In Famiglia in 1997, which

proved to be as big a hit in Italy as it has been with Spanish viewers.

In the decade that followed, Bixio produced numerous hits including Lo Zio D’America, Un Posto Tranquillo, Il Padre Delle Spose, Attenti A Quei Tre, Raccontami Una Storia, I Cesaroni and,most recently, Sissi and Tutti Pazzi Per Amore.

Carlo Andrea Bixio

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SWEET MUSIC FROM ZEBRA AND LATIDO ZEBRA Producciones’ Antonio Saura, brother to acclaimed Spanish film director Carlos Saura, has produced new documentary La Tierra De Las Mil Orquestas (The Land Of A Thousand Orchestras) that is being distributed at MIPTV by Latido Films.

“This is a very special product in our catalogue,” said Juan Torres, sales and acquisitions, Latido Films. “Directed by Feliz Cabez, it is a heart-warming exploration of a system in Latin America that uses music as an engine of social change.”

El Sistema, or ‘the System’, is a national framework of youth and children’s orchestras in Venezuela that has been teaching the country’s children music for over 30 years. The internationally acclaimed Venezuelan conductor Gustavo Dudamel is example of the talent it produces.

“Many buyers pass by content that is not immediately ‘easy watching’, but we are confident that this documentary, and the other Spanish and Latin-American programming that we represent, has great potential to be interesting for viewers worldwide.”

Latido is a consortium formed

by Tornasol Films, Zebra Producciones and Continental Producciones.

Latido Film’s Juan Torres

Fourth season of Yu-Gi-Oh! launched and set for trading Kerpow!: Nihon Ad Systems’ Yoshihiko Shinoda (left) and Masanori Miyake, and Konami Digital Entertainment’s Shinichi Hanamoto celebrate the launch of Yu-Gi-Oh! ZEXAL

TODAY marks the official launch of Yu-Gi-Oh! Zexal, the fourth incarnation of the Japanese TV animation that has sold to 58 territories and spawned the world’s most popular trading-card game.

Produced by TV Tokyo/Nihon Ad Systems (NAS), the new series debuts next Monday in a primetime slot on TV Tokyo. Its international launch is being celebrated today by a screening of

episode one in Auditorium K, followed by a lunchtime cocktail party.

“We are revitalising the Yu-Gi-Oh! brand — now 10 years old — with this new series, which we hope will attract a new generation of viewers,” said Yoshihiko Shinoda, managing director of NAS. Aimed at six- to 11-year-old boys, Zexal will build on the global traction of the three previous Yu-Gi-Oh! se-

ries. Zexal introduces two new characters to the original cast: Yuma Tsukumo, an adventurous 13-year-old on a mission to fight evil, and his partner Astral, a being from another world who is looking for his lost memory, scattered across Earth on 99 cards.

Shinoda added: “The Yu-Gi-Oh! franchise has been a phenomenal success, with the card game selling 22.5 billion packs in 51 countries.”

Cooking company is family affair NEWCOMER Naked Flame Productions was formed by Australian chef Lyndey Milan and her partner John Caldon, when she decided to strike out on her own after 20 years presenting cookery shows on Australian networks and working as food director of The Australian Women’s Weekly.

“Naked Flame was born out of a desire to create television in our own way — shows that were both on and off the beaten track,” said Milan. “Our first concept, Lyndey And Blair’s Taste Of Greece, finished production in September and we have already sold the first series to SBS Australia. It will air in a primetime slot this year.”

Lyndey and her actor son star in the

show that fuses culinary delights with adventure travel, exploring the ancient sites of Greece’s Peloponnese.

Milan added: “We have brought more than 20 development ideas to the mar-

ket and also a slate of programming that we are distributing. It has been an exhilarating experience being part of MIPTV and I’m thrilled with the response to our new catalogue.”

Lyndey and Blair Milan, presenters of Lyndey And Blair’s Taste Of Greece

284_RM SAVE MIPDOC_N4_TV__ 01/04/11 13:47 Page1

Thursday 29 & Friday 30 March 2012 Where the story begins.

Cannes, France www.mipdoc.com

Save the date now!

The international showcase for documentary and factual programme screenings

Daily newsV3 indd 5

29/03/11 17:31

CONFERENCES & EVENTS

DIGITAL MEDIA

BRANDED ENTERTAINMENT

KEYNOTE

SCREENINGS

WEDNESDAY 6 APRIL 3D SPOTLIGHT

10.00 > 12.00 ASIAN ANIMATION SCREENINGS

14.30 > 15.45 UPDATE ON THE LATEST 3D TECHNOLOGIES AND APPLICATIONS

Presented by Janine Stein, Managing Director, Content Asia Anand Gurnani, CoFounder, CEO & Managing Editor, AnimationXpress.com Auditorium K, Level 4

9.00 > 9.45 BRANDED CONTENT - ROADMAP Organised in association with BCMA

Featured Presentation Akira Shimazu, Senior General Manager 3D & BD Project Management Division, Sony – Corporation Speakers YoungSu Oh, Director of Convergence Policy Bureau, KCC Julian Stanford, Managing Director, EMEA, Theatre Development, IMAX Corporation Vincent Teulade, Director, PWC

Sponsored by

Hosted by Cliff Fluet, Partner, Lewis Silkin LLP

Auditorium A, Level 3

Guest Adam Hillyer, Global Marketing Services Director, Bacardi Global Brands

16.00 > 17.00 DISTRIBUTION AND CHANNELS OVERVIEW

Auditorium A, Level 3

9.50 > 10.40 BRANDED CONTENT: DATA IS FUEL Organised in association with BCMA

Moderator Stewart Clarke, Editorial Director, Informa Telecoms & Media Speakers John Cassy, Director, Sky 3D Ghislaine Le Rhun-Gautier, Head of 3D Project, Orange Mark Ringwald, Director, Scheduling & Acquisition, 3net Phil Yoon, Director, SkyLife

Sponsored by

Host Andrew Canter, CEO, BCMA Guest Adam Sheridan, Research Director, Ipsos MediaCT

Auditorium A, Level 3 Esterel, Level 5

17.15 > 18.15 PRODUCTION OVERVIEW

10.45 > 11.30 YAHOO! STUDIO & COCA COLA 360° BRANDED CONTENT CASE STUDY: A “LIGHTER APPROACH TO FASHION”

Moderator Stewart Clarke, Editorial Director, Informa Telecoms & Media

Sponsored by

Hosts Michèle Benzeno, Head of Yahoo! Studio, Yahoo!

Julien Guiraud, Strategic Digital Marketing Manager, NW Europe & Nordics, Coca-Cola

Speakers Jacques Bled, Director, Mac Guff Anthony Geffen, CEO, Atlantic Productions Alexander Lentjes, Stereoscopic Consultant, 3-D Revolution Productions David Pounds, CEO, Electric Sky Auditorium A, Level 3

Esterel, Level 5

11.45 > 13.00 OGILVY BRANDED ENTERTAINMENT LAB: THE ART OF THE DEAL: How Branded Entertainment Works from the Players that Make It Happen

MIPTV® is a registered trademark of Reed MIDEM - All rights reserved.

17.35 - 19.30 MIPTV/CONNECTED CREATIVITY MASTERMIND KEYNOTE SERIES Keynote Tiffany Shlain

Sponsored by

Speakers Robert Friedman, President, Media and Entertainment, @radical.media Chantal Rickards, Head of Branded Content / Programming, MEC Doug Scott, President, Ogilvy Entertainment Ben Silverman, Founder & CEO, Electus Kristen van Cott, Sr Vice President & Creative Director, Skechers Entertainment Esterel, Level 5

The keynote will be followed by a screening of “Connected: An autoblogography about Love, Death & Technology” (Official Selection 2011, Sundance Film Festival) Esterel, Level 5

The world’s entertainment content market

wednesday6april_news.indd 1

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SEMINAR PROGRAMME

WEDNESDAY 6 APRIL CONTENT 360 Digital Creativity International Spotlight

8.30 > 19.30 Experience Hub is open for visits all day to all MIPTV and Connected Creativity Forum participants.

Please come and experience the Connected Livingroom installations, by Orange, Intel, and all the other innovative companies including human gesture interfaces, digital graffiti, augmented TV, and social TV. (Open Presentation Theatre Located in Hub Structure, Near the Palais des Festivals)

10.00 > 12.00 CROSS MEDIA SHOWCASE

CONTENT 360 DIGITAL CREATIVITY WORKSHOPS

BEST OF CROSS MEDIA CREATIVITY FROM OTHER FESTIVALS AROUND THE WORLD Small group, idea sharing and meeting opportunity between Content 360 developers, TV producers and platform providers.

Space is limited, please arrive early.

Moderator Peter Bruck, Chairman, Europrix & World Summit Awards

Host Ferhan Cook, President, Any Screen Productions Ltd./Mobiadnews

Speakers Robert Montgomery, President & CEO, Next Media Canada Justin Cooke, BIMA, UK Darius Bagziunas, Director, Gaumina, UK Projects from The Brazilian Independent Producers Association The Football Project, by Leandro Lara, Mosquito Moonflower, by Ricardo Mucci, Umana

Presentation Theatre, Experience Hub

12.00 > 13.00 MEET THE CONNECTED BLOGGERS FROM CONNECTED CREATIVITY FORUM

Confirmed participants include Francisco Asensi Viana, Head of Business Development, RTVE, Spain Richard Vargas, SVP, Development & Production, FMX, FremantleMedia, USA Brian Seth Hurst, CEO, The Opportunity Management Company, USA

15.30 > 16.30 WORKSHOP 2: TECHNOLOGY MEETS CREATIVITY: PRODUCERS AND PLATFORM PROVIDERS SHARE INTERNATIONAL EXPERIENCES Confirmed participants include Mark Leaver, Managing Director, CIKTN/Parameter, UK

17.00 > 18.00 SPECIAL MUSIC PERFORMANCE BY REACTABLE SYSTEMS Touch Table Music Mixing by Reactable Systems, Spain

Moderator Ewan MacLeod, Editor, Mobile Industry News, UK

Performers

Guests include Matthaus Krzykowski, Writer, Venturebeat Presentation Theatre, Experience Hub

Sponsored by:

14.30 > 15.30 WORKSHOP 1: STORYTELLING 2.0, FUTURE OF STORY TELLING ACROSS MULTIPLE PLATFORMS

Hub Program Partner:

Marcos Alonso, Co Founder, Reactable Systems, Spain

Carles Lopez, Musician, Reactable Systems, Spain Presentation Theatre, Experience Hub

The worldâ&#x20AC;&#x2122;s entertainment content market

wednesday6april_news.indd 2

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NEWS

PRESS CONFERENCES & EVENTS

WEDNESDAY 6 APRIL 12.00 - 13.00 YU-GI-OH! LUNCH COCKTAIL SPONSORED BY NIHON AD SYSTEMS Hosted by Reed MIDEM

17.00 - 18.30 EVERY EVENING, FROM 17.00, JOIN FASHION TV FOR A GLAMOROUS 3D COCKTAIL Hosted by Fashion TV

Palais des Festivals – Foyer Auditorium K

13.00 - 14.30 CONNECTED CREATIVITY VIP LUNCH SPONSORED BY ROVI & SIDE BAR Hosted by Reed MIDEM By invitation only Majestic Croisette

Location : Palais des Festivals – Booth n° 08.14

19.30 - 22.00 CONNECTED PARTY FEATURING CONTENT 360 & CC VENTURES AWARDS SPONSORED BY VIVENDI Hosted by Reed MIDEM By invitation only Hotel Carlton — Grand Salon

Endemol makes opening moves on global market with Endgame WRITER and showrunner Avrum Jacobson was in Cannes to promote Endgame, his new crime series, which stars Shawn Doyle (Big Love, Medium) as Arkady Balagan, a worldclass Russian chess Grandmaster who uses his extraordinary skills of perception and strategic thinking to solve crimes.

“Arkady has become agoraphobic after the assassination of his girlfriend,” said Jacobson. “As a result, he’s trapped inside his hotel room and spends much of his time in his dressing gown. But he solves the crimes by imagining the possible scenarios in his head. In those moments — which we call ‘brain moments’ — anything can happen.”

What is portrayed on screen is what

the protagonist imagines as he walks into the scenes of the crime — often in his dressing gown — and figures out how the crime was committed.

“It’s a crime drama with a difference,” said Doyle, who is also in Cannes for the Digital Emmys. “My character is running from his pain, and chess is a metaphor for his ability to think ahead and find a way out when he’s cornered. But the show also has a touch of whimsy. Some of the cases are murders. But others involve a stolen polar bear. It’s different.”

The show has launched strongly on Showcase in Canada, and is outperforming expectations. Endemol Worldwide Distribution holds the rights outside of North America.

Star and creator of Endgame: Shawn Doyle (left) and Avrum Jacobson

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NEWS

Paris Tout Compris goes global with Miss France MISS France 2010, Malika Menard, was in Cannes this week to promote Paris Tout Compris, a Mistral Production magazine show that has been a breakout hit for France 3.

According to Mistral editor-in-chief Stephanie Elbaz, Menard was originally invited on to the show as a celebrity guest, but did such a good job she became a permanent fixture.

Paris Tout Compris’ Malika Menard: a hit on France 3

FOLLOWING his speech at the official opening of MIPTV, French minister of culture and communications Frederic Mitterrand this week visited the stand of Cyber Group Studios to congratulate the company on its exports to 150 countries. The minister had opened the market with an announcement of departmental reviews into the risks posed by connected television, and concerns about weaknesses in France’s television drama output. Cyber Group — a previous winner of the TVFI prize for exports — has brought the first episodes of two new animated comedy series for kids, Fish n Chips (52 x 13 mins) and Nina Patalo (78 x 7 mins). “These shows reflect the extension of our catalogue beyond pre-school animation to other areas of kids’ entertainment,” said chairman Pierre Sissmann.

The show sees two teams, each comprising one celebrity and one member of the public, setting off to enjoy Paris on different budgets — €30 for one team, €300 for the other.

Now, the popularity of the show has convinced Mistral it has the potential to travel abroad: “We have been talking to buyers at MIPTV and have interest in both the complete show and the format from Asia and Europe,” said Elbaz.

Frederic Mitterrand (left) with Cyber Group’s Pierre Sissmann, Billy, and Olivier Lelardoux

KidsCo serves up games for breakfast INTERNATIONAL children’s channel KidsCo has redesigned its breakfast

time schedule around a group of shows with a video games theme.

KidsCo’s Paul Robinson (left), Raja Masilamani, Eva Dvorakova and Simon Howells, in Cannes with their video games heroes

Dubbed the Video Games Heroes Breakfast Block, the 06.00-09.00 weekday segment will feature shows like Turbo Dogs, Sonic Underground, Super Mario Brothers, Donkey Kong Country and Boo & Me 2.

Speaking at MIPTV, KidsCo CEO Paul Robinson, said: “Video Games Heroes is a great way to keep the kids entertained in the morning. Inspiring kids first thing is a great way to start their day.”

Eileen McCarthy, programming director at KidsCo, added: “We have carefully selected shows for our different regions based on popularity. All the characters that appear in our Video Games Heroes block are representative of the KidsCo brand and we know they’ll be a huge success.”

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MIPTV NEWCOMER

DAVID A JONES, creative director, PrestoDigital UK. “We are a unique mix of music education professionals and 3D CGI experts. Our programme in development,PrestoLand, sits beautifully in the fun element of a broadcaster’s schedule, while ticking a big edutainment box.

Our music team created the only piano/keyboard courseware in the world to be recognised by the London College of Music and Casio, and we have over 20 years’ teaching experience, delivering Presto Music courses to over 35,000 children every year.

MIPTV is the perfect stage to launch this project. Our strategy is simply to raise awareness — under the UK Indies umbrella.

PrestoLand teaches rhythmic notation as part of comic adventures, posing challenges solved by the characters cracking a code by magical written music notation. Viewers as young as four can read, understand and perform beats along with their live-action counterparts and the characters of PrestoLand. Our project has major interest and official endorsements from education establishments and multinational music organisations. We’re looking forward to working with companies around the world to bring it to air.”

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NEWS

NEW ERA FOR VINTAGE TV

Vintage TV’s David Pick: “advanced discussions”

VINTAGE TV has entered into a multi-year distribution deal with 3Vision Distribution, which will represent the UK music and pop-culture channel in EMEA. Aimed at the over-50s — an increasingly attractive demographic — Vintage TV launched in September on the Sky and freesat platforms. Since then, it has consistently pulled in over 500,000 viewers weekly.

Vintage TV CEO David Pick said the channel’s success has drawn interest from France, Germany, Portugal, Spain, Turkey and the Scandinavian territories, where “advanced discussions” are now under way.

“It’s particularly gratifying to see international interest in the channel,” Pick added. “There’s no channel like it in Europe and, because most of the content can be customised, we can take it into new territories quickly, and make it easily available across multiple platforms.”

Jade Webster, 3Vision’s sales manager, added: “Brilliant music resonates in all markets.

We are already having many positive conversations.”

Pick added that Vintage is now making its own productions, the first of which — 10cc: The Tour — debuts on Friday.

Easy Access allows producers to feast on Discovery footage DISCOVERY Communications has launched a new content licensing business, Discovery Access, at this MIPTV, to offer its extensive library of unique stock footage for worldwide external licensing.

“Nothing like this has been released for 25 years,” said Peter McKelvy, Discovery Access’ senior vice-president.

“We have an estimated 100,000 hours of stock footage available for producers which we are still continuing to filter and digitise.”

The vast footage library contains content from Discovery’s 28 entertainment networks and multi-platform media brands and, once registered and approved, buyers can purchase the rights and access the content online.

“We have made it easy to find what

Discovery Access’ Peter McKelvy: aggressive business development

producers need to enhance their stories,” said McKelvy. “Our high-quality footage is so compelling that delegates are stopping in front of our screens to watch. Our objective is to double our

revenues each year for the next three years — we aim to continue to put 25,000 new clips up each year and to be aggressive in our business development internationally.”

ONION Media Group is at MIPTV with series Revolution3D, which provides exclusive profiles of the innovators and pioneers of 3D, whose technologies are the basis of today’s 3DTV technology. They include: multiple Academy Award winner and special effects wizard behind The Abyss and GForce 3D Hoyt Yeatman (pictured); natural history specialist Peter Parks (Bugs! 3D), who is considered the grandfather of 3D in the UK; and Lenny Lipton.

The series has garnered great interest from major 3D networks globally.

“We’re excited about Revolution3D because of the exclusive behind-the-scenes access to innovators who believed in 3D before it became fashionable,” said Joe Thomas, CEO, Onion Media Group. “We follow their journeys as they take cutting-edge 3D beyond its limitations and use it to capture details and worlds like never seen before.”

N is for National Geographic Channel HD A STRATEGIC partnership between Polish pay-TV platform ‘n’ and Fox International Channels (FIC) saw The National Geographic Channel HD join the ‘n’ line-up this week.

As part of the agreement, ‘n’ also secured 20 hours of National Geographic Channel 3D content from FIC. This content is being aired

on 3D channel nShow3D and via video-on-demand.

“Thanks to co-operation with ‘n’, National Geographic Channel HD will reach new viewers,” said Carlos Ortega, regional director Central/Eastern Europe, FIC Poland. “This is the next step in our strategy. We are strengthening our performance by higher

investment in content, marketing and operations to meet expectations of very demanding viewers.”

National Geographic has been expanding rapidly into 3D production.

From this production pipeline, nShow3D will debut The Eye 3D, Blowdown 3D, Meerkats 3D and Polar Bears 3D.

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NEWS

Zinkia takes large slice of Cake in new partnership

Zinkia Entertainment’s Pocoyo

ZINKIA Entertainment has taken a 51% stake in award-winning kids and family entertainment company Cake.

The new alliance, which sees both companies maintaining their own management, teams and identities, is intended to be an amalgamation of knowledge, expertise and creativity.

The two companies are striving to make sure that both sides will benefit from the partnership, which will see Zinkia bring, among other things, its brand management and digital expertise, and Cake its proven ability

to identify and nurture quality programming. “This strategic alliance is an important development in our plans to build, develop and manage a top-tier slate of kids and family entertainment properties for the global market,” Jose Maria Castillejo, Zinkia’s president, said.

Tom van Waveren, CEO and creative director of Cake, added: ‘We have known the people leading Zinkia for many years and have been great fans of all they have been doing with [animated series] Pocoyo and their company.”

SKINS cast member Jack O’Connell (left), executive producer John Griffin (centre) and music supervisor Kyle Lind celebrate Skins’ international success at MIPTV. It is currently in production for MTV, with US sales soon to be announced.

The youth drama series, which follows the adventures of a disparate group of teens, has a cast change every two series as a new gang of students hit college. All3Media has also concluded deals in Poland, Canada, Hungary and France.

DRG sells bride format to TLC

DRG’s Andrea Jackson (left); Luis Silberwasser and Sarah Thornton from Discovery; Renegade Picture’s Jon Rowlands; and Reema Patel from DRG

DRG HAS confirmed that Don’t Tell The Bride has been commissioned by TLC for Poland and Romania.

Each episode sees the bridegroom-to-be take control of all aspects of the wedding — from the venue and the cake, to the bride’s dress and the flowers. It was created by UK indie Renegade Pictures for BBC Three; DRG has the format in production in a further 10 countries.

Luis Silberwasser, executive vice-president and chief content officer at Discovery Networks International, said: “We’re delighted to be working with Renegade Films and DRG, and looking forward to launching Don’t Tell The Bride in Poland and Romania where we are set to produce eight onehour instalments for each country.

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TELEPOOL SELLS FICTION AND DOCS MUNICH-based distributor Telepool announced a flurry of fiction and documentary sales on the first day of MIPTV. Among the fiction titles are Alarm For Cobra 11 (10 x 90/198 x 45 mins), Doctor’s Diary (24 x 45 mins) and The Weissensee Saga (6 x 48 mins). Telepool has sold large doc packages to Al Jazeera for the Middle East, Kanal Kultura for Russia and to Radio Canada for French-speaking Canada.

BANIJAY FORMAT GOES TO DENMARK RESPIRATOR, a Banijay Group company, has sold its new entertainment format Celebrity Stand-Up to TV 2 Networks in Denmark. Celebrity StandUp plays on people’s fear of speaking in public by recruiting reluctant celebrities who are willing to take on the challenge to write and perform a stand-up show within five days. Each week four household names, mentored by a wellknown stand-up comedian coachcbattle it out on stage .

Karoline Spodsberg, managing director of Banijay International said: “With this totally unique and entertaining comedy format, Banijay is responding to the increased demand for international comedy that travels.”

Banijay’s Karoline Spodsberg

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COYOTE TO DANCE VERALIA FORMAT SPANISH producer-distributor Veralia has licensed the format for its new show Lady Burlesque to French entertainment producer Coyote.

The show is about ordinary women competing over a number of episodes to be chosen as the best burlesque performer.

Coyote director of development and acquisitions Laetitia Lamic said: “Burlesque is very popular in France right now. I think it really appeals to women who enjoy being women. It is not adult entertainment, it is about giving women more confidence.”

For Veralia, the deal was done by director of international sales and acquisitions Marco Fernandez de Araoz, who said: “We are based in Spain but this show was made by our company Europroducciones, in Italy, for Sky Italia. Coyote got interested in the show and we made the deal at MIPTV.” Coyote has a track history producing formatted entertainment for broadcasters such as TF1. “I could see it working in a late night slot on TF1,” says Lamic, “or maybe earlier in the evening as a primetime event for one of the DTT channels.”

Veralia’s Marco Fernandez de Araoz and Coyote’s Laetitia Lamic

New Autentic HD channels to be home to ZDF shows

From left: ZDF Enterprises’ Stephan Adrian, Autentic’s Patrick Hoerl, ZDF Enterprise’s Alexander Coridass and Fred Burcksen

AUTENTIC has used MIPTV to announce launch plans for two new international special-interest HD channels. Spark is a factual channel that will show a broad spectrum of science, ecological, technology, na-

ture and wildlife films. Patrick Hoerl, CEO of Autentic, said: “Our goal is to offer top-notch entertainment for all family members.” Spark will have exclusive access to Autentic and ZDF’s libraries and also draw its

programming from the companies’ new production output. In addition, the channel plans to offer programming tailored specifically to local markets.

Also poised for launch is feature-film channel Freestar, which will focus on independent movies, films of artistic value and on major film festivals.

Freestar, which will be available both as a linear and on-demand service, will present theatrical highlights from outside of the US studio system. “With Freestar, viewers can create their own personal film festival, in top quality and around the clock,” channel manager Philipp Riccabona said.

Autentic is a Munich-based production and distribution joint venture between Beta Film and Patrick Hoerl.

SPANISH start-up BeBanjo and Cognacq-Jay Image, the French broadcast and broadband technical service provider have joined forces to offer an innovative service to companies looking to optimise their nonlinear television workflow. “The offer is called MediaOnDemand and it helps content owners get their programming to multiple platforms in an automated and cost-effective way,” Bastian Manintveld, founder of BeBanjo, said. “This partnership is a major breakthrough in our quest to provide the best possible back-office for teams managing VOD services.”

Pictured are Bastian Manintveld (left) and CognacqJay Image’s Regis Martin.

Audio Network joins Trace Sports AUDIO Network is to provide music for the new France-based global HD TV channel, Trace Sports.

The channel will focus on factual entertainment and lifestyle content about sports celebrities such as Rio Ferdinand, Tony Parker and Michael Johnson. “We received several propositions regarding music licensing, but Audio Network’s interest in Trace Sports, and their support for the production of the Trace Sports pilot were clinching factors in our decision to work with them,” Olivier Laouchez, CEO of Trace TV, said.

“We are very proud that Trace Sports has chosen to work with Audio Network,” Juliette Squair, international business director for Audio Network, added. “This deal, together with recent global ones, substantiates the fact that Audio Network has a high-quality product and a business model that fulfils the creative needs of producers worldwide.”

In a further development, Trace has just signed a deal with Multichoice, the first pay-TV operator in sub-Saharan Africa. The channel is set to launch in June with the service avail-

able in Africa in the fourth quarter of this year.

Audio Network’s Juliette Squair

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NEWS

Fan becomes Obsessed as Small World takes the show stateside

Small World’s Tim Crescenti: format deals

THE FAN, a fast-paced game show from Thailand’s Workpoint, is headed for the US, following a greenlight pilot order by “a major US network”, said Tim Crescenti, president of the Los Angeles format distributor Small World IFT. The show, to be re-christened Obsessed, will be produced by Angel City Factory and Smoke And Mirrors’ Darryl Trell and Howard Kitrosser.

“Both Darryl and Howard are sizzling hot after their spectacular Mobbed debut and pilot order in the US,” Crescenti said.

Media Factory’s Miss Country Girl —

the modern-day Cinderella format that doubled Prima’s TV average primetime rating in season two — has also been optioned to France.

Crescenti said he expected to announce options for the Romanian format in three other territories later at MIPTV this week.

Small World also reports that YLE Finland has commissioned a sixth season of Aito’s fun family-farm format, Farmers’ Rally, which has also been optioned by ZigZag for the US. In another Finnish deal, Hide The Smile from Story Of... has been sold to Watercooler Media in Australia.

JAMIE, Samy, Vaughan and Marc were in Cannes to promote new reality show The Hunks (6 x 60 mins), from Back2Back Productions, which launches on Sky Living next month. “It targets women and gay men aged 18 to 34,” said Back2Back managing director David Notman-Watt. “The guys have already been on the front cover of Gay Times, and they’re about to undertake a nationwide tour in nightclubs doing a Q&A with women who want to know how men think.” The hunks spent a month at an English seaside town, sharing adjoining houses and attempting to outdo each other on the beach, in salons, and with the ladies. Cameras followed their every move and, as the show progresses, the revelations mount up. Distribution and format sales are handled by Beyond Distribution.

Joint venture puts romance in the air

Signing the MIPTV joint-venture: Mainstream Networks’ Gottfried Zmeck (left) and Tim Werner, and ZDF Enterprises’ Fred Burcksen, Alexander Coridass and Stephan Adrian

ZDF ENTERPRISES and Mainstream Media have signed a joint-venture agreement focusing on the distribution and marketing of pay-TV channels in international markets outside of German-speaking regions.

The joint international activities will focus on the romance genre. Channel format Romance TV in Germany, with emphasis on German productions, will be offered in the respective markets’ language in HD, enriched with local content and tailor-made for the target market.

Through the new partnership, ZDF and Mainstream Networks are also looking to acquire programming from all potential licensors while at MIPTV.

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MIPTV NEWCOMER

FATIN GHARIS is creative director/founder of UNINSO, the Netherlands.

FATIN Gharis was a mental coach before moving into the television business four years ago. “I am a TV writer, now developing formats. But the way I do things is different. For example, another producer might make a show about being a millionaire for a day, whereas my approach would be more about developing the mental strength necessary to be a millionaire, not just for a day.”

Gharis, who is based in Amsterdam, has three formats on her slate, but she is channeling her energies into one at MIPTV. “It’s called TLOS (The Last One Standing). It starts with two teams playing a game on a lifesized chess board, but ends with just one winner.”

Gharis came to MIPTV last year as an observer but is here this year as an exhibitor for the first time. She decided against booking back-to-back meetings with buyers. “I work according to the laws of attraction, managing everything from moment to moment. I don’t arrange meetings upfront but make sure my stand and presentation are completely ready for when people show interest in the format.”

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MIPTV NEWCOMER

GRIGOR STEWART, CEO, Clickboogie Media, South Africa CLICKBOOGIE was formed in 2000 and is a distributor of content across all genres to hundreds of television broadcasters worldwide. The company represents many South African production companies as well as helping the national broadcasters with their TV sales. We act as executive producer on local and international projects, one of which won a major award, and advise local producers on how to raise their game so their projects have a chance in the highly competitive international market place.

MIPTV has always been important and while we are here to sell, it is just as important to understand our clients’ needs via fact-finding. We know that no man is an island and we are building relationships with agents in some difficult territories. We also have existing relationships with distributors from whom we acquire shows for continental Africa. We are involved in an exciting series called Sharp Shooter. It's a reality show featuring wannabe top photographers. It aired on M-Net and there is nothing like it in the market place — great in the original English version and perfect as a format.

Korea’s SDA Awards builds on international links in Cannes THE SEOUL International Drama Awards (SDA) is back in Cannes to meet with international drama experts and invite new entries to its annual competition, now in its sixth year.

The awards ceremony is to be held on August 31 in Seoul; a week-long drama festival follows. Last year SDA received 172 entries from 43 countries.

“We accomplished such a successful event because we had an opportunity to meet with production companies and distributors for TV dramas who came to MIPTV from all over the world,” said Jeong-Ok Lee, secretary general Korean Broadcasters Association, and a member of the board of

executives for the Seoul Drama Awards.

“The SDA has become an event in which people have been able to get together to build solid networks,” Lee said. “I have a better understanding of cultures in Europe and the Middle East after watching their dramas.”

The SDA awards competition also grants People’s Choice awards to popular actors and actresses. “These are selected by netizens worldwide through online voting,” Lee said.

She added that SDA is hoping once again to expand its network through meeting with international experts in TV drama who are attending MIPTV 2011.

Korean Broadcasters Association and SDA’s Jeong-Ok Lee: solid networks

Yellow House’s Baby Beetles teach English INDONESIA-based Videounggul has signed a DVD distribution deal for MIPTV newcomer Yellow House’s series Baby Beetles — an animation devised to teach English as a foreign language to children up to the age of three years old. Yellow House’s writer and composer Claire Selby created the series based on her work over the last decade as a specialist author on the subject for the Oxford and Cambridge University Press. “There is a strong, academic methodology behind the Baby Beetles, and other series in development,” Selby

said. “Baby Beetles is song-based and introduces only a limited number of words in each song — it offers a fun and completely natural way of learning.”

Yellow House is attending MIPTV with the UK Indies Pavilion and has benefited from the support: “We have been given a fantastic introduction to the marketplace and I have secured meetings with hard-to-reach major networks,” Selby added. “We have everything ready to go in terms of our product merchandising, so it’s very exciting.”

Yellow House English’s Iwona Bodnar, Videounggul’s Lysia Chatrine and Yellow House’s Claire Selby

AFTER experience in distribution at US-based Powersports Powerdocs, Andrea Miller is introducing her new company One Media Group at MIPTV. In addition to the 150 Powersports Powerdocs titles Miller has brought another 50, including Great Musical Treasures, featuring Hollywood musicals, and Ethan Bortnick And His Musical Time Machine, featuring the 10-year-old child prodigy.

“I’m acquiring products like crazy with an eye to the digital market, while being able to maximise what’s left of the old media market,” she said. “I’m also negotiating to buy some 3D productions.”

FORUM PROgRAMME *

WEDNESDAY 6 APRIL

MAJESTIC HOTEL

* Still time to register

9.00 > 9.15 InTRoduCTIon

11.25 > 11.50 EnGAGInG THE PASSIonATE FAn

Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

C hristian Hernandez, Head of International Business Development, Facebook Interviewer Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

9.15 > 10.00 EnTERTAInMEnT EvERYwHERE: CASH In, CASH ouT! luke bradley-Jones, Managing Director of BBC.com and Global iPlayer, bbC worldwide Claire Tavernier, Senior Executive Vice President, FMX and Worldwide Drama, FremantleMedia Kate burns, Head of AOL Europe, Aol Patrick walker, Senior Director, Content Partnerships EMEA, YouTube/Google Sylvain Audigier, Director Networks, Innovation & New Technologies, TF1 Moderator Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

12.00 > 12.30 FRoM PRInT To 2.0: THE RISE oF THE nEw PublISHInG InduSTRY Produced in association with the london book Fair

Tim Evans, Head of Product, visual dnA Charlie warburton, Director, Firsty Group Federico lazzarovich, Head of Commercial Solutions, Mondadori digital Moderator Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

10.05 > 10.30 vIdEo ConTEnT MonETISATIon: lESSonS lEARnEd? Rio Caraeff, President & CEO, vevo Cédric Ponsot, CEO, vivendi Mobile Entertainment

12.35 > 13.00 How To ACHIEvE GlobAl SuCCESS In THE ovER-CRowdEd APP SToRE? Andrew Fisher, CEO, Shazam Entertainment Elias Pietilä, Co-Founder & Chief iPhone Officer, Qvik

Interviewer Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

Interviewer Robert Tercek, President, General Creativity Salon Martha, Majestic Hotel

10.40 > 11.05 EnTERTAInMEnT GAMIFICATIon Kevin Slavin, Co-Founder, Starling dr. Marc Gumpinger, CEO & Co-Founder, Scoreloop

13.00 > 14.15 lunCH – “what makes for a Great Connected Entertainment Experience” Sean besser, VP, Business Development, Rovi Corporation Patrick Kennedy, CEO, Sidebar

Interviewer Robert Tercek, President, General Creativity

Salon Croisette, Majestic Hotel

Salon Martha, Majestic Hotel

5 - 7 April 2011 I Majestic Hotel The new global forum for entertainment, mobile media and technology

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FORUM PROgRAMME

WEDNESDAY 6 APRIL

MAJESTIC HOTEL

14.30 > 14.55 CC vEnTuRES oPEnInG – InvESToR CHAT

14.30 > 15.00 vIRTuAl MonEY GETS REAl In SoCIAl nETwoRKS Timo Soininen, CEO, Sulake nils-Holger Henning, COO, bigPoint

Jean bourcereau, Partner, ventech dharmash Mistry, Partner, balderton Capital

Moderator: Malte barth, Founder & Executive Board, Iconic Future

Moderator: olivier Ezratty, Consultant & Investor Salon Diane, Majestic Hotel

Salon Martha, Majestic Hotel

15.00 > 17.30 CC vEnTuRES – STARTuPS InvESToR PITCH SESSIon (d)

15.05 > 16.10 bREAK ouT GRouP #1 FRoM E, To M, To T-MonETISATIon – CASE STudIES & lET’S TAlK Maryse Thomas, Founder & CEO, Pokeware lance R. Koenders, Director of Marketing, Digital Home Group, Intel Corporation laurant weill, President & Executive Chairman, visiware Moderator: Jesse Cleverly, Founder & CEO, Connective Media Salon Martha, Majestic Hotel

16.15 > 17.30 bREAK ouT GRouP #2

Connected entertainment startups compete in front of media corporate investors, business angels and venture capitalists.

Presenter: Paul brindley, CEO, Music Ally ltd Jury Members: Jean bourcereau, General Partner, ventech Michael Jeon, Head of Investments, Samsung venture Europe dharmash Mistry, Partner, balderton Capital Karen noel, Partner, Morgan lewis Peter M. Read, Angel investor and Advisor Matthäus Krzykowski, Analyst, venturebeat - Partner, Xyologic Salon Diane, Majestic Hotel

doInG MulTI-PlATFoRM buSInESS: MEET THE lEGAl EXPERTS Jonathan blair, Partner, Michael Simkins llP Peter bradley, Director of Business Development, Gracenote Thomas A. Guida, Entertainment/Digital Media Partner, loeb & loeb llP John Mclellan, Partner, Haldanes louise nemschoff, Attorney, nemschoff law offices Massimo Travostino, Lawyer, Studio legale Pecoraro-Travostino Moderator & Chairman: Jeff liebenson, President of the IAEl & Principal, liebenson law

17.35 > 19.30 KEYnoTE: MIPTv/ConnECTEd CREATIvITY MASTERMInd KEYnoTE SERIES Keynote Tiffany Shlain

Salon Martha, Majestic Hotel

The keynote will be followed by a screening of her last documentary “Connected: An autoblogography about Love, Death & Technology” (Official Selection 2011, Sundance Film Festival) Esterel, Level 5, Palais des Festivals

19.30 ConnECTEd PARTY: CC vEnTuRES And ConTEnT 360 AwARdS

by Invitation only Carlton Hotel

5 - 7 April 2011 I Majestic Hotel The new global forum for entertainment, mobile media and technology

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In partnership

SPECIAL SECTION

Connected Creativity at MIPTV is the new global forum uniting the world’s dominant market forces and leading innovators in entertainment, mobile media and technology.

www.connected-creativity.com

features • Catching up with the future • Innovation in a crowded market • Who is the most connected of them all?

• Both eyes on everything • Content gets social

CONNECTED CREATIVITY KEYNOTE Tiffany Shlain gives the Connected Creativity keynote today in the Esterel at 17.35. Honored by Newsweek as one of the “Women Shaping the 21st Century”, Shlain is an award-winning filmmaker, founder of The Webby Awards and co-founder of the International Academy of Digital Arts & Sciences. Her awardwinning new feature documentary Connected: An Autoblogography About Love, Death & Technology premiered at Sundance in 2011.

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CONNECTED CREATIVITY: THE EXPERIENCE HUB

zaOza, Vivendi’s multi-screen socialmedia web portal

THE EXPERIENCE HUB

Catching up with the future The Experience Hub — part of Connected Creativity at MIPTV — is your chance to touch the future and try it on for size. Juliana Koranteng looks at the content, technologies, and interactions that are transforming entertainment

O

N ONE of his seminal albums, 1960s rock legend Jimi Hendrix asked, “Are you experienced?” In the same way that Hendrix was summoning listeners to embrace the ‘psychedelic’ experiences of hippy life, this year’s MIPTV invites forwardthinking media professionals to visit its new showcase and demonstration space called the Experience Hub. Located next to the Palais des Festivals on the Croisette and open through-

out MIPTV, the Hub is part of Connected Creativity at MIPTV. It explores the future of social media, entertainment, and connected devices — for example 4G networks and tablets — and innovative technology including cloud computing, and their impact on content creativity.

Supported by international media and technology giants, including European telco Orange and US technology giant Intel, The Expe-

rience Hub is compelling all MIPTV attendees to see the future of their sector in action today.

“The Hub is an important step in the evolution of MIPTV,” says Laurine Garaude, director of the television division of Reed MIDEM. “It’s a space where delegates can experience first-hand the changing face of entertainment and the impact of technology on today’s consumers.”

Xavier Couture, executive vice-president of new growth businesses at Orange, said the growing popularity of connected devices such as

❜

“Consumers are willing to pay for products they can trust” Anne-Carole Nourisson

Turn on a new experience.

(You won’t want to turn it off.)

The Intel® Atom™ processor is bringing intelligence and interactivity to TV. With broadcast, Internet, full searchability and a growing world of applications, it’s about to change everything. Turn on the experience at Intel.com/smartTV

For a hands-on experience, visit us at the Experience Hub!

2011 Intel Corporation. Intel, the Intel logo, Intel Sponsors of Tomorrow™ and Intel Sponsors of Tomorrow logos are trademarks of Intel Corporation in the U.S. and/or other countries. ©Other names and brands may be claimed as the property of others.

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CONNECTED CREATIVITY: THE EXPERIENCE HUB

smartphones, PCs, TVs and now tablets, raises new interest for innovative multi-screen content services.” He added: “As a leading telco operator, Orange has the technical expertise and the network capacities to help broadcasters and rights-owners meet that challenge and reach their audience anywhere, anytime, on any device.”

Orange will be showing off its smartphone and tablet apps, interactive-TV apps, developments in mobile video games and 3D TV services. Hub visitors can catch a glimpse of Orange’s transmedia project Detective Avenue, a hybrid of a TV detective show and a mystery online game jointly created by multi-screen video-entertainment specialists Murmures Productions and citymoviz.tv.

Also being demonstrated is Orange’s one-click access to interactive TVrelated content. This will be via a new iPhone/iPod Touch app that can identify the programme being

❜

“The future is catching up with us very quickly” Joe Bilman

watched, allow it to be shared via social-media network Facebook and function as a remote-control device for changing channels.

Like the other companies based at the Hub, Orange hopes its inventive concepts will inspire visitors to come and discuss how to monetise their connected entertainment and communications services.

What Orange — which began life as a telecommunications service — is hoping to achieve in the connectedmedia business is understandable when you see the revenue-earning possibilities.

PricewaterhouseCoopers predicts that the media and entertainment business will yield a staggering $1.4 trillion in revenues this year alone. In Germany, industry trade body Bitkom forecasts that every second TV set bought in the country this year will have an internet connection.

Computer software giant Microsoft, meanwhile, has declared its intention to become a ‘virtual’ cable operator using the Xbox console.

Code-named Orapa, it is designed to deliver content via a platform that combines the Xbox and Microsoft’s other entertainment platforms — namely, its hands-free motion-sen-

Danish developer Certus’ ‘soft-core’ online and mobile games are mostly based on traditional board games such as backgammon

Bigpoint’s most recent MMOG release, the online game based on NBCU hit Battlestar Galactica

sitive controller Kinect, its online multiplayer service Xbox Live and its Mediaroom IPTV (internet protocol TV) infrastructure. It is expected to be launching later this year.

In the US, Time Warner Cable could become the first cable operator to allow a third party to offer its services via another platform following an agreement with Sony’s Bravia connected-TV sets, which come pre-installed with Google TV-enabled internet connectivity.

Blinkx, the online video-search engine, has developed an applicationprogramming interface that allows connected-TV platforms to access its 35 million-plus hours of indexed video and audio content. Currently, the index is accessible only via home computers.

And Amazon, the pioneering online book store, continues to transform its digital services. It recently launched an Android-based app store enabling mobile users to access all types of content, including an exclusive new edition of the Angry Birds mobile game.

The Experience Hub is a microcosm of such developments in the burgeoning international marketplace.

Vivendi Mobile Entertainment, another Hub resident, is demonstrating how zaOza, its multi-screen social-

media web portal, has capitalised on its expertise in traditional media content — from music, TV and movies to videos and games — to develop the definitive multi-device entertainment platform.

Launched in France in May 2008 and in Germany in June 2010, zaOza is targeted at the fickle 18- to 35-year-old demographic — a group that is spoilt for entertainment choice in the 21st century.

Combined, the portal’s French and Germany editions have already gained 1.2 million registered users.

The fact that the original was launched two years before Apple introduced the world to the iPad — and while connected-TV is still being developed — illustrates how forward-thinking Vivendi has been about its future, according to Parisbased Anne-Carole Nourisson, zaOza’s vice-president of licensing at Vivendi Mobile Entertainment.

“The media industry is rarely ahead of what the consumer is comfortable with,” Nourisson says. “But Vivendi is pretty good at all aspects of the media chain. It has always believed that the consumer should be given access to content as easily as possible and the freedom to do so anywhere. Even though we’re hearing about piracy every day, consumers are willing to pay for products they can trust.”

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in 3D, TV changes with Orange *

**

3D

***

a large selection of programs Experiment 3D with Orange at the Experience Hub - Connected Creativity

* en 3D, la TV change avec Orange ** sport, cinéma, documentaires, spectacles, musique *** la 3D. Tout un univers de programmes.

Expérimentez la 3D avec Orange à l’espace Experience Hub - Connected Creativity

today changes with

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CONNECTED CREATIVITY: THE EXPERIENCE HUB

❜

“Not only is it a technology evolution, it’s almost a human one” Reid Genauer

Jesta Digital’s Reid Genauer

Jesta Digital’s Joe Bilman

Novalis’ Jurica Simunkovic

The speed of multi-screen entertainment’s development is also demonstrated by the German edition of Bitbop, an on-demand video subscription-based service being launched by US-based Jesta Digital in Cannes. Jesta Digital, which is seeking international content partners for the service, is the name given to the company formerly known as Fox Mobile Group before it was sold by media giant News Corp to Jesta Group.

Bitbop was originally launched in the US last August for distribution on smartphone platforms such as RIM’s Blackberry, Android handsets and Microsoft’s Windows Phone 7.

Less than a year later, it will kick off its international ambitions with the launch in Germany on smartphones, as well as on tablets and online, for €9.99 a month.

“The introduction of the tablet was disruptive, so it prompted us to start the multi-screen strategy in Germany from scratch,” says Joe Bilman, Jesta Digital’s chief product officer. “Mobile is becoming a more important part of people’s connectivity.

Whether you’re communicating or entertaining, you can shift from one screen to the next seamlessly. The future is catching up with us very quickly.”

Jesta Digital’s vice-president of marketing, Reid Genauer, goes further by saying that we should not underestimate the speed of progress: “Not only is it a technology evolution, it’s almost a human one. It’s not that long ago when you would read a novel in an armchair, walk to the store to buy a newspaper, return to make a call on the telephone in the kitchen, watch TV for 45 minutes and then go and play games at the penny arcade. That experience is going to get richer and more mobile via a wide range of digital devices.”

Genauer’s marketing strategy for Bitbop Germany will target early adopters initially before homing in on the mass market. “The ability for them to use mobile entertainment to transform the times they dread into moments of enjoyment and entertainment is of real value,” he adds.

The digital revolution that has forced traditional broadcasters to dismantle their lean-back linear-transmission approach to entertainment has also pushed games publishers to position themselves as multimedia operators.

NBC Universal’s (NBCU) stake in Germany’s Bigpoint Games, an international games developer and publisher, has allowed the latter to exploit the former’s major TV and movie brands to boost its reach.

Bigpoint specialises in MMOG (massively multiplayer online games) that are distributed via web browsers, as opposed to discs or downloads. “Because of improved internet bandwidths and superior technology, browser players can have the same experience as console players. This wasn’t the case a few years ago,” says Nils-Holger Henning, Bigpoint’s chief communications officer and interim chief marketing officer.

At the Hub, Bigpoint will feature video trailers of blockbuster movies that have been converted into blockbuster games and demonstrate how media partners can install the compelling content on to their websites to enhance traffic. Already, global consumer-electronic goods maker Panasonic has agreed to pre-install Bigpoint games on its connectedTV sets. “Games are much more sticky in attracting repeat visitors to increase page impressions for advertisers,” Henning says.

Bigpoint’s most recent MMOG release is the online game based on NBCU hit Battlestar Galactica. The

company also has the rights to some of Hollywood’s most famous movie monsters, including Frankenstein, Dracula, the Phantom of the Opera, the Werewolf of London and the Invisible Man. Future releases include a game featuring all these horror legends, while another will be tied to The Mummy Returns, the second instalment of Universal Pictures’ franchise of the hit horror movie.

Bigpoint’s portfolio of online games currently has more than 180 million registered users. At their peak, some of its MMOGs have between 700,000 and 1.2 million people playing at any given time.

The business model is to supply the games free, with players acquiring virtual goods with real money to enhance the experience. Although still in the beta test mode on NBCU’s Syfy.com websites, Henning claims that 10% of the players of Battlestar Galactica Online are already paying customers. Additionally, they can play premium editions for a monthly subscription fee. Bigpoint also collects a share of the advertising revenues sold around the games on third parties’ websites.

Henning predicts that 3D technology will be a key driver in connected media’s growth, especially now that glasses-free 3D mobile games can be played on new devices, such as Nintendo’s new 3DS handset. “For just a few hundred euros, it’s the ideal way for consumers to get an appetite for 3D by interacting with it before they commit to 3D TV sets costing thousands of euros,” he adds.

Morten Kolle Christensen, managing director of Danish games developer Certus, is searching for media partners at the Hub. The company’s ‘soft-core’ online and mobile games are mostly based on

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CONNECTED CREATIVITY: THE EXPERIENCE HUB

Certus’ Morten Kolle Christensen

Any Screen Productions’ Ferhan Cook

Racana’s Sasha Nykin

❜

“People want to know what content is hot and what promotions are working, not what codec is being used and which server has the file” Sasha Nykin

traditional board games such as backgammon or chess, played on Certus’ proprietary Symfoni platform. This allows four to eight players in any part of the world to compete in real time, chat to each other and share ideas. In May, the platform’s capabilities will be pushing boundaries by enabling up to 265 people to take part in online mini-tournaments.

The company’s ‘freemium’ business model means the games are initially free but that players can pay for more advanced levels with real or virtual money.

Christensen says third-party companies can install Certus’ games and platform on their websites or connected-media platforms for their audiences to play. “That is an ideal platform for media companies that want to monetise their users,” he adds. “And we want to be in this connected-creativity space with them.”

Certus’ games are currently available for mobile and online distribution only, but the future goal is to make them playable on any internet-enabled device. “That’s just around the corner,” Christensen says.

Meanwhile, RedShift, the French digital marketing agency, is demonstrating that there isn’t much you can’t do with connected mobile technology, including paying for goods, listening to music, watching videos, buying tickets, booking flights and making reservations. As content-providers gain the confidence to create entertainment for consumption in the connected future, they need reliable technology to hold everything together.

At the Hub, delegates will find representatives of US-based Intel, the UK’s Autonomy, Israel’s Racana and Croatia’s Novalis explaining how their technology fits in.

“The majority of producers and content-providers would like to migrate

COMPANIES PROVIDING CONNECTED TECHNOLOGY AND CONTENT DEMONSTRATIONS AT THE EXPERIENCE HUB • Intel • Orange • Bigpoint • Bitbop by Jesta Digital • Certus • Emotiv

• Ex Machina • Metaio • Novalis • PrimeSense • Reactable Systems • Redshift

to the mobile and connected-media worlds from standard broadcast,” observes Jurica Simunkovic, Novalis’ CEO. “We offer solutions and services that will increase customer retention.” This includes Novalis’ live 360-degree robo-camera, which melds the transmission of reality-TV programming and online broadcast to drive audience engagement.

Racana’s cloud-based service, meanwhile, promises to remove the fears that content-providers might have when consumers are accessing a digital platform’s connected elements.

“Nobody wants to have to check the operating system and the number of pixels on their screens before downloading a video, an app or an e-book,” says Sasha Nykin, Racana’s vice-president of sales and marketing. “They want to know what content is hot this week and what promotions are working, not what codec is being used and which server has the file. We bring content-providers’ business information to their fingertips, so that they know how their monetisation strategy is working.”

Innovative demonstrations come from a number of companies including PrimeSense, which made Kinect for X-Box; and Emotiv, which is demonstrating the power of the mind.

“Emotiv has made a headband that allows you to control objects with your brainwaves,” says Ferhan Cook, president and co-founder of Any Screen Productions, and key creative

• Telecom Italia Cubovision • The Boxee Box by DLink • Twonky by Packet Video • WiiSpray • zaOza

consultant on the Hub, alongside exBBC mobile editor Jason DaPonte.

“PrimeSense has been working on highly sophisticated gesture-based interfaces for the living room that allow viewers to control their environment with hand movements. And Metaio has created an augmented TV experience where, by pointing your phone at the TV, all the sponsor and marketing messages appear on the phone’s screen, thereby freeing up the TV to deliver the entertainment.”

Back at the Hub, delegates are very much part of the show. “The Hub includes its own presentation theatre, which will host 20-plus seminars on Monday and Tuesday mornings, all day Wednesday and on Thursday morning,” Cook says. “It’s a very convivial environment where we have deliberately avoided the classic seminar scenario, with people on a stage talking to an audience. We will be talking with them rather than to them.”

There is also a Connected Cafe with its own Wi-Fi. “This year our focus has been on the living room but, in the future, I hope that we will be able to include exhibitions covering the connected street, connected clothing and fashion, and connected cars. Car manufacturers are already including tablet PCs in their vehicles because it’s clear that people’s cars are a fantastic place to deliver content to, whether it’s real time information, highly detailed travel information or entertainment for the kids in the back.”

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3$7+ $7) $' [ LQGG

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CONNECTED CREATIVITY: APPS

The statistics around mobile apps are routinely spectacular. Apple’s App Store has generated more than 10 billion downloads since its launch in July 2008, paying out more than $2bn in revenues to developers. Analyst firm Gartner predicts that another 17.7 billion apps will be downloaded this year, making $15.1bn in revenues. It’s no surprise, then, that the creative industries have been keen to take advantage. Stuart Dredge looks at 10 very different success stories

10 APP-ETISERS

Innovation in a crowded market INCEPTION: APP EDITION

WARNER Bros. launched an official app for its movie Inception this year, that went beyond promotion to actual distribution.

The app is free, and allows people to stream the first five minutes of the movie. However, if they pay $18.99 via in-app purchase, they can stream the whole film, or download it to their iPhone or iPad. The app also includes DVD-style extras including production stills, movie posters, on-location videos and three songs from the film’s soundtrack.

HONDA JAZZ THIS UNPREDICTABLE LIFE

HONDA has coined the phrase “screen hopping” to describe the technology used for its This Unpredictable Life app, which partners it’s extraordinary HD commercial of the same name. As different characters appear in the ad, iPhone users with the app can wave it at the screen to ‘catch’ the characters, and then interact with them on the device. It relies on audio recognition technology for the app to understand what point the ad is at — and thus what character is being caught.

ELECTROBEATS

BY DAVID GUETTA

FRENCH DJ David Guetta is famously savvy when it comes to social media, with a team devoted to building his multi-millionstrong Facebook presence. He’s also made a splash in the app world with the creative ElectroBeats app.

It’s a music remixing application for iPhone and iPad, which includes samples from Guetta’s own songs, and those he’s produced for artists including Rihanna. The app is a powerful music-making tool in its own right, but also an excellent promotion for Guetta himself.

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CONNECTED CREATIVITY: APPS

CHANNEL TEN AUSTRALIAN broadcaster Network Ten launched its official Channel Ten app early this year, and many of its features are as you’d expect: a TV guide including the ability to set reminders for specific shows, and information about those shows and their stars. Some of Channel Ten’s own shows allow full episodes to be streamed, and there is extra behind-the-scenes video too. However, the most innovative aspect is the way the app ties into Twitter and Facebook, to help build the social followings of key shows.

SHORT STACK APP UNIVERSAL Music Australia was one of the first record labels to apply the social location elements in apps like Foursquare, to music artists. Australian band Short Stack’s app lets fans “check in” at gigs and public appearances, earning points for what’s effectively an in-app loyalty scheme. Points are also awarded for activities including interacting with other fans, and every month the top pointscorer wins a prize from the band.

GREY’S ANATOMY SYNC THIS IS another app that uses audio recognition technology, like the Honda Jazz app. In this case, the Sync app keeps track of what point the user is at in an episode of ABC’s Grey’s Anatomy, serving up specific content around each section of the show — including polls, quizzes and bonus video. Social features are also part of the app, with fans encouraged to chat to one another while watching — a way for ABC to co-opt some of the social conversation around its medical drama that would otherwise be happening on Twitter and Facebook.

2424ACTU

LAUNCHED by telco Orange in France, 2424actu claims to offer “l’info sous tous les angles” (information from all angles), pulling in video, audio and textual news from more than 40 partners, including AFP, CBC, RTL and France 2. Based on the website of the same name, the 2424actu iPhone app presents the latest news by topic, with a tactile touch interface used to browse the various sources, and trigger video clips for viewing. It’s an impressive example of how TV content can be aggregated with radio and print journalism.

BEP360

BLACK Eyed Peas front man Will.I.Am launched his own app development studio this year, so enthused was he by the potential offered by smartphones. BEP360 was a powerful statement of intent: an augmented-reality iPhone app that puts fans in the centre of the Black Eyed Peas’ video for The Time (Dirty Bit). Users pan around with their iPhone to spin around in the video, while a photo uploading feature lets them contribute their own images to the community.

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CNN APP FOR ANDROID 3.0

DON’T make the mistake of thinking tablet apps are just about Apple’s iPad. Dozens of slateshaped gadgets will be released this year running Google’s Android software, and CNN was the first broadcaster to launch an app for them. It has a visual-heavy design to make the most of large touch screens, with an additional widget that sits on the tablet’s home screen to present breaking headlines. The app has one advantage over the iPad version too: it includes CNN’s iReport user-generated service, for people to submit stories and see those of other citizen journalists.

MY DAILY CLIP

MY DAILY Clip is the work of Sony Pictures Home Entertainment: an iPhone app designed to stimulate digital sales of the studio’s back catalogue. People downloading the free app are served up a new clip every day from the archives, with trivia questions and the ability to share the videos with friends on Facebook. However, the key to the app is the iTunes Store links for every clip, enabling people to buy the films there and then to watch on their iPhones or iPads.

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CONNECTED CREATIVITY: CC VENTURES

CC VENTURES COMPETITION

Who is the most connected of them all?

For the CC Ventures competition on April 6, 11 entertainment start-ups have been chosen to pitch their ideas to a Dragon’s Den-style panel of top investors. Gary Smith talks to finalists CamUp, Cognik, Fair Play Interactive, Futurecode, Hit me baby, Hitlantis, Invideous, Jakaa, Lorenzi TV, Mediabong, and Stupeflix as they prepare to persuade investors that theirs is the killer idea

CAMUP (US) JOSEPH D'Anna, CEO: “CamUp is changing the digital entertainment landscape and revolutionising how people interact with each other, and how they enjoy and share media content. Users are transformed from passive spectators to active participants. On CamUp, people become media.

“CamUp is a new and highly socialised take on conferencing facilities.

The service offers unrivalled interaction within groups of people. Users can create virtual rooms with their friends in which to upload and embed any multimedia content, including audio, pictures and videos — and the whole thing happens in

it all has to be discovered. To get the best out of the situation, media and telecoms companies need to provide a seamless experience to their users to allow them to access content.

Navigating huge catalogues of videos on the tiny screen of a smartphone or with the five keys of a TV remote control is not an option.

“We already have the technology foundation in terms of a profiling and a recommendation engine based not only on behavioural data but also on psychological traits. We want to integrate this technology into consumer devices in order to re-create the experience of a linear channel, but fully personalised and ‘on the fly’.”

COGNIK (FRANCE) VINCENT Tauzia, president and co-founder: “At CogniK, our aim is to build the next-generation of content-discovery solutions. More and more screens are becoming connected — smartphones, tablets, TVs, PMPs — and piles of professional content is becoming available online, ready for monetisation, but

real time. They can consume content together, play multi-player games, and simultaneously interact via chat and webcams. Rooms can be customised and preloaded by companies, and we believe that these spaces offer an ideal platform for social interactive transmedia content.“CamUp is the future of connected entertainment.”

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FAIR PLAY INTERACTIVE (FRANCE) LOUIS van Proosdij, president and CEO: “Fair Play Interactive has developed the Younicast IPTV/cable TV/OTT platform, which allows for the distribution of 100% personalised and interactive linear TV channels.

“The Fair Play system is right at the centre of the ongoing transition

from passive audience to customer relationship management. The Younicast platform is paving the way for user-centric TV channels that have been freed from all the normal constraints of a schedule, that are 100% personalised and interactive, and that can adapt

places familiar from the TV show, such as Bonecity’s school and spaceport. By moving the camera, the user can make the dogs jump, roll over or move on to the next stage of the story.

“Thanks to AR, the print and digital industries are becoming one for the first time in history. I believe this makes the format extremely attrac-

tive to big media companies with both TV and print operations. In a more general sense, Futurecode is all about reactivity and producing something significantly new through the ability to see one step ahead and question customary limitations. Our ambition is to be smarter than the rest by thinking out of the box.”

automatically to the TV viewer’s mood, tastes and availability, rather than the other way round.

“Younicast is a disruptive innovation, but not one that will disrupt consumers’ TV habits. It will preserve the natural semi-passive couch-potato consumption of the TV medium.”

FUTURECODE (FINLAND) JIM SOLATIE, owner: “The story of The Dibidogs — already familiar to many television viewers — has been retold in unique book form containing interactive 3D animation known as Augmented Reality [AR].

Pointing a webcam at markers on the pages produces 3D Dibidogs that seem to pop out of the book.

The characters welcome readers to

HITLANTIS (FINLAND) TIMO Poijarvi, vice-president: “Hitlantis offers an exiting new way to discover the best music from independent artists across all musical genres. Hitlantis is your window to the ongoing global battle-of-thebands, where artists compete and music lovers decide who is the best.

“Hitlantis’ unique visual platform provides the best content discovery

among current internet offers. It utilises visual browsing and displays all the bands on a city-like actionmap, showing immediately what’s going on in the community without additional page loads. Hitlantis’ web and mobile platform generates a new user-interface paradigm by merging the visual exploration of content with consumer-recommendation

simplicity. The app demystifies the songwriting process for aspiring songwriters, but it also works as a genuine tool for professional songwriters — something that was always very important to us. By employing participation from superstar artists, it engages audiences and drives music consumption.

HME aims to use its proprietary, extremely sharable, digital tool to reach critical mass via social networks. It will develop into a full-media property comprising smartphone and tablet apps, a website, a social game, a TV format and a live event. It is globally scaleable — and we are pretty certain that it is the only format of its kind.”

HIT ME BABY (UK) JASON Lamont, founder: “Hit me baby [HMB] is everything we believe connected entertainment is about because it’s collaborative, immersive and social. It’s a music creation and collaboration platform that allows users to write hit songs with successful artists and share them with the world.

“What is unique about HMB is its

mechanics, showing content popularity instantly in a meaningful way.

“Hitlantis’ user interface leads the paradigm shift to more visual, explorable interfaces. Additionally, Hitlantis’ concept offers several useful functions to help unsigned artists to advance their career through great partners like Universal Music and Live Nation.”

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INVIDEOUS (UK) JACK Thorogood, co-founder: “Invideous specialises in interactive video focused on monetisation and increasing social engagement with video. The business has a strong commercial focus with experiences and products spanning both ad-funded and pay-per-v iew content monetisation.

“Invideous launched an in-video pay-

wall product in 2010, which works on a cross-platform basis and allows publishers to easily charge for their video content. It also has a classdefining hotspot-based ad format and a pre-roll advertising middleware platform.

“SocialView, our suite of social tools, actively drives traffic to a publisher’s content and then increases engagement rates once the

privately. Jakaa also enhances the TV experience through games and animation related to live events, which can run on any show or network.

“Jakaa creates a live feedback source and offers a way for shows or networks to engage with their viewers and improve audience loyalty to a

programme. Jakaa is like a giant virtual sofa that you can sit on to comment on what's happening on TV, with whomever you like. Its aim is to create a destination on the second screen — laptop, smartphone or tablet PC — for the majority of web/TV users in Europe.”

user is there. Our Social Playhead is a fantastic tool for enabling users to get a sense of shared experience while watching an online video. This is having a tangible effect in terms of increasing dwell times on video. Social Playhead comes with an in-video instant messenger, so viewers who are watching a video together can chat in real time about it.”

JAKAA (FRANCE) SEBASTIEN Catier, co-founder: “Jakaa is a social entertainment medium dedicated to television and based on live comments about TV shows and programmes. When connected on Jakaa, you can find out what your friends are watching and can choose to comment publicly or

LORENZI TV (FRANCE) PHILIPPE Laurent, CEO: “Lorenzi TV is a revolutionary service that has been on the internet since October 9, 2010. We are the leader in live broadcasting and video on demand [VOD] sports in France. We produce and broadcast every sport that has been abandoned by TV, offering one of the best image qualities available online, along

with a pay-per-view system and the possibility to tweet content and share it with friends on Facebook.

“We buy the rights for every sport we broadcast and we are the official media partner of the professional volleyball, basketball, water polo, synchronised swimming and boxing championships. Many more sports will be available as part of

our service in the near future.

“We currently have a niche in the market and our business model is structured as a complementary service to private networks. Lorenzi TV is the only sports broadcasting service available on a pay-per-view basis online that allows the user to choose from multiple games/sports being broadcast simultaneously.”

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MEDIABONG (FRANCE) LAURENT Bury, CEO: “MediaBong specialises in connecting TV channels and producers with publishers and brands through a video-content platform. The MediaBong online platform offers added value in various ways, including the semantic indexing of video content, which allows clients to purchase or sponsor appropriate

content. Our editorial tracking tools then allow real-time crawling of partners’ websites, in order to analyse editorial and picture content. This enables us to push related video content that matches and complements the editorial environment.

“But what’s really new is that users are provided with content that cor-

responds directly to their needs, publishers get content that correlates with their editorial, and producers and content-owners are able to manage their content and the way in which it is sold. Finally, brands and agencies can sponsor content that corresponds to their brand values, optimised though better targeting.”

STUPEFLIX (FRANCE) NICOLAS Steegmann, CEO: “Stupeflix is developing a platform that enables anyone to make videos. The platform comes in two flavours: a web application for consumers and an application programming interface [API] for developers.

“We are very happy that we have come up with a model for designing video scenes that is simple enough for beginners to use instinctively, but

which also allows for the creation of sophisticated video clips that can be rendered in real-time.

“Stupeflix’s current range of products includes the Stupeflix Studio, a light, fast and flexible online videoediting application; Stupeflix TV, which allows the user to watch and create real-time web-TV channels showing the latest Twitter updates and Flickr images; and Stupefix Fac-

tory and Stupefix API for professionals.

“The video-making platform enables consumers to express themselves through video. And it allows publishers to automatically turn their content into beautiful video animations, effortlessly creating TV-like channels that are fed in real time with their web content as it changes.”

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CONNECTED CREATIVITY: THE SECOND SCREEN

TV IN YOUR OWN HANDS

Both eyes on everything Your tablet, PC or netbook may already deliver e-mails, music and reading matter. But how about interactive TV? Stuart Dredge investigates

Philo has partnered with BBC America's Dr Who

W

E ARE ALL multi-taskers now. According to a study published this year by Yahoo and Nielsen, 86% of mobile internet users are fiddling with their phones while watching TV, and that figure rises to 92% for 13- to 24-year-olds.

Mobile phones — along with tablets and netbooks — have become another screen for TV viewers, whether they are emailing, texting, social networking or browsing for information on the show or advert

that they have just watched. “Devices like the iPad 2 are becoming second screens,” says David Gibbs, general manager of mobile at the UK’s Sky. “It allows us to look at companion experiences: how do these become what interactive TV was?”

While the sofa-bound nature of TV viewing makes it the first form of content to be subject to this secondscreen trend, it is also spreading to films, games and even forms of culture which do not have a first

“screen”, such as music and books.

Much of this second-screen activity takes place on Twitter and Facebook, as people chat about the media they are consuming, while they are consuming it. However, there are a number of start-ups looking to capitalise on consumers’ social multi-tasking habits in a more specific way.

GetGlue is one of the more highprofile start-ups in this area, because it covers all the different content

types. Its focus is on entertainment “check-ins”, encouraging people to tell the wider world what TV show or film they’re watching, what album they’re listening to or what book they’re reading, earning virtual stickers for their fandom.

In January, GetGlue had 900,000 users who collectively posted more than 12 million ratings and checkins. Every day that month, those users also generated 25,000 tweets and 25,000 Facebook shares, via

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Second-screen apps are attracting broadcasters and other content providers keen to experiment with new forms of audience engagement

GetGlue’s feature that pushes checkins out to those two social services.

No wonder the company is on the radar of the creative industries. In 2011 alone, it has announced partnerships with broadcasters such as National Geographic, NBC, Syfy, HBO, Discovery Channel, CBS, TNT and BBC America, to make branded stickers based on their shows.

Bands such as Gorillaz and Duran Duran have also teamed up with GetGlue, which also worked with the Academy of Motion Picture Arts And Sciences to create stickers for the Oscars this year as the awards show aired on ABC. GetGlue recorded more than 31,000 checkins during the event.

GetGlue covers a range of content, but it has rivals which prefer to focus purely on TV, in the form of US

❜

The broadcasters are partnering with us to learn what works and what doesn’t work. Right now, everything is clearly experimental Somrat Niyogi

start-ups Miso and Philo, with a similar mix of check-ins and collectible achievements. Miso has deals with QVC, Nickelodeon, Fuse, weTV, Logo and the Oprah Winfrey Network (OWN). It had 100,000 registered users at the start of this year, but CEO Somrat Niyogi says its partnerships are the building blocks for growth.

“Right now, broadcasters are getting involved in a very experimental way,” he explains. “There is an increasing trend that people are engaging with the second screen while watching TV, and the broadcasters are partnering with us to learn what works and what doesn’t work. Right now, everything is clearly experimental.”

Philo has a slightly different focus, on “viewing parties”, getting its users to log in through its app to chat about the TV shows they are watching. It held an Oscars viewing party and has partnered with basketballer Shaquille O’Neal, who uses the service to chat to fans. For TV, it has deals with AMC’s The Walking Dead and BBC America’s Doctor Who. In the former case, Philo’s viewing party involved cast members chatting to fans as an episode aired.

Another player in this nascent space is IntoNow, which uses audio-recognition technology so that users of its app can tap a button to have the TV show they are watching identified.

Relevant content is then served up by the app, such as information about the episode and actors, along with social features to share details on Facebook and Twitter.

It already has a deal with MTV for the Jersey Shore reality show, with viewers who tagged airings of the show entered into a competition to win trips to the next series’ premiere party.

Audio recognition in second-screen apps is not a new idea, though. In the music world. Shazam has been doing this for more than 10 years, mainly as a way for people to use their mobile phones to identify music that is playing on the radio or in a bar or club.

As time has gone on, though, Shazam has built in more features, allowing people to watch YouTube videos of the artist they have just tagged, buy their songs from whatever digital music store is available on their phone, and even plotting tags on maps to associate songs with locations.

Shazam is also branching out be-

yond music to TV. Early last year in the US, it ran a campaign for people to tag an advert for Dockers jeans during the Super Bowl telecast, then in September running a trial with the Syfy channel to get viewers tagging episodes of its Warehouse 13 and Eureka shows. That has since extended to the whole series of Syfy’s Being Human, with people getting exclusive videos, music playlists and previews of future episodes when they tag the show using their phones.

“It’s a complement to how people watch TV,” says executive vice-president of advertising sales Evan Krauss. “Having that second-screen experience is already happening, and it opens a dialogue between broadcasters and viewers, and ties it into social networks.”

Foursquare was one of the pioneers of social location, getting people to check in to real-world venues to let their friends know where they are, and vice-versa. The company has signed partnerships with a range of retailers, allowing its users to get — for example — cheap coffees at Starbucks when checking in there.

It’s also becoming a second-screen partner for TV companies, though.

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Interactive content is distributed to the non-TV devices, that is complementary to and synchronised with the main broadcast content Jerry Kramskoy

Bravo series The Real Housewives, featured in a partnership with Foursquare

Shazam ran a trial with the Syfy channel to get viewers tagging episodes of its Warehouse 13 show. Warehouse 13 stars Artie Nielsen (Saul Rubinek, left), Myka Bering (Joanne Kelly) and Pete Lattimer (Eddie McClintock)

In the UK, it has worked with History Channel to create tips for 20 sites, including landmarks such as the Tower of London and HMS Belfast. People checking in there will get the tips and a branded badge for their Foursquare profiles, and — hopes History Channel — will go

home more likely to see what shows are airing on that channel.

Foursquare has also worked with Bravo and MTV, offering more branded badges when people check in to venues associated with their shows. For Bravo, that included programmes such as Millionaire

Matchmaker, Top Chef, The Real Housewives and Shear Genius, with tips from stars of those shows offered to Foursquare users.

Meanwhile, in February this year, Foursquare launched its first “promoted venue” — the Super Bowl — allowing people to check in not only if they were at the game, but also if they were watching it on TV. More than 130,000 people checked in — a minority of the televisual audience, but still impressive.

It may be early days for the various second-screen startups — Shazam excepted — but the next stage is understanding how broadcasters in particular can take more of a role in capitalising on the trend for people to watch TV while using other devices.

Last year’s MIPTV saw the public debut of Starling, which styles itself as a “co-viewing” platform for broadcasters, collecting online com-

ments around specific shows and ranking them — or rather, helping viewers to rank them by voting for their favourites — and feeding those comments back to the show’s producer and/or broadcaster.

“We want to be a global backchannel for all television everywhere,” said president Kevin Slavin at the time. Starling is proof that the next wave of second-screen start-ups are likely to tempt the TV industry with analytics as well as engagement, helping producers and broadcasters to make sense of the social conversation around their shows.

Some of the more forward-thinking broadcasters are already developing their own second-screen apps. In the US, there is ABC’s Sync app, developed in partnership with Nielsen and Gracenote. In the UK, the BBC has coined its own term to describe the trend: Orchestrated Media.

“These are engaged with using multiple collaborative devices, such as hybrid TV, mobiles, and tablets (etc). Interactive content is distributed to the non-TV devices, that is complementary to and synchronised with the main broadcast content,” says Jerry Kramskoy, from the BBC’s R&D department, in a blog post outlining the area.

He describes content including vot-

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IntoNow has a deal with MTV for Jersey Shore reality show, with viewers who tagged airings of the show entered into a competition to win trips to the next series’ premiere party

ing and games, synchronised with the programme, along with extra content, social networking and stuff.

“The combined effect is to enhance the programme, through interaction, exploration or social chatter.” The BBC’s first efforts in this vein should be public by next year’s MIPTV. All of the apps described above are innovative, and are attracting broadcasters and other content providers keen to experiment with new forms of audience/fan engagement. One of the key questions,

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This market is getting hotter by the day, and all the indicators are pointing in the direction of it being big in 2011 Alex Iskold

though, is whether second-screen apps can make these companies more money.

GetGlue is starting to investigate this, offering its users discounts on DVDs and merchandise to drive product sales for its partners.

Shazam has proved very successful at monetising music already — three million songs are tagged every day using its apps, and the company says 10% of those tags result in the purchase of a full-track download — a conversion rate of 10%.

The key monetisation mechanism of second-screen apps remains indirect though, particularly for the TV market. These apps drive people to watch debut episodes of series, which, if the apps become popular, could give them a healthy bump in the ratings.

They also encourage loyalty throughout the run of a show and, as they gather data on users’ prefer-

ences, they will be able to offer personalised recommendations, helping those people discover new content. It’s no wonder large media firms are getting involved in funding these start-ups: GetGlue’s last funding round was led by Time Warner, while Miso has backing from Hearst Interactive Media and Google Ventures.

It’s important not to get carried away at this stage. A survey by online TV service Sidereel in January found that only 25% of viewers wanted to see what their friends have been watching, while just 10% said they wanted to share what they were watching with those friends.

Sidereel also found that none of the check-in services described above had significant usage among respondents to its survey.

“It’s very early days,” admits Miso’s Niyogi. “To us it’s all about value.

We spend all of our time asking

questions like ‘What do people want while they watch TV?’, ‘How can we make TV watching better using the second screen?’ and ‘How can we connect friends around the things that they watch?’. Without value, there won’t be mass adoption.

However, there are other trends that will help consumers understand the value of these new services, such as the mass adoption of tablets, and the growth of internet-enabled settop boxes.”

GetGlue founder and CEO Alex Iskold agrees: “Social entertainment is heating up and getting more viral. People love getting rewards and discounts, and GetGlue and other players are iterating on the offerings and innovative. Lots of money is at stake, and VCs are ready to pour in much more. All around this market is getting hotter by the day, and all the indicators are pointing in the direction of it being big in 2011.”

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CONNECTED CREATIVITY: SOCIAL NETWORKS

THE BUSINESS OF NETWORKING

Content gets social Individual users may control the conversations that take place on social networking sites, but now the content owners are joining in. Stuart Dredge reports

F

ACEBOOK and Twitter are the two largest social networks in the Western world, with 600 million and 200 million users respectively. It is no surprise that both have become key marketing channels for broadcasters and producers, film studios, record labels, gaming firms and book publishers, all eager to find new ways to connect with their consumers.

Both companies made the journey to Cannes to outline the way they

can work with the entertainment industry last year: Twitter at MIPTV in April and Facebook at MIPCOM in October. At MIPCOM, Facebook’s Joanna Shields said that 30% of all TV viewers have admitted to being logged on to Facebook while watching a show, and that producers and broadcasters must realise the importance of social networks to their shows: “These stories are the beginning of the

conversation, and not the last word.”

According to a UK survey in August last year, conducted by YouGov for social media agency Diffusion, 21% of UK adults have used Facebook to comment on or discuss a TV show while watching it. “In a funny way, they are bringing audiences back to live viewing, which is a good thing for us as an entertainment producer,” says Claire Tavernier, senior executive vicepresident, FMX, FremantleMedia and

❜

In a funny way, they are bringing audiences back to live viewing, which is a good thing for us as an entertainment producer

Claire Tavernier

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CONNECTED CREATIVITY: SOCIAL NETWORKS

a speaker at the Connected Creativity Forum this week. “It’s not something we’ve tried very hard to control, although we have tried with some success to curate that experience for users. We’re very aware that this is fan-instigated activity, and it needs a level of freedom to progress and thrive.” So how is this progression manifesting itself across the two sites? Here are some notable examples.

Facebook The ability to create and promote a branded page on Facebook has been adopted by every creative industry, with the most popular pages counting their number of ‘Likes’ in the tens of millions. At its most basic, a Facebook page provides a space for a celebrity, artist or brand to post updates that will appear in the Facebook news feeds of its fans, and a space for those fans to discuss it.

The last year has seen a broadening of ambition though, as marketers of TV shows, films and music add new content to their Facebook pages, while often using its “social graph” to allow fans to log in to their own websites with their Facebook profiles.

In the music world, start-ups such as RootMusic have launched tools to help bands add more music and videos to their Facebook pages, but other artists have stretched the platform more. For example, dance act Chase & Status made an interactive video for their single Let You Go, which asked fans to sign in using the Facebook Connect technology before watching. Their photos and friends’ updates then appeared during the video, a spoof TV chat show.

Other artists have been even more playful. DJ David Guetta and pop star Cheryl Cole have worked with French start-up MXP4 to launch

Content owners are joining the networks

music rhythm games on Facebook, as players compete against their friends to a soundtrack of the artist’s music. Guetta has also been a spearhead in giving his fans regular free music and content, rewarding their loyalty.

“From the beginning, I had the chance to be with a team that is very into technology, and into net culture,” Guetta said, speaking at the MidemNet show in January this year. “We give a lot of content …

Now when you go on Facebook, and because we give so much content and people love it, every time they click ‘Like’ they become part of the community.”

Film studios, too, are using Facebook in new ways, from Iron Man 2 launching separate Facebook pages in Australia, Brazil, France, Italy, Mexico, Spain and the UK, through to Despicable Me having two separate pages — one for the film, and one (more popular) for the Minion characters in the movie. Disney even sold tickets to Toy Story 3’s cinema run from a dedicated Facebook page.

In early March, Hollywood studio Warner Bros. launched movie rentals on Facebook, allowing people to watch The Dark Knight on the social network itself, using the Facebook Credits virtual currency

to pay for it.

Films are rented for 48 hours for 30 Credits — around $3 — with viewers able to comment on what they’re watching, and have those comments fed back to their Facebook feed so friends can join in. US-only for now, it’s a big leap forward for both Warner Bros. and Facebook.

“Making our films available through Facebook is a natural extension of our digital distribution efforts,” said Thomas Gewecke, president of Warner Bros. Digital Distribution at the time of the launch. “It gives consumers a simple, convenient way to access and enjoy our films through the world’s largest social network.”

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It gives consumers a simple, convenient way to access and enjoy our films through the world’s largest social network

a step on from that with an online voting system using Facebook, which is being tried for the first time in the current series. Fans log in to the show’s official website with their Facebook IDs, and can then vote up to 50 times each — but only if they are in the US, Puerto Rico or the US Virgin Islands.

Thomas Gewecke

Then there’s TV. While broadcasters are still mulling the potential of streaming full-length shows through Facebook, they are using the social network in other innovative ways, led by FremantleMedia.

In the UK, the X Factor publishes videos that fans can share with friends, and records thousands of status updates around the show when it is airing.

In the US, American Idol has taken

At the time the new system was unveiled, Idol executive producer Simon Fuller said the voting was possible due to Facebook providing a “secure solution” to head off concerns about voting fraud.

FremantleMedia’s Tavernier elaborates: “It’s one of those things we wouldn’t do unless we found a way that works. We have shied away from online voting in the past, as there are too many ways that people can abuse it. But we’re at the point in technology where we have a way of doing it in a stable way that does-

n’t endanger the value of the vote.

That’s why we’re moving ahead with it in the US with Idol.”

Another show, Endemol’s Million Pound Drop, has launched a playalong game on Facebook, allowing viewers to answer the same questions as the contestants, competing against them and against their friends. According to Facebook, one episode in the show’s last series saw more than 785,000 people playing the game at once — 8.6% of the TV show’s audience.

One of the keys to Facebook’s relationship with content firms is that it does not charge them to use its social plug-ins and page-building tools.

Instead, the commercial relationship comes if and when they want to advertise on the site to drive traffic to their pages. The company says that ads can play an important role in driving engagement and — crucially in many cases — viewing figures.

DJ David Guetta has worked with French start-up MXP4 to launch music rhythm games on Facebook

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Twitter As a medium, Twitter tends to work best for individuals, even if some brands have large followings on the micro-blogging service. For that reason, the stars of popular TV shows tend to have more followers than the TV shows themselves, and even more so for films, given their relatively short shelf-life in comparison to actors.

Musicians, comedians and general celebrities have also managed to build big followings on Twitter in short spaces of time — witness Charlie Sheen’s race to two million followers in a matter of days earlier this year, admittedly fuelled by wallto-wall press coverage of his lifestyle.

It’s perhaps no surprise that for industries such as TV, specific Twitter campaigns have tended to focus on the stars of the shows. For example, in February this year the Travel Channel screened No Reservations, a show hosted by former chef Anthony Bourdain. During the season premiere, he live-tweeted a series of amusing comments on what was being shown on screen.

Twitter has an official Media blog to highlight this kind of activity, on which it described the Bourdain show as providing “bite-sized DVD extras, presented in real-time... Now, the commentary track is a conversation”.

Often, it is hard to identify the line between this sort of tweeting as planned promotional campaign versus a star being active on Twitter and deciding to enlighten followers while watching a show. Also in February, US “shock jock” Howard Stern livetweeted commentary while Private Parts — his own biopic — aired on TV. The Oscars was even livetweeted by the co-host James Franco this year, sparking 63,737 “mentions” of his account on Twitter during the show.

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They used Twitter to encourage debate around their drama , and then pull all the comments into the show’s own microsite to create a nifty Tweet Constellation Allan Blair

In travel show No Reservations, Anthony Bourdain live-tweeted a series of amusing comments on what was being shown on screen

For obvious reasons, musicians don’t tend to tweet while playing gigs, focusing instead on updates and photos of their daily lives and backstage preparations. It’s not unusual for Lady Gaga and other stars to post TwitPics for their followers, providing a level of access — or, more accurately, the perception of a level of access — unheard of a few years ago.

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We have to encourage advocacy and conversation between the artist and the fans Jeff Castelez

Artists such as The Streets and Wiley have also used Twitter to distribute free songs to their fanbases, while Imogen Heap famously had a Twitter dress made that displayed tweets from her followers as she took to the stage at an awards ceremony. Artists who actively engage with their Twitter followings have generally done better than those who simply get someone in their label’s marketing department to promote download links, YouTube videos and ticket on-sale dates.

“We have to encourage advocacy and conversation between the artist and the fans,” says Jeff Castelez, CEO of independent label Dangerbird, who worked with Canadian band The Dears on using live-streaming service Ustream to host impromptu webgigs and chats with fans.

TV broadcasters are ahead of the curve in finding ways to track,

analyse and regurgitate Twitter activity around their shows, too.

Witness Channel 4 in the UK. “They have used Twitter to encourage debate around their drama The Promise, and then pull all the comments into the show’s own micro-site to create a nifty Tweet Constellation — an infographic which shows the topics of discussion taking place,” says Allan Blair, director of social media at agency DDB UK. That’s also a strategy adopted by MTV for its Video Music Awards — an event that sparked more than 2.3 million tweets during its live airing this year. Viewers were able to view a visualisation of these tweets on the network’s website for a second year in a row, showing which artists were being most tweeted about. This year, Twitter was also a feature in the “white carpet” coverage outside the awards venue, complete with MTV’s

newly appointed Twitter jockey explaining what subjects and stars were most on the mind of viewers.

Elsewhere, CNN developed a similar visualisation site for the soccer World Cup last summer, designed to be viewed while matches were being broadcast. ABC World News has shown a video-wall of tweets in its studio while covering the Egyptian protests in January, while C-Span2 showed US president Barack Obama’s State of the Union speech split-screen with live tweets from members of Congress giving their reactions.

Broadcasters have also used Twitter to generate content for their shows in other ways. In June last year, the Discovery Channel celebrated its 25th anniversary by inviting viewers to submit “tweet-length discoveries” using an official hashtag on Twitter, with 100 of them then chosen to feature in a show on the channel.

The last year has also seen Twitter introduce its first advertising features, with creative and media companies one of the key targets.

The ability to buy promoted trends and tweets that will be displayed to users on the Twitter website and associated apps enables broadcasters, labels and film studios to insert their content into the wider conversation, but not control it.

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