MIPTV 2011 NEWS 2

Tu e s d a y

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MIPTV News #2

5 April 2011

OPENING NIGHT PARTY JOHN Barrowman (right) and Bill Pullman joined a host of international stars on the red carpet at the Opening Night Party at the Carlton last night. They are in Cannes promoting the new series of Torchwood: Miracle Day, in which they star as Jack Harkness and Oswald Danes, respectively.

WORLD PREMIERE TV SCREENING TELE Munchen Group (TMG) and TM International present The World Premiere Television Screening of Moby Dick at 17.00 today in the Grand Auditorium. Moby Dick features international stars including William Hurt (pictured), Ethan Hawke and Gillian Anderson.

CONNECTED CREATIVITY FORUM THE CONNECTED Creativity Forum opens today for three days at The Majestic. The new global Forum unites the world’s dominant market forces and leading innovators in entertainment, mobile media and technology.

TODAY’S KEYNOTES TODAY’s speakers include Miles Young, CEO of Ogilvy & Mather Worldwide (left), in the Branded Entertainment keynote, at 16.45 (Esterel), followed at 18.15 (Esterel) by Hans Vestberg, president and CEO of Ericsson for the Connected Creativity keynote.

www.miptv.com

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CONTENTS

MIPTV News 2 The Official MIPTV Daily Newspaper

Tuesday, April 5, 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 recycled paper

www.miptv.com

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ARNOLD Schwarzenegger in Cannes yesterday: giving a press conference for his new animated series The Governator; giving his handprint to the city of Cannes; and going walkabout on the Croisette.

NEWS 10 Deals and conferences CONFERENCE AND EVENTS SCHEDULE 46 All today’s conferences and special events at a glance

PRODUCT NEWS 52 Content for sale at MIPTV FEATURES 73 Cooking shows 79 Emerging markets 85 The growth of IPTV

MIPTV is live on MIPBlog!

• Watch full day one conference videos and liveblogs, plus Arnold Schwarzenegger press conference and interview videos • Real-time coverage of MIPTV day two and of brand new tech-meets-entertainment event the Connected Creativity Forum Only on blog.mipworld.com & twitter.com/_mip_

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SECRETS OF A RESTAURANT CHEF 90x30’ Five-star super chef Anne Burrell reveals more culinary secrets and easy to master techniques in an all new season!

Produced by Scripps Productions for Food Network

PRIVATE CHEFS OF BEVERLY HILLS SEASON 2 8x60’ Total Hours: 15x60’ From coming of age parties to wedding proposals, our Private Chefs cater to the whims of Hollywood’s rich and famous!

Produced by Target Entertainment for the Food Network.

CUPCAKE WARS 13x60’ Total Hours: 22x60’ The cupcake bake off is back following US ratings success. The global cupcake business is BIG! Produced by Super Delicious LLC for Food Network

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NEWS

Opening Night Party Stars walked the red carpet at the start of yesterdayâ&#x20AC;&#x2122;s MIPTV Opening Night Party

Diana Hayden, star of new reality TV show Incredible Indian Bride

Shawn Doyle (left) and Avrum Jacobson â&#x20AC;&#x201D; star and showrunner of drama series Endgame

Eva Green (left), Jamie Campbell Bower and Joseph Fiennes, stars of epic mini-series Camelot Bill Pullman (left) and John Barrowman, stars of drama series Torchwood: Miracle Day

Richard Yearwood (left), Natalie Lisinska and Remy Girard, stars of drama series InSecurity

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NEWS

Innovation fuels inspiration at the Hub THE EXPERIENCE Hub, located next to the Palais des Festivals, is part of Connected Creativity, and allows attendees to sample some of the newest technology that will have a big impact on the global content industry in the future. MIPTV News interacted with some of the technology

TAN LE, president of US-based Emotiv, demonstrates the Emotiv Epoc Neuroheadset, which scans and interprets users’ brain waves, allowing them to use thought alone to interact with on-screen content. For digital companies that want consumers to access games, TV, music, or even content-search via internet-enabled platforms without physically touching any device, Emotiv is licensing the relevant technology

IF MIPTV delegates are seeking to offer entertainment anytime and anywhere, they should pay zaOza a visit. zaOza is Vivendi’s content-sharing platform, which, thanks to cloud technology, allows subscribers to use any internet-enabled device to access their content – games, films, series, whenever, wherever and however it suits them. zaOza chief operations officer Patrick Escande demonstrates

EXPERIENCE multi-platform connectivity in action at telecoms company Orange’s area at the Hub. Using a combination of set-top-boxes, Wi-Fi connections, and mobile apps, Francois Cordier illustrates how Orange subscribers can interact with broadcast programmes — access TV networks on the move, use their mobile device to change TV channels and even share their favourite TV shows via Facebook or e-mail

REDSHIFT, a French mobile marketing agency, is in Cannes to connect the worlds of mobile and TV media. Using NFC (Near Field Communication) and Wi-Fi technologies, RedShift enables mobile phone apps to interact with TV apps. RedShift clients, including industrial conglomerates, banks and TV networks use the system to market brands directly to consumers. RedShift also manages the content for third-party clients

DENMARK’s Certus brings online games into harmony with websites. Its product, Symfoni, allows third-party users to offer visitors to their websites Certus-created and managed online games. The games can be customised with the client’s brand, and clients can choose to monetise them via advertising and subscription, or have people play them with real or virtual money

NOVALIS CEO Jurica Simunkovic has brought 360-degree robo-cameras to MIPTV to prove that viewers can control studio cameras — and interact fully with reality TV shows — from the comfort of their living rooms. Novalis says the technology’s ability will attract viewers, and enable broadcasters and marketers to offer new types of audience experiences

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NEWS

DIGITAL CREATIVES PITCH FOR FUNDS CONTENT 360 is this week staging four events in which eager content creators pitch proposals to an expert panel in the hope of winning development funds and Claire Tavernier the expertise to help take their proposals to market. “We had 87 ideas from 22 countries for the session on Interactive & Cross-Media Digital Entertainment Formats,” said Gary Carter, chief creative officer, FremantleMedia Cross Platforms (FMX), who introduced the first session which was sponsored by RTL Group/ FremantleMedia. “We are delighted by the quality of the entries,” said Claire Tavernier, senior executive vice-president, FMX and worldwide drama, FremantleMedia, and one of the judges. “Each finalist has found the right balance between digital engagement and traditional storytelling.” The four pitches shortlisted for the session included a multi-platform treasure hunt from the UK, a talent show from Argentina, a game show from the US and a non-scripted reality show from Malaysia. Further sessions focus on Online And Social Games, Rich Media Tablet And Social TV Apps and Smartphone Apps For Youth Engagement, the last of which is sponsored by the National Film Board of Canada (NFB) and Yahoo!. The winning pitches will be announced on Wednesday evening.

Essex show is living proof of the success of reality soaps REALITY soaps will be an era-defining genre, predicted Steve Morrison, chief executive of All3Media in the MIPFormats closing keynote Innovation, Expansion And Hybrids: Pushing The Format.

All3Media has established itself at the forefront of ‘constructed reality’ — the melding of traditional drama with obs-doc reality to create “content that excites audiences and marries creativity with economy”, Morrison said.

Successful examples include The Only Way Is Essex. Set in the UK county that has become “the fake tan capital of the world”, the Lime Pictures se-

All3Media’s Steve Morrison: “exciting audiences”

ries has been a massive cultural and

“One million Euros an hour is not enough to make world-class content,” said Canal+’s Rodolphe Belmer at yesterday’s keynote, announcing his intention to co-produce a raft of highend dramas at €2.5m per hour. “In the past our approach to co-production was too ad hoc and slow.

We need a more structured relationship with European producers and broadcasters to create a more regular supply.”

commercial hit for the UK’s ITV2.

In the following panel discussion with Stefan Oelze of All3Media subsidiary Filmpool, and production chief Wayne Garvie, Morrison said All3Media’s devolved, federal model, under which its 20 subsidiaries have developmental independence, has “more chance of bubbling up something creative” than conventional top-down hierarchies.

Garvie said that, when he joined All3Media from BBC Worldwide in January, he could not believe “the fertility of ideas” coming down the group’s creative pipeline.

“The central challenge is creativity,” said Zodiak Media Group’s David Frank in yesterday’s keynote. “How do you combine the fantastic talent operating in all your different local markets without destroying its creativity?"

Single vision defined successful Killing IN AN era of extremely tight budgets everywhere, co-production is now

ZDF Enterprises’ Susanne Mueller: similar societies made co-pro easy

crucial to getting many projects off the ground. That was the clear message from the first Global Production Strategies conference session.

But, panelists agreed, however many co-production or co-financing partners are involved, a single creative vision is essential. The increasing potential of co-production was illustrated by the success of The Killing, co-produced by the Danish Broadcasting Corporation and ZDF and its distribution arm, ZDF Enterprises, in Germany.

The 20-hour drama series has been a huge success in its original language in Denmark, in dubbed versions across Europe, and a cult hit with sub-

titles on BBC4 in the UK. It has now been remade as an English-language version in the US. Susanne Mueller of ZDF Enterprises said that the similarity of their societies made German co-productions with Scandinavia easy. But she stressed how the quality of the people involved helped create the single creative vision necessary for success. “In a small country like Denmark, all the good directors, actors, producers and writers work together in cinema, so you really have the best people doing it.” Orion Ross, of Disney Channels EMEA, summed it up: “You have to avoid the co-production ‘sludge’, which ends up satisfying none of the partners.”

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NEWS

DOCTOR PROVIDES KEY TO NETWORKING

Pitch Doctor, Paul Boross: “Hello chaps”

MAKE sure you’re a networker rather than a ‘notworker’, Paul Boross urged his audience at yesterday’s interactive workshop, The Pitch Doctor’s Guide To Making It At MIP. “The difference between the two is that notworkers talk about themselves and networkers listen,” said Boross, whose oneman session promised to help delegates “squeeze value out of every second of their time in Cannes” by understanding and harnessing the psychology of sales and pitching.

“The first 30 seconds of meeting somebody are critical to your future relationship,” he said. “So look them in the eye, take a note of their eye colour and silently wish them well.

Now I can see some of you thinking this is mumbo-jumbo.

But when you think positive thoughts, it minutely changes your facial muscles. From babyhood, we are all hard-wired to recognise those tiny changes, even if we don’t realise it.”

Boross also pointed to “his favourite statistic”, which claims that 70.9% of people will change suppliers if they believe the new supplier is more fun.

As for breaking into a circle of strangers, Boross revealed the startling secret: “Just walk over and say, ‘Hello, chaps’. It works every time.”

An integrated approach will help tell the transmedia story IF COMPANIES want broadcasters to listen to their concepts for integrated multimedia shows, they must ensure their production and interactive divisions sing the same tune.

That was the message from speakers at the Transmedia Storytelling: How To Achieve Creative Excellence event.

“This is to ensure that nothing breaks down and the audience ends up with a great experience,” said Tracey Robertson, CEO of Australiabased Hoodlum.

The multi-platform transmedia format is still a nascent art form, and nothing must break the story flow or the audience’s attention, declared Luke

Taylor, Bigballs Films’ founder and director. “It’s great for everyone to be integrated from the start,” he said.

Correctly identifying the targeted demographic is also essential, said Nuno Bernardo, of Portugal’s beActive Entertainment. “It’s a good way to bridge the new-media world and the old world,” added Christopher Sandberg, of Sweden’s The Company P. US-based Matt Costello, Polar Productions’ president and creative director, advised that the production timeline for broadcasters interested in transmedia should include a two-tothree-month window for exploring the concept’s creativity.

Bigballs Films’ Luke Taylor: integration from the word go

Online games reach a higher pitch THERE has been a quantum leap in the quality of the entries at this year’s Online & Social Games Public Pitch, according to host and moderator Catherine Warren, president of FanTrust.

The Content 360 pitch session gathered together MIPTV hopefuls wanting to make their mark in one of the most dynamic areas in games and entertainment. They had come not

The Online & Social Games Public Pitch panel

only to pitch their projects, but also to hear industry leaders debate on monetising games, attracting fans with social media and other hot issues.

Speaking after the event, Warren said: “We are seeing a tremendous increase in the standard of professionalism, not just in terms of creativity but also regarding business models, strategy, audience engagement and the calibre èof the actual pitches themselves. It’s

very exciting — and it comes at a time when the industry really needs it, now that many online and social games are attracting audiences of several hundred thousand or a million players.”

Warren (far left), was joined on stage by jury members (from second left): Julie Adair of the Walt Disney Company; Polar Productions’ Matt Costello; Sanoma Entertainment’s Fernando Herrera; and Nordic Game Progam’s Erik Robertson.

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NEWS

CZECH OUTPOST FOR ZENTROPA ZENTROPA Entertainment will open a new office in the Czech Republic, where it is currently shooting A Royal Affair.

“We are talking to players right now about expanding into the Czech Republic,” said the company’s chief financial officer Peter Garde.

The multiple-award-winning Danish outfit, started by maverick director Lars von Trier and producer Peter Aelback Jensen, now has production offices in Sweden, Norway, Finland, the Baltic States, Germany, Spain, Poland and Scotland.

At yesterday’s Co-Production For Success session, Garde and producer Peter Engel also revealed some financing details for one of its latest TV projects — the 12-episode series Babylon will cost $25m.

Garde is also seeking co-production financing for several other Zentropa projects, including Svalbard, a TV crime series

by Monica Solas Kristensen set in the Arctic Circle. Norwegian public broadcaster NRK is on board and the script is finished.

Garde added that Zentropa is guided by its directors’ vision: “If they want to make a project for TV, we will try to fund it. We will give them whatever screen they want to fulfill their creative goal.”

Zentropa Entertainment’s Peter Garde

EMC scholarship awarded to German producer Uwe Stanz THE ENTERTAINMENT Master Class (EMC) 2011 scholarship — worth €13,500 — has been won by Uwe Stanz of Germany’s SEO Entertainment.

The scholarship, which was presented to Stanz by the EMC’s John Gough at the MIPFormats Fresh Talent Pitch, is awarded to an up-and-coming TV professional that the EMC faculty believes has “the potential to move entertainment to the next level”, Gough said.

Stanz — a professional magician — founded SEO in 2008 with Gillad Osterer. Specialising in comedy and light-entertainment formats, the company created a buzz at last year’s Fresh Talent Pitch with its Cinema Moments, which led to a co-operation with Zodiak Entertainment. This year, Stanz pitched a new game-show format, Crossword Is Coming To Town.

EMC’s Christoph Fey added: “Uwe

is already pitching above his weight and doing very well. But we think the EMC scholarship will help him to fulfil his clear promise.”

Previous scholarship winners include the Israeli writer, satirist and creative Omri Marcus. Tim van Aelst, the Belgium producer responsible for the award-winning comedy Benidorm Bastards, is also an EMC alumni.

Fey, who is at MIPTV to finalise the intake for the 2011 EMC programme, added: “EMC is in its fourth year and

we are now seeing its impact on the entertainment industry. Our alumni are beginning to rise up the executive chain, win awards and produce shows that create headlines.”

• EMC also sponsored yesterday’s Interactive Workshop, We Love To MIP You, at which Small World IFT’s Tim Crescenti, Fox’s David Lyle and The Format People’s Michel Rodrigue advised the audience of MIPTV first-timers how to work the market to the benefit of their business.

Fox’s David Lyle

The Format People’s Michel Rodrigue

Small World IFT’s Tim Crescenti

John Gough (left) awards the 2011 EMC scholarship to SEO’s Uwe Stanz

Altruism is fashion for formats FRESH TV Around the World, delivered by The WIT’s CEO, Virginia Mouseler, provides a snapshot of trends in the global format market.

The big trend this year, according to Mouseler, is for shows with an altruism streak. Also trending is content about people who want to escape to simpler lives.

The most high profile of the altruis-

tic shows is Dick de Rijk’s You Deserve It, set to air on ABC US. Mouseler also selected Holding Out For A Hero, in which contestants play for cash to make someone else’s dream come true.

Examples of the simpler-life shows include A Farmer’s Life For Me, an elimination show in which couples compete for the chance to run a farm for a year.

The WIT’s Virginia Mouseler

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NEWS

COUNTRY IN SHOCK BUT IN BUSINESS AGAINST the backdrop of incredibly difficult times in Japan, NHK Enterprises (NEP) is not only back in Cannes but has brought more than 100 new HD titles.

That’s the word from Kayo Fukuda, senior chief manager of international sales for NEP, the international arm of Japanese public broadcaster NHK. Working has been very difficult, Fukuda said: “Just carrying out day-to-day business became an enormous task, not to mention the psychological damage of the current situation we are facing in Japan. We are a nation in mourning and suffering from post traumatic shock.”

She said, however, that once her office got up and running again, it was flooded with calls from people around the globe wanting titles such as A Certain Death, a documentary about Hisashi Ouchi, Japan’s first victim of a nuclear accident.

Among the pack of HD titles NEP has brought is Drucker In The Dug-Out, an animation based on the best selling novel by Natsumi Iwasaki. In the story, Minami, a high school student charged with managing her baseball team, decides to apply business management principles to help her team win the National High School Baseball Championship.

NHK’s Kayo Fukuda: promoting 100 HD titles

Cannes visit sends strong message to Japan industry A SENIOR official from the Japanese government flew into Cannes this week to express his country’s gratitude for the support it has received after the recent

Tetsuya Watanabe of the Japanese Ministry of Economy, Trade and Industry

devastating earthquake and tsunami.

Tetsuya Watanabe, director of the creative industries promotion office, part of the Ministry of Economy, Trade and Industry’s manufacturing industries bureau said: “We are very grateful for the support and help we received from rescue and medical teams from around the world. I came to Cannes to thank you all for your support.”

Director Watanabe said that coming to events like MIPTV was an important part of the rehabilitation process for his country. “We are still struggling to deal with the scale of the disaster.

But we are ready to do business.”

This is Watanabe’s first visit to MIPTV. “I’ve been surprised at how many people are here,” he said.

The damage caused in Japan is estimated at over $300bn. MIPTV participants can help with fund-raising by visiting Stand 11.22, where members of the French Red Cross are collecting money. The goal is to get

each MIPTV participant to make one donation, a level of commitment that would generate a considerable amount. This will then be sent from the French to the Japanese Red Cross. The Red Cross team will be at the stand from 09.00 to 19.00 every day — 18.00 on Thursday. It is also possible to donate via a link on the MIPTV website.

Reed MIDEM CEO Paul Zilk said that everyone at the company was “deeply shocked” by the tragedy and the consequences that have followed. “We felt it was important to provide moral and material support. Our colleagues are also our friends.”

Zilk added: “We are deeply honoured to welcome Mr Watanabe who is sending an important message that the television industry in Japan is carrying on, and the Japanese delegation is here in force and determined to do business despite the very difficult situation.”

NHK plays key post-disaster role INTERNET, mobile and data became crucial broadcast pipelines for Japanese public broadcaster NHK following the earthquake and tsunami that hit Japan on March 11.

Yukihiko Amagi, executive vice-president of NHK Enterprises’ international business department, said NHK broadcast a warning across all channels seconds before the quake hit. “Immediately after the quake, we sent out another warning from meteorologists across all channels that a tsunami with waves as high as six or seven metres would hit certain areas of Japan.”

He added: “By law, NHK is not allowed to broadcast online, but an unprecedented exception was made for NHK’s broadcasts of emergency news.”

Immediately after the quake, NHK

moved into disaster-support mode.

“More than 500 reporters and producers left whatever projects they were working on to support our news coverage,” he said.

A clear lesson from the experience is that clear information is vital. “So much coverage we saw from outside Japan was looking for the sensational soundbite,” he said. “In a disaster of this proportion, you can’t afford misinformation. It’s got to be accurate.”

NHK is currently evaluating what programming on the triple disaster it is appropriate to make. Amagi added: “By the time we are in Cannes for MIPCOM, we’ll be able to bring some ideas to the table for possible co-productions.”

International service arm NHK International is providing archive footage

of the earthquake and tsunami, available via archives@nhkint.or.jp.

NHK’s Yukihiko Amagi: “You can’t afford mis-information. It’s got to be accurate”

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HIGHTV TAKES 3D TO SMALL SCREEN THE INTRODUCTION of 3D to TV is as important as the move from black-and-white to colour, said Eric Klein, CEO of HIGHTV, at the company launched what is billed as the world’s first international 3D content channel.

The new format was already taking off faster than HD, which took over a decade to become widely available, Klein said.

He added: “3D is integrating into our lives far faster than HD, which was launched in 1999 but has only been widely available on TVs in the last year or so. By contrast, 3D is already becoming available, not just on large-screen TVs, but also on laptops and phones.”

Sony sets out strategy to grow the flow of 3D content for TV

Sony is to film the Wimbledon Lawn Tennis Championships in HD 3D

THE 3D programming to support new channels worldwide is already being produced — but the sales and distribution links are not yet in place to provide a trading network to fulfil broadcasters’ needs, according to Akira Shimazu, Sony’s senior general manager of 3D & BD project management division, who is representing the SonyMIPTV Global 3D Spotlight initiative.

3net, the joint-venture 24-hour 3D network from Sony, Discovery and IMAX, launched in the US February of this year — the first step towards a global 3D roll-out of the channel.

Movies, sports and nature are the

main genres attracting consumer interest in 3D content, Shimazu said, followed by gaming, drama and personal content. Indeed, Sony announced in the build-up to MIPTV was that it would be filming the Wimbledon Lawn Tennis Championships in HD 3D. Sony has partnered with the All England Lawn Tennis Club to film the world’s most prestigious tennis event in 3D. At the moment, cinemas are likely to be the first to show the footage, although the All England Club is seeking broadcast deals too.

The aims of Global 3D Spotlight are

Sony’s Akira Shimazu: 3D driven by movies, sports and nature

to educate all sectors of the industry in the possibilities of 3D content and to foster the growth of an effective market for the programmes that are already being produced.

The availability of the technology is being driven by the growth in sales of large-screen televisions. Around 30% of large-screen TVs have 3D capability. In Japan, this rises to 50%.

Though terrestrial broadcasters do not have enough bandwidth to offer 3D, most have large production facilities that could produce programming for the growing number of cable and satellite 3D channels, Shimazu added.

HIGHTV’s Eric Klein (left) and Ronny Shany: 3D faster take-up than HD

HiIGHTV’s strategy is to transmit as broad a range of programming as possible, carefully targeted to the demographics of the audience at different times of day.

Klein expects the main drivers to be movies, reality and travel programmes. But he thinks that platforms offering 3D channels should consider bundling them into basic packages to boost the already rapidly growing uptake of the format.

Sony’s Akira Shimazu (left), Nobuko (Niki) Katsumata and Yoshiaki (Joe) Nakata toast the future of 3D at the Sony-MIPTV Global 3D Spotlight party

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presents new online

Stephan Adrian, ZDF Enterprises' COO, Oliver Schündler (CEO Yellow Bird), Achim Rohnke (CEO Bavaria Film) and Alexander Coridass, ZDF Enterprises' President and CEO, welcome the new online screening system.

ZDF Enterprises' Rainer Hastrich (Director ZDF.archive) and Ralf Rückauer (Sales Manager German Speaking Territories) explain the many uses of Contunico film clips to SRF's Michèle Sauvain, Fiona Strebel and Fabienne Pfammatter.

The German producer/distributor treated its Sundowner guests to a preview of its MIPTV highlights. Heading the program l i s t i n g t h i s s p r i n g a r e h a r d - h i tt i n g n e w f a c t u a l s e r i e s .

T h e f i r m ' s c l i e n t s w e r e p a rt i c u l a r l y i n t e r e s t e d i n t h e n e w o n l i n e s c r e e n i n g s y s t e m w h i ch o ff e r s r e g i s t e r e d u s e r s f u l l l e n g t h p r o g r a m v i e w i n g a n d a n i Pa d s w e e p s t a k e .

Toasting to the success of the new "factual series" genre: Torben Halfter (Edel Germany), Susanne Frank (Junior PM Video and Home Entertainment, ZDF Enterprises), Connie Wesche (Edel Germany) and Oliver Hagedorn (Edel Germany).

Can't wait to see ZDF Enterprises' new Scandinavian thrillers: Finnish YLE's Tarmo Kivikallio, Nina Tuominen, Arto Hyvonen, Katja Solla and Mari Koivuhovi.

ADVERTORIAL_ZDF MIPTV 2011_ZDF_ADVERTORIAL 04/04/11 18:35 Page2

Advertorial

e screening concept at its legendary "Sundowner"

Carrie Krogmann (Legal Adviser at ZDF), Jürgen Steimer (Senior VP Acquisitions and Coproductions, ZDF Enterprises), Juliette Ossenberg (Head of ARD International Cable Coordination) and Michael Westhoven (Consultant for THEMA).

Longstanding and successful business partners: Sean Cohan (Senior VP, AETN International), Christian Murphy (VP, AETN International), Fred Burcksen (ZDF Enterprises' VP Distribution, Merchandising and Coproductions), Susanne Müller (Head of Coproductions and Development, ZDF Enterprises), Michael Katz (Vice President, International Programming & Production, AETN International) and Alexander Coridass (ZDF Enterprises' President and CEO).

Calon TV's Robin Lyons and Huw Walters with Eva Reifferscheid (Project Manager Feature Films, ZDF Enterprises) and Katharina Pietzsch (ZDF Enterprises' Project Manager Acquisitions and Coproductions, Children and Youth).

Christine Perrin and Bill O'Dowd from Dolphin Entertainment agree with Tasja Abel (Manager Coproductions and Development / Drama, ZDF Enterprises): the hero of "Jack of Diamonds" really is seductive.

Julien Mencière (ZDF Enterprises' Sales Manager "French-speaking territories, Central and Eastern Europe, Asia and Middle East") avec Antonia Stefanova and Cristelle Girbes from AB Productions and AB Droits.

Rachel Job (Co-Production & Acquisitions Manager, AETN UK), Stefanie Fischer (ZDF Enterprises'Sales Manager "English- and Spanish-speaking countries, Latin America and Nordic countries"), Anastasi Koulla (Senior Manager, Programme Content, AETN UK) and Nikolas Huelbusch (Project Manager Coproductions and Development / Documentaries) discussing new water-themed docs "Adventure Ocean Quest" and "Dawn of the Ocean."

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OFF THE FENCE GETS COOKING INDEPENDENT production and distribution company Off the Fence has announced a partnership agreement with Israeli broadcaster Ananey Communications. Off the Fence will acquire three HD series from Ananey’s lifestyle catalogue: cookery series Duet, travel series Market Values and an exploration of spirituality in Life-Changing Encounters.

High Fidelity HDTV and ZED focus on new co-productions HIGH Fidelity HDTV, the HD factual specialist from Canada, has signed two new HD co-production agreements at MIPTV. The acquisitions punctuate an ongoing output deal with independent French pro-

ducer and distributor, ZED. The new documentaries mark a move into new territory. “In one, we have used extreme macro shooting techniques and the latest in HD technology to explore the amazing

OCTAPIXX PLANS PARTY AT MIPTV OCTAPIXX Worldwide of Canada has signed an exclusive distribution deal with US celebrity chef Porter William to distribute his 26 x 30 mins Entertaining People television series around the world. The HD series combines cooking and party planning. Octapixx president J Gary Gladman (left) welcomes the celebrity chef, who has created over 300 recipes, to MIPTV.

TALENT SPEAKS TO BBC AT FIRST HAND ZURICH-based distributor First Hand Films has finalised a deal with the BBC on a new four-part documentary series, America in Primetime. They will work together to produce an international version of the US series, which features interviews with 80 writers, actors, producers and directors, and is currently in production.

High Fidelity HDTV’s Daphne Vaz, ZED’s Celine Payot Lehmann and High Fidelity HDTV’s Andrea Harrick

powers of the spider,” said Celine Payot Lehmann, ZED’s head of distribution and acquisitions. “Both Super Spider and our new four-part documentary series The Conquerors, tracking animals that have evolved over time into aggressive invaders, herald a new, exciting fusion of science and entertainment.”

High Fidelity HDTV’s Daphne Vaz confirmed that the Canadian broadcaster will sign another three-year output deal with ZED: “We are both dedicated to pioneering HD technology and these Franco-Canadian co-productions, supported by key partners including ARTE and National Geographic US, have enabled us to produce some great programming,” said Vaz. “We have a ‘first look’ advantage in our deal with ZED, so MIPTV is very much about joining forces to bring new programming arm-in-arm to the international market.”

Zodiak celebrates gypsy wedding It has been acquired by Discovery Networks for Italy, Poland, Romania, Russia, Bulgaria, Serbia and Slovenia, XYZnetworks for LifeStyle You in Australia, TVNZ in New Zealand, Antena 3 Nova in Spain and VTM in Belgium.

Denmark, Sweden, Norway and Holland have also acquired the series.

The series, which gives a rare glimpse into the fascinating and often misunderstood Gypsy and Traveller communities in Britain, averaged 8 million viewers in its five-episode run, and is C4’s highest-rated documentary series to date.

Emily Elisha, head of factual acquisitions at Zodiak Rights, said: “We anticipate lots more Jane Millichip and Andreas Boenisch of Zodiak Rights, deals to be concluded with a typical Gypsy wedding dress while at MIPTV.” UK BROADCASTER Channel 4’s recent ratings-busting hit Big Fat Gypsy Wedding has been picking up deals like confetti at MIPTV, its first international market since airing just a month ago.

Zodiak Rights has secured a slew of sales and publishing deals for the observational documentary made by Firecracker Films.

"WE BELIEVED the time was right to modernise and energise our brand to reflect our position as the leading provider of live sports in Europe,” said Laurent-Eric Le Lay, Eurosport Group chairman and CEO, talking about the sports channels’ new brand identity and graphics revamp. It will be deployed on-air, online and mobile and in every Eurosport office around the world.

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Unforgettable Entertainment. Across all platforms.

13x30 minute series

1x60 minute documentary

KEN FINKLEMANâ&#x20AC;&#x2122;S COMEDY ABOUT A MAN ON A VERY SHORT LEASH 23x30 minute series

39x30 minute series

MIPTV | Stand R27.12

www.shaftesbury.ca

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BORGIAS BUILDS ON TUDOR SUCCESS

The Borgias

THE BORGIAS, which premiered Monday night on Showtime, looks set to equal and maybe even surpass the global success of The Tudors, setting new standards in period-piece drama production values and widespread appeal: “Up until The Tudors, periodpiece shows were perhaps thought of as being slow and too detail-fixated,” said Armando Nunez, president of CBS Studios International. “But the pacing, the action and a certain sexyness in Tudors was a game-changer.”

The Borgias had been sold to numerous regions and territories before its US broadcast debut, including Greece, Turkey, Italy, Spain, the UK and Germany, as well as Asia, Africa and the Middle East.

Nunez is confident that the series will end up being sold to 200+ countries: “With two academy award winners in the form of Neil Jordan and Jeremy Irons plus a fantastic cast and robust production values, we are confident that there will be a lot more action around the series during MIPTV and beyond.”

FremantleMedia formats still finding new homes abroad FREMANTLEMEDIA has returned to Cannes with a packed slate of entertainment and drama. “It’s been a tough but productive year for us,” said CEO Tony Cohen. “We had two of the top three performing formats in the world in the shape of Got Talent and Take Me Out and we have top-performing dramas in markets like Italy, Germany and Hungary.”

The company plans to put ever-more emphasis on hit formats like The X Factor and Idol, which continue to

break into new markets. “We’re also continuing to increase our development activities with third parties like Fuji Television Network. Our first collaboration Total Blackout has sold to nine markets and been made in four.”

FremantleMedia president worldwide entertainment, Rob Clark, unveiled a second show developed with Fuji: the comedy game show Troubleshooter, which sees contestants attempting to settle their disputes with the help of a judge, jury and over-sized

Japanese-style games. Clark also picked out Dream School, a UK format that sees high school drop-outs given a second chance of success when coached by celebrity experts.

FremantleMedia Enterprises, meanwhile, has announced a significant increase in international drama investment, including three high-end dramas that will appear on the BBC in the UK: Laconia (2 x 90 mins), The Crimson Petal And The White (2 x 120 mins) and Exile (3 x 60 mins).

ANTOINE Villeneuve (left) and Benoit Roque of Lagardere Active, Fernando Szew of MarVista Entertainment, and Saban Brands’ Elie Dekel and Kirk Bloomgarden. Lagardere has signed an agreement to acquire exclusive pay-TV and free-TV rights to the 40 episodes of the original series called Power Rangers Samurai.

“This is a great opportunity for Canal J to reassert its identity as a forerunner and an innovative channel by orchestrating this event-making launch,” said Villeneuve, managing director of Lagardere’s French and international TV channels.

Packer wraps up lion’s share of drama LIONSGATE’s newly appointed president worldwide television and digital distribution, Jim Packer, has just signed season five of Mad Men. He has also signed off on Kelsey Grammer’s new drama, The Boss. “It’s a series order, not just a pilot. And it’s a one-hour drama, but I can’t say any more,” he said.

“This is a new role for Lionsgate, as well as for me, and it’s very exciting,”

said Packer. “SVOD is an exploding market, and there are huge opportunities for us. I’m looking at the market, figuring out where to expand, who the potential partners are and what are the regulatory constraints in different markets.”

Lionsgate’s Jim Packer: “huge opportunities”

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On- and off-screen talent from Camelot, the Arthurian epic launched this week to international audiences in Cannes. From left: Joseph Fiennes, GK-tv president Craig Cegielski, Eva Green, Jamie Campbell Bower, and Graham King, CEO of GK Films.

Ahmed Mahfouz Nouh, of MIPDoc partner Al Jazeera Documentary Channel, presents Nour Productions’ Mai Masri the MIPDoc International Trailblazer Tribute.

Beirut-based Masri accepted on behalf of her and her husband, Jean Chamoun. The award recognised their three decades documenting life in Palestine and Lebanon.

Frederic Mitterrand, French culture minister, talks to the media as he makes his inaugural tour of the MIPTV market floor. He took the opportunity to announce the launch of a connected TV initiative, which he said, “might represent up to 70% of television sales by 2013”.

The International Academy of Television Arts and Sciences presented the 2011 International Digital Emmy Award nominees with medals and certificates yesterday at a ceremony in the Palais des Festivals. Nominees were recognised in three digital programme categories: fiction, non-fiction and children’s and young people.

NAS will proudly announce the New Yu-Gi-Oh! series, "ZEXAL"(pronounced, ze_a_lu).

The Yu-Gi-Oh! TV Animation that reached the tenth anniversary: launches new series "Yu-Gi-Oh! ZEXAL" in April, 2011, Japan.

Following "Yu-Gi-Oh!", "Yu-Gi-Oh! GX", "Yu-Gi-Oh! 5D's", "Yu-Gi-Oh! ZEXAL" will be the fourth series.

NAS as a licensor of Yu-Gi-Oh! will invite everyone here to the Lunch Party to introduce this new exciting programme at 12:00 of April 6th at AUDITORIUM K. And at the Party, Mr. Shinoda / Managing Director of NAS and Mr. Miyake / Yu-Gi-Oh! Chief Producer will welcome you and You will experience globally unveiled fascinating "Episode 1" just before Japanese launch, April 11th, 2011.

.

© 2011 Kazuki Takahashi STUDIO DICE/SHUEISHA TV TOKYO

. NAS

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VISIT eOne IN THE RIVIERA BEACH RB. 43

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Dark Comedy Series (2011) 6 x 30 minutes

MIP DAILY THE YARD i dd 1

3/2 3/25/11 25/11 2 36 57 PM

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CAPE TOWN GETS REALITY CHECK INDEPENDENT South African producer Clive Morris is in Cannes this week to launch new show Clifton Shores.

Speaking to MIPTV News, Morris said: “Clifton Shores is an unscripted 13-part reality series in the style of The Hills.

Shot around Cape Town, it tells the story of four beautiful young girls who come to work for a multi-millionaire called Quinton van der Burgh. It’s a classic fish-out-of-water story but set against the kind of spectacular backdrop that South Africa offers.”

The show has been primarily funded by van der Burgh, with Clive Morris Productions (CMP) providing the production services. “This allowed us to fund the show independently of South Africa’s domestic networks,” said Morris. “That was important because we want to position it as an international show.”

MIPTV is the first outing for the show. “We’ve discussed it with some US broadcasters, which is clearly a key market for us. But we’ve also had expressions of interest from around eight other territories so far. I think we’re benefiting at the moment from the halo effect of the World Cup.”

CMP’s Clive Morris

CCTV Documentary Channel set to boost local production

CCTV’s Cheng Chunli (left), Zhao Wenjiang, Ma Runsheng and Liu Wen

CHINA Central Television (CCTV) has launched the first national documentary channel with nationwide coverage in China.

CCTV Documentary Channel services both a domestic audience and also has an international version in English for viewers worldwide. “We are hoping to import over 400 hours of programming annually,” said Liu Wen, CCTV Documentary Channel’s director and senior editor. “We don’t only want to acquire world-class programming – we also hope this new channel will spur on independent Chinese producers and our own talent pool from CCTV to make more great program-

ming to export internationally. Our overseas sales continue to increase and documentary sales in particular account for 30% of our exports.” CCTV Documentary Channel is also looking for co-production partners this MIPTV to develop programming with

Chinese subjects of interest. The CCTV Documentary Channel has major projects in development, including documentary series Hidden Lands Of China and Tea, A WorldChanging Leaf plus a wide range of co-productions with international broadcasters such as BBC, NHK and National Geographic Channel.

“We are pleased to be at MIPTV with a slate of new programming,” said CCTV’s Ma Runsheng. “Our followup to the first Forbidden City boasts the same style and production quality, so we hope it will be equally successful with international buyers this market.”

WORLD acclaimed Russian artist and sculptor Mikhail Shemiakin was in Cannes yesterday to present Souzmultfilm’s animation project Hoffmaniada. The stop-motion feature film is based on tales from German author and artist Ernst Theodor Amadeus Hoffmann.

Morocco takes on Three Kingdoms BEIJING Orient Henghe TV & Movie Co has inked a deal with Moroccobased broadcaster, Medi1TV. The deal marks the first ever acquisition of Chinese programming for Medi1TV, which Abbas Azzouzi, Medi1TV’s president director general explained was an important development for the channel: “We have bought the whole 95-episode series of Three Kingdoms and we hope this historical drama will not only be entertaining for Moroccan audiences but will also educate them about Chinese culture.”

Beijing Orient Henghe TV & Movie Co’s vice-president, Xiaojun Yang, who originally approached Medi1TV at MIPCOM, explained that the sheer scope and high quality of the pro-

duction has made it a particularly impressive series: “This is the biggest epic drama ever made in China,” said Yang.

“We hired over 5,000 extras for the battle scenes, which were further enhanced using the latest in CGI technology. The series is based on Ro-

mance Of The Three Kingdoms, a famous historical novel in classic Chinese literature, and has taken us six years to complete. It has been hugely successful with audiences in China, so we are now delighted to offer it to international broadcasters.”

Medi1TV’s Myriam Akodad (left) and Abbas Azzouzi with Beijing Orient Henghe TV & Movie Co’s Jia Lin and Xiaojun Yang

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Fantasy Comedy Series ƟǼ Ç Ǽȧ ſŧƆȐǷěǙ

MIP DAILY2 TODD EVIL i dd 1

3/2 24/11 6 24 30 PM

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MIPTV NEWCOMER

NIKOLAI HOLZACH, manager and 3D Artist, teleDesign, Germany.

TeleDesign was founded 1986.

We have specialised skills in visualising medical topics. Since we have reserved the rights of almost all our animations, we have one of the world’s largest archives at our disposal today.

Medical topics are increasingly moving into the broadcast arena. We see a large potential for offering ready-made medical animations for licensing — and we can deliver within one hour.

We are looking for producers of medical programming. Our archive of more than 800 animations is good for low budgets: we give producers the opportunity of getting highquality 3D animations at low cost.

We have launched all of our animations for preview online at YouTube as well as on our website, and during the last 12 months our group of customers has become more and more international.

Also the growing interest of stereoscopic 3D productions has increased our business with innovative companies. We began to develop autostereoscopic visualisations, which means there is no need for glasses anymore. Visit our booth to get an impression of where we want to go tomorrow.

Quality 3D drives demand for small-screen viewers THIS year’s MIPTV may represent the tipping point for small-screen 3D, predicts Mike Lolato, managing director of worldwide broadcast sales at Canamedia. He believes that a critical mass of quality 3D content will soon tempt consumers to make the leap in globally significant numbers.

The Canadian company now has 3D veteran Dan D’Or heading its new production unit. Four different properties, the first fruits of its foray into original 3D programming are on show at MIPTV. “We realised there was an opportunity for lifestyle-type programming,” Lolato said.

Ice Hotel (60 mins) features a sumptuous hotel in Quebec City carved entirely from ice. Stratton In Time (13 x 30/13 x 60 mins), meanwhile, explores the life and music of great composers such as Bach with conductor Kerry Stratton. “In 3D, it’s all about the visuals,” Lolato says. “We chose subjects that allowed us really to layer the perspectives.” The pro-

grammes are also available in traditional 2D. Since hiring D’Or, Canamedia has been inundated with requests from companies seeking distribution for

their 3D product. “Next MIP 3D will have exploded,” Lolato adds. “It will be the companies who get in there now with great cutting-edge programming who will win through.”

Korea focuses on 3D vision for TV THE KOREA 3D Content Showcase is proving Korea’s strength in TV-specific 3D content. However, the media industry’s ambitions to offer 3D TV that doesn’t need special glasses are impractical, Jaehyung Shin, head of content at Korea HD Broadcasting Corp, told MIPTV News.

“It would mean changing all the underlying technology and that would be very expensive, very unrealistic,” he said.

His company is in Cannes with the stateowned Korea Communication Agency to promote programmes on the satellite-delivered Sky3D, which launched in January 2010 and is the first of Korea’s three 3D channels. Sky3D and Korea HD Broadcasting are both subsidiaries of satellite-TV operator KT-Skylife. Ko-

rea HD Broadcasting Corp produced about 60 3D programmes last year and expects to create more than 70 this year, Shin added. And these are welladapted to the demands of TV as a

medium, rather than cinema.

“Everyone knows Avatar, which has created a demand for 3D content,” he added. “I think content for TV should be in 3D and this is the era for it.”

Jaehyung Shin: launching Korea’s 3D production

MIPTV R33.08.

WORLDWIDE PRODUCTION AND DISTRIBUTION | WWW.TRICONFILMS.COM

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ATLANTIC SCORES FILM DEALS ATLANTIC Screen Music (ASC) — headed by ex-Aramid executive Simon Fawcett and veteran independent music publisher Tim Hollier — has launched Atlantic Screen Composers (ASC), to produce music scores for film and television productions.

Hollier, who founded Filmtrax, a pioneering film- and TV-music publishing company in the 1980s, said: ‘I built Filmtrax into a major operation, and that platform of experience, together with the knowledge of film finance brought to the new setup by Simon Fawcett, means that ASC will be an opportunity to create something equally significant for television and film productions.”

Hollier added: “We have succeeded in raising a considerable finance package for the creation of film, television and animation music, and have completed several major feature titles in the last three months with a further 40 planned for the rest of 2011.”

Simon Fawcett said: “Producers need all the financial support they can get in today’s tough financial environment, as well as the expertise to maximise the value of their music assets. ASC will provide both.”

In tune: ASC’s Tim Hollier (left) and Simon Fawcett

ITV Studios sells portfolio of 150 hours to Aus and NZ ITV STUDIOS Global Entertainment has secured a range of deals with leading broadcasters in Australia and New Zealand, which will see more than 150 hours of multi-genre content airing in the region throughout 2011.

Foxtel Australia has acquired the hit entertainment series Louis Spence’s Showbusiness for its Arena channel and the ITV Studios-produced comedy series White Van Man, starring Will Mellor, for The Comedy Channel.

Other Foxtel deals took contemporary Dublin-based drama Love/Hate to W, and factual entertainment series Police POV to the Crime & Investigation Network.

Australia’s leading channel operator XYZnetworks has picked up the second series of the global hit reality show

ITV Studios’ White Van Man is heading Down Under

Four Weddings USA; Seven Network, meanwhile, has acquired detective franchise Vera and crime drama Lewis.

“There is great demand in this region for high-quality primetime content across all genres and we are delighted to confirm this wide range of deals,”

said Augustus Dulgaro, ITV Studio Global Entertainment senior vice-presient, Asia Pacific. “The programming acquired for audiences in Australia and New Zealand is a fantastic representation of the strong content and breadth of variety in our portfolio.”

ARCADIA Entertainment is celebrating 10 years of documentary film-making at MIPTV. Now part of Parthenon Media Group, the company is known for its ocean-related factual output, and has also produced historical, spiritual and drama documentaries as well as children’s and wildlife series. Two new titles.

Templars: The Last Stand (60 mins) and the second series of Hope For Wildlife (13 x 60 mins) were launched at MIPTV. From left: Arcadia’s David Glover and John Wesley Chisholm, and Parthenon’s Connie Hodson and Carl Hall.

Rights deal for Hollywood favourites MULTI-platform rights to well-loved films such as The Shawshank Redemption, Honeymoon In Vegas and Love Potion No. 9 now belong to Monaco-based Daro Film Distribution, which has bought them from Cecchi Gori Pictures.

Daro now has the rights to Europe (apart from Italy) to half the titles, and worldwide rights to the remainder (apart from Italy and North America).

“What makes the deal even more spe-

cial is that we have the rights in perpetuity,” said Daro president Pierre Andre Rochat.

“We’ve already closed deals in Germany and Scandinavia,” added Michael Wolter, Daro’s vice-president.

“Daro is the type of company if you agree on a handshake, you know you can take them to the bank,” said Niels Juul, CEO of Cecchi Gori Pictures.

“Whenever they reach an agreement with you, you can be assured it’s solid.”

Hollywood stars: Daro Film’s Pierre Andre Rochat and Michael Wolter

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UK’S HANWAY FILMS CROSSES PLATFORMS HANWAY Films is best known as a theatrical film distributor, with a catalogue that runs to 500 titles, including Brideshead Revisited, Match Point and Kidulthood. But in the last three years it has been coming to MIPTV and MIPCOM to expand into new areas.

Documentaries feature large in HanWay’s activities at MIPTV this week. An example is Thunder Soul, executive-produced by Jamie Foxx. Described by Mark Lane, HanWay’s sales manager, as “a real-life Glee” the film has been sold to Hungary’s MTVA this week.

HanWay is also shifting towards simultaneous cross-platform distribution, a case in point being Julien Temple’s Oil City Confidential, which is due to be released day-and-date in the US on The Documentary Channel, VOD and DVD. “We’re constantly looking for new ways to exploit our catalogue,” Lane added, “whether that’s through theatrical, TV or video. In some cases, our titles launch at theatrical in one set of territories but via broadcasters in others.”

Aside from selling, HanWay is also interested in acquiring content. It only deals in featurelength properties, Lane said, but it would look at high-end TV concepts.

HanWay’s Mark Lane and Kate Hide

Prime package of Hollywood names screen on iPhone app

Prime Entertainment’s David Freydt: entering the app world

PRIME Entertainment is launching an iPhone app at MIPTV, to allow its clients to explore its catalogue and screen its shows. “I’m convinced that it will become the most convenient way for our buyers to screen programmes,” Prime director David Freydt said. “We also enable our clients to screen shows on our website and send them video links when they want to screen something.” According to Freydt, the app approach rids clients of tiresome flyers and DVDs, and gives them the flexibility to screen anywhere, and with colleagues.

Yet the company still values face-to-

face contact, and is promoting its Hollywood’s Best Film Directors series: “MIPTV has always been very helpful for us since it is a concrete meeting date for all buyers,” head of sales Alexandra Marguerite, explained. “We have received other offers that we will discuss during our meetings on the market floor this week.”

The series profiles some of Hollywood’s most famous film-makers, including new additions Ron Howard (The Da Vinci Code) and Mike Newell (Harry Potter And The Goblet Of Fire), and is now complete at 52 x 26 mins.

ITALY’s Mondo TV and toy company Giochi Preziosi Group are to co-produce a 2D animation 26 x 26 series based on the popular Dinofroz figurines.

The Dinofroz scripts will be created under the direction of Orlando Corradi, Mondo TV’s president and CEO, based on concepts provided by Giochi Preziosi. Giochi Preziosi is one of Italy’s leading toy companies, with 2,500 employees.

Sales a reality for Rive Gauche RIVE Gauche Television has finalised licensing agreements with several broadcasters at MIPTV for its reality programming line-up.

My Strange Addiction has sold to TV2 Norway and TV4 Sweden, and Lisa Williams Live has been taken by Astral Canada and TV Norge in Norway.

“We are extremely proud that Rive Gauche Television has come out of the gate quick this MIP with these early market international sales.” Rive

Gauche CEO Jon Kramer, said. “In addition, Whacked Out Sports has been acquired by Japan’s Tokyovision and Total Sports in Thailand, Scare Tactics has gone to France’s Planete and It’s A Miracle has been acquired by Collaboration in Japan. We look forward to continuing this momentum throughout the week, particularly with our new series, My Strange Addiction, which is among TLC’s top-rated shows in the US.”

Jon Kramer: high-speed sales

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DOC MARTIN: SEASON 5

HIS BEDSIDE MANNER IS AS BAD AS HIS PATIENCE #1 COMEDY—DRAMA & FORMAT INC. ITV1, TF1, ANTENA3

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A FASCINATING JOURNEY SEARCHING FOR TREASURES NEW FORMAT AND TOP RATING FACTUAL ENTERTAINMENT FOR BBC

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INSPIRATIONAL WOMEN TRANSFORM BAD BOYS INTO PERFECT PARTNERS NEW REALITY FORMAT FOR BBC FROM CREATORS OF DON’T TELL THE BRIDE

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ITALY’S MOUSE ON THE MOVE ATLANTYCA Entertainment and Moonscoop have announced that the first season of Geronimo Stilton has been sold to ZON Lusomundo Audiovisuals in Portugal for VOD and SVOD, JCS Film in Hungary for home video, Gazeta Sportulilor in Romania for home video, Pelican Publishing Malaysia and Singapore for home video and Natseven TV Malaysia for free-to-air TV. The second season, launching on Rai 2 in September, has been picked up by Portugal’s Canal Panda, Noga in Israel and okto tv in Singapore. “As the momentum for this wonderful animated series continues to build around the world, more and more broadcasters are recognising the truly global appeal of Italy’s most famous mouse author,” Luana Perrero, sales manager, Atlantyca Entertainment, said.

DICK DESERVES SALES SUCCESS FOLLOWING the sale of Dick de Rijk’s You Deserve It to ABC in the US, SevenOne International has secured further deals for the show in key territories including Germany, for SAT 1, alongside channels in Italy and the Middle East. You Deserve It is the first format from the partnership between SevenOne and Dick de Rijk, the mastermind behind the Deal Or No Deal. Jens Richter, managing director SevenOne International, said: “Dick de Rijk has done an amazing job. You Deserve It is an emotional rollercoaster with an incredibly touching finale.”

Scripps leads with lifestyle as FLN launches five new shows FINE Living Network (FLN) is launching five new lifestyle programmes over the next month: Bazaar, Adventure Golf, State Of Style, Design School and Color Splash.

FLN’s international distribution is a joint-venture between Scripps Networks Interactive and Chello Zone.

"These five series represent what Fine Living Network is all about,” Scripps Networks’ vice-president of programming & development, Mary Ellen Iwata, said. “MIPTV this year is hugely important for Scripps because we are refreshing the FLN channel following last year’s re-branding which partly involves bringing

some of the most successful shows in the US to the global market. But also, even though we’re adding Scripps’ inventory, I am here looking for series and am also open to commissioning projects for the future.”

In further news, Food Network Asia will debut a new regionally produced original special, A Culinary Coup: The Launch Of Ku De Ta, on April 18. Produced in Singapore by Off the Fence, the hour-long docu-reality programme follows chef Dan Segall as he frantically tries to get the country's hottest new restaurant, Ku De Ta, open in just eight weeks.

Scripps Networks’ Mary Ellen Iwata: refreshing the FLN channel

RAINBOW has sold PopPixie (52 x 13 mins), four Winx Club TV movies and the fifth season of Winx Club (26 x 24 mins) to Russian broadcaster CTC. Winx Club has been a huge success in Russia — on and off screen — and Rainbow hopes to emulate it with PopPixie.

Solid deals shape up for The Cube

All square: Adam Adler (left), creator of Objective Production’s The Cube, Kateryna Naumova from STB TV Ukraine, and All3Media International’s Sabrina Duguet.

PRIMETIME entertainment game show The Cube, originally produced

by Objective Productions for ITV in the UK, has notched up further international deals at MIPTV. Italy has commissioned a first series of the All3Media International format, with Mediaset co-producing with Objective Productions in the UK for four feature-length specials. In addition, Ukraine’s free-TV national channel STB has announced a 12-episode run of the series, and Germany’s RTL is now in pre-production on a two-hour special. The show is currently finishing production of the second series for Saudi Arabia’s Saudi TV, while UK series three is currently in production.

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NEWS

MIPTV NEWCOMER

GRACE MAHARAJ, sales executive, The Yellow Affair, Sweden “THE Yellow Affair is an international agent based in Stockholm and Helsinki for TV series, feature films and documentaries. Our producerfriendly business model has helped attract the best of projects. Our line-up speaks for itself — the rest is down to doing business in the most pleasant way possible.

This is our first MIPTV and we are intending to network with distributors and ultimately sell films. Our focus is to build good business relationships with prospective buyers. Companies looking for representation for their projects are, of course, also of interest to us. Since launching in 2010, we have had critical and commercial success, with our titles winning major festival and film awards.

We have also recently acquired a major motion picture and TV series from Scandinavia, and a thriller from Sweden. We also have several film and TV projects from the UK, Ireland, Canada, Sweden and Finland.

We have built a brand that is distinctive regarding the films it represents, and we see a bright future with many production companies with outstanding product approaching us for future representation.”

Kiss the Frog sees Van Messel turn hand to production BOUTIQUE distributor First Hand Films has ramped up activities by launching a company to operate as a fully independent production entity under the banner Kiss the Frog Films.

The new production company will focus on transmedia projects, as well as initiating, co-producing and executiveproducing creative documentaries and other non-fiction programming such as series and specials.

Kiss the Frog Films will also develop and produce its own in-house projects, and is looking to attract co-production partners, directors and financiers.

The first title secured under the new

subsidiary and currently in development is Women 40’s (working title).

The project takes an in-depth look at the mid-life challenge facing women around the world when they reach their 40s.

“Since I established First Hand Films as a distribution company back in 1998, our activities have also involved raising funds, co-developing and executive-producing on various projects to some degree,” First Hand Films’ CEO Esther van Messel, said. “We have continued to build momentum with this side of the business and, as such, we feel it makes perfect sense to now establish a production company.”

First Hand Films’ Esther van Messel: production company makes perfect sense

UK DISTRIBUTOR Electric Sky has signed a deal with UK terrestrial broadcaster Channel 5 for Darlow Smithson’s one-hour TV special Going For Green: Britain’s 2012 Dream, on the efforts to make the Olympic Games in London the greenest and most sustainable Olympic Games to date. Channel 5 will re-title the programme Building Britain’s Olympics. The programme has also been sold to VRT Belgium, TVI 24 Portugal, Rain TV in Russia, Wuhan TV China, i-Cable Entertainment Hong Kong, the Living channel in New Zealand and Sports TV in Spain. Sealing the deal in Cannes were (left to right): Electric Sky’s business development manager Karen Young, Channel 5’s commissioning editor for factual John Hay and Electric Sky’s CEO David Pounds.

New territories to enjoy PopCorn NOVAVISION, a leading supplier of visual gaff and sight gag clips for inclusion in family entertainment programmes, has expanded its operations through the acquisition of Denmark’s Media Entertainment Group (MEG) and sales deals with three major territories.

The deals with Iran, Russia and Turkey bring to 100 the number of countries in which Novavision’s most popular variety programme PopCorn TV is available, according to Novavision founder and CEO, Francois-Xavier Poirier.

Iran’s public service broadcaster IRIB has acquired 400 half-hours of Novavision’s PopCorn TV. The other deals are with TNT Turner in Turkey and the national channel DTV in Russia.

Pictured celebrating the new Novavision-MEG company are: Back row, Nathalie Nenning, sales director; Nadege Boinnard, executive vice-president; CEO Francois-Xavier Poirier; and Benoit Kirchhoff, chief operating officer. Front row: Natalya Orts, sales executive; Charlene Calmano, project manager; and sales executives Lucy le Gruiec and Charles Gebenholtz.

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NEWS

REPORT CLEARS UP MUSIC RIGHTS

Footprint Music’s Paul Kempton

A NEW report published by UKbased consultancy Footprint Music aims to unravel the maze of music usage rights on broadcast and digital platforms.

The report, Licensing Music: A Guide To Mechanical & Performing Rights In Audio Visual Content, has been unveiled at MIPTV. Getting permission to use copyrighted music on a linear broadcast network used to require a relatively straightforward blanket licence.

Thanks to multi-territory programming and the internet’s global and open infrastructure, using the same music requires a deeper understanding of mechanical rights, performing rights, constantly evolving copyright laws, and a host of acronyms like CELAS, PAECOL, and IMPEL, among numerous considerations.

“Even though our job is to provide solutions for our clients, it is difficult to explain why the landscape is so complex. We hope the report will help clarify matters,” said Paul Kempton, managing director of Footprint Music.

The report’s author is Andrew Shaw, former managing director of broadcast and online at UK royalties collecting society PRS for Music.

Landscape Channel focuses on high-quality HD programming LANDSCAPE Channel has launched what the company said will be the world’s highest quality television channel. LandscapeHD will broadcast its free-to-air channel in 1920 x 1080 progressive format (1080p), using cloud technology developed by London-based company Re:fine.

"Technology has made enormous advances in the way people access television content and there is a huge demand for HD programming worldwide,” Nick Austin, chairman of LandscapeHD, said.

“Now is the optimum time for us to be launching our new HD programming.

There are 150 million HD-ready televisions in Europe, but only eight million in pay-TV packages. Broadcasting via the cloud will allow IPTV and broadcast companies anywhere in the world to provide LandscapeHD to their customers, as the highest quality free-to-air channel. This will change the face of broadcasting over the next decade and change the way we do business forever.”

The world as seen on the LandscapeHD channel

Italy’s kids make the switch to digital INDEPENDENT broadcaster Switchover Media is improving its leadership in the Italian children’s TV market with its freeto-air digital channels K2 and Frisbee

Switchover Media’s Francesco Nespega: “extremely satisfied”

reaching a combined average audience share of 8.3%, and a combined daily reach of over 1.2 million kids aged four to 14 (20.7% of the target), based on March Auditel/AGBNielsen ratings.

K2, launched in July 2009, has been steadily ranking second in the market (5.6% market share in March 2011) while Frisbee, launched in July 2010, recently reached fourth position with a share of 2.7%.

K2 is distributed via digital terrestrial, satellite and, partially, analogue terrestrial to approximately 18 million Italian households — 75% of the possible total. Frisbee is distributed via digital terrestrial and satellite to approxi-

mately 14 million Italian households.

Switchover Media managing partner Francesco Nespega said: “We are extremely satisfied by the K2 and Frisbee ratings performance. The success of our channels is clearly based on the national roll-out of digital terrestrial which is going to be completed in 2012 and is causing a continuous migration of TV viewing from the traditional general entertainment networks to the new digital channels.”

K2 and Frisbee are complementary both in terms of target and positioning.

K2 is aimed at kids aged six to 12 (60% boys), while Frisbee is aimed at kids aged four to 10 with a 60% girl-skew.

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CONFERENCES & EVENTS

TUESDAY 5 APRIL 9.00 > 10.00 MULTIPLATFORM ENGAGEMENT THROUGH APPS: CONNECTED TV, SOCIAL TV, SMART PHONE AND RICH MEDIA TABLET APPS Produced in partnership with Any Screen Productions

Moderator Richard Kastelein, CEO, Agora Media Innovation and Publisher, Appmarket.tv Speakers David Jullien, Director, Business Development, Digital Gaming, Endemol Worldwide Brands Jeroen Elfferich, CEO, Ex Machina Tom McDonnell, Commercial Director, Monterosa Productions Ltd Daniel Saunders, Head of Content Services, Samsung Electronics Europe Patrice Slupowski, VP, Digital Innovation and Communities, Orange

DIGITAL MEDIA

CONTENT 360

CO-PRODUCTION

BRANDED ENTERTAINMENT

KEYNOTE

SCREENINGS

10.15 > 11.15 CONTENT 360: RICH MEDIA TABLET AND SOCIAL TV APPS PITCH Moderator/Host Jason Daponte, Founder and President, The Swarm Jury members Philip Bourchier O’Ferrall, Senior Vice President, Digital Media, MTV Networks International Gerard Grech, Head of Content Strategy & Portfolio Development, Nokia Bruno Patino, Director General, Digital & Strategy, France Televisions Neeraj Roy, Managing Director & CEO, Hungama Digital Media Entertainment Daniel Saunders, Head of Content Services, Samsung Electronics Europe Esterel, Level 5

Auditorium A, Level 3

10.30 > 11.15 MUSIC CLEARANCE PRESENTATION 9.00 > 11.00 OGILVY BRANDED ENTERTAINMENT LAB: ELEVATOR PITCHES WITH THE WORLD’S GREATEST BRANDS

THE RIGHT MUSIC AND THE MUSIC RIGHTS: WHAT DO PRODUCERS WANT? ALL YOU NEED TO KNOW ABOUT CLEARING MUSIC WORLDWIDE Hosted by Juliette Squair, International Business Director and Simon Anderson, Director of Operations, Audio Network

Sponsored by By invitation only

Majestic, Salon Royan, Level 1 MIPDoc Pavilion, Level 01 – AISLE 18

9.30 > 10.00 PRODUCERS’ FOCUS Guest Frédéric Fougea, Producer, Boreales

11.15 > 12.45 BRANDED ENTERTAINMENT ESSENTIALS: HOW TO GET STARTED? Chair Doug Scott, President, Ogilvy Entertainment

MIPDoc Pavilion, Level 01 – AISLE 18

9.30 > 10.30 WORKING WITH LATIN AMERICA: WORKSHOP

Speakers Colby Gaines, Owner of Leftfield Creative, Leftfield Creative Paul Day, VP of Branded Content & Digital Media, Cineflix Productions Olivier Gers, CEO of Endemol Worldwide Brands, Endemol Group Claire Heys, Director, Commercial Partnerships, Tiger Aspect Productions James Kirkham, Managing Director, Holler Auditorium K, Level 4

FOLLOWED BY CONNECTING & DEAL-MAKING (10.45 > 11.45) In partnership with Prensario

Moderator Nicolas Smirnoff, Director, Prensario International Speakers Marco Altberg, President, ABPITV (Brazilian TV Producers Association) Gaston Cami, VP International Sales and Coproductions, Illusion Studios S.A. Fernando Dias, Director, ABPITV (Brazilian TV Producers Association) Ricardo Ehrsam, General Director for Europe, Asia & Africa, Televisa Claudio Villarruel, President, ON TV - Llorente-Villaruel Contenidos

11.30 > 12.45 CONTENT 360 SUPERSESSION: “CONNECTING TO TOMORROW’S AUDIENCES” Moderator Ferhan Cook, President, Any Screen Productions Ltd./MobiAdNews Featured Presentation Kevin Slavin, Co-Founder, Starling.TV

Co-Production Lounge, Foyer Balcon Grand Audi, Level 3

Keynote Panel Gary Carter, Chief Creative Officer, FMX, and Chief Operating Officer, FremantleMedia Bruno Patino, Director General, Digital & Strategy, France Televisions Tom Perlmutter, Government Film Commissionner and President, National Film Board of Canada Showcased Demos featuring Tan Le, CEO, Emotiv Uzi Breier, EVP Sales & CMO, PrimeSense Noora Guldemond, Director of Marketing, Metaio Esterel, Level 5

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CONFERENCES & EVENTS

TUESDAY 5 APRIL 13.00 > 14.00 CONTENT 360: SMART PHONE APPS FOR YOUTH ENGAGEMENT PITCH Sponsored by National Film Board of Canada

DIGITAL MEDIA

CONTENT 360

CO-PRODUCTION

BRANDED ENTERTAINMENT

KEYNOTE

SCREENINGS

15.05 > 16.30 THE BEST BRANDED CONTENT IN THE WORLD SCREENINGS Organised in association with BCMA

Moderator Frank Boyd, Creative Director, Unexpected Media Jury members Nick Cohen, Multiplatform Commissioner, BBC Joel Pomerleau, Director of Platform Development, The National Film Board of Canada (NFB) Federico Lazzarovich, Head of Commercial Solutions, Mondadori Digital Auditorium A, Level 3

14.30 > 15.30 WHAT DO BUYERS WANT: THE MIPTV SERIES

Presented by Morgan Holt, Chairman, BCMA Doug Scott, President, Ogilvy Entertainment Esterel, Level 5

16.45 > 18.00 BRANDED ENTERTAINMENT KEYNOTE BRINGING NEW MEANING TO “BROUGHT TO YOU BY”: BRANDED ENTERTAINMENT IN THE DIGITAL AGE Keynote Miles Young, Chief Executive Officer, Ogilvy & Mather Worldwide

Guests Catherine Olsen, Executive Producer, CBC News Network Anne Julienne, France Television MIPDoc Pavilion, Level 01 – AISLE 18

Sponsored by

Interviewed by Kate Bulkley, Media Columnist & Commentator, KG Bulkley

17.30> 18.00

14.30 > 15.45 WORKING WITH ASIA: WORKSHOP

MIPTV BRAND OF THE YEAR AWARD

FOLLOWED BY CONNECTING & DEAL-MAKING (16.00 > 17.00)

with Marie Devlin, SVP, Global Advertising, Media receiving on behalf of American Express Esterel, Level 5

Moderator Pat Ferns, President/Executive Producer, Ferns Productions Inc. Speakers Keiko Bang, President, Bang Singapore Pte Ltd Nobuo Isobe, Executive Producer/Managing Director, Asia Content Centre Richard Langridge, Creative Director, Endemol Entertainment Malaysia Leland Ling, CEO, LIC Beijing Office Chang Long Jong, Deputy CEO, Television, MediaCorp

17.00 > 19.00 MOBY DICK ARRIVES ON-SCREEN BY WAY OF GERMANY Audi K, Level 4

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

Co-Production Lounge, Foyer Balcon Grand Audi, Level 3

18.15 > 19.00 CONNECTED CREATIVITY KEYNOTE 14.00 > 15.00 BRANDED CONTENT SOLUTIONS CASE STUDIES A SERIES OF CASE STUDIES REVEAL HOW BRANDED CONTENT COMES INTO BEING Organised in association with BCMA

Keynote Hans Vestberg, President and Chief Executive Officer, Ericsson

Sponsored by

Chaired by Morgan Holt, Chairman BCMA and Andrew Canter, CEO, BCMA

Interviewed by Ralph Simon, CEO, The Mobilium Advisory Group & Chairman Emeritus & Founder, Mobile Entertainment Forum Esterel, Level 5

Speakers Matt Jagger, Head of Entertainment / Creative Partner, Naked Communications Mark Cullen, CEO, ETV MEDIA GROUP Auditorium A, Level 3

The world’s entertainment content market

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SEMINAR PROGRAMME

TUESDAY 5 APRIL 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)

12.00 FIRST-TIMERS MEET-UP AND MIPTV TOUR Meet at the Hostess desk at the entrance of Experience Hub The Experience Hub

16.30 > 17.00 CLOUD BASED B2B MEDIA DISTRIBUTION SERVICE: RACANA, ISRAEL by Sasha Nykin, VP Sales & Marketing, Racana, Israel Presentation Theatre, Experience Hub

14.30 > 15.00 ON-DEMAND MOBILE TV: BITBOP BY JESTA DIGITAL, GERMANY & USA by Joe Bilman, Executive Vice President, Global Products, Jesta Digital, Germany & USA

17.00 > 17.30 SOCIAL MEDIA FOR SHOWS & EVENTS: BALLOON, FRANCE by Andreï Vestemeanu, CEO, Balloon, France Presentation Theatre, Experience Hub

Presentation Theatre, Experience Hub

15.00 > 15.30 SOCIAL TV MEETS MULTIPLAYER GAMING: EX MACHINA, NETHERLANDS

19.00 > 20.00 CONNECTED CREATIVITY HAPPY HOUR & PUB QUIZZ !

by Jeroen Elfferich, CEO, ExMachina, Netherlands Presentation Theatre, Experience Hub

16.00 > 16.30 DELIVER LIVE SOCIAL ANIMATION TO MULTIPLE DEVICES: IMPOSSIBLE TV, UK by Peter Scott, Managing Director, Impossible TV, UK

Sponsored by:

Hub Program Partner:

Presentation Theatre, Experience Hub

The world’s entertainment content market

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FORUM PROGRAMME

TUESDAY 5 APRIL CONNECTED CONSUMER

MAJESTIC HOTEL MEET. LEARN. DEAL 16.30 > 18.00 BREAK OUT GROUP #2

14.00 > 14.05 WELCOME Anne de Kerckhove, Director of the Entertainment Division, Reed MIDEM Salon Martha, Majestic Hotel

14.05 > 14.30 OPENING KEYNOTE Jon M. Chu, Director, Executive Producer & Writer Interviewer: Brian Seth Hurst, CEO, The Opportunity Management Company & Global Digital Ambassador, International Academy of Television Arts & Sciences Salon Martha, Majestic Hotel

14.35 > 15.05 TOP CONSUMER (MEDIA) TRENDS 2011 Nick Thomas, Senior Analyst, Consumer Product Strategy Forrester Research Interviewer: Gavin McGarry, President, Jumpwire Media Salon Martha, Majestic Hotel

15.10 > 15.35 CONNECTED TECHNOLOGY TRENDS Ned Sherman, CEO & Publisher, Digital Media Wire Interviewer: Will Cooper, Deputy Editor, New Media Age Salon Martha, Majestic Hotel

15.40 > 16.05 MOBILITY AROUND THE GLOBE: GET MULTI-LOCAL!

DIGITAL EXPERTS ROUNDTABLES - LET’S TALK MOBILE. Opening presentation by Soichi Nakajima, Senior Consultant, IDATE (Participants will receive the IDATE “White Paper LTE 2011”)

Australia: Mike Searle, Managing Director, Storyteller Digital Jennifer Wilson, Director, The Project Factory Brazil: Leonardo Xavier, Founder & Owner, Pontomobi France: Nicolas d’Hueppe, CEO, Cellfish Media Catherine Le Drogo, Director of Mobile Multimedia Offers, Orange Franck Tuil, Content Manager, Cellfish Media Germany: Peter Bruck, President, International Centre for New Media Peter Kerckhoff, VP Content & Media Partnering, Deutsche Telekom AG William Linders, EVP, Content, Bitbop by Jesta Digital India: Amit Dev, Co-founder, Third Generation Mobile Pvt. Ltd

Tomi Ahonen, Best-selling author and 3G Strategy Consultant Interviewer: Gavin McGarry, President, Jumpwire Media

Neeraj Roy, Managing Director & CEO, Hungama Digital Media Entertainment Pvt Ltd Anand Gurnani, Managing Director, Animation Xpress.com Russia: Nadezhda Antsiferova, Chairman, Mobile Content & Service Provider Association Anna-Maria Treneva, Head of New Media, CTC Media Inc Scandinavia Bjørn Isakson, Director of Partner Department, Telenor Nordic Erling Paulsen, CEO, Aspiro TV Kurt Sillén, Head of Customer Business Development, Ericsson United Kingdom Jason Binks, Head Of Digital and New Media, ITV plc Reid Genauer, VP Marketing, Bitbop by Jesta Digital Richard Mansell, CIO, MyVideoRights.com Dominic Pride, Managing Director, Sound Horizon Jake Redford, Head of Mobile TV & Music, Everything Everywhere United States Salon Diane, Majestic Hotel

TOMI AHONEN BOOK SIGNATURE SESSION: Foyer Martha, 16.10 to 16.30 Salon Martha, Majestic Hotel

MEET. LEARN. DEAL 16.10 > 17.25 BREAK OUT GROUP #1 INNOVATION FROM AROUND THE WORLD - THE CASE STUDIES Alex Ljung, Founder & CEO, Soundcloud Michael Schneider, Founder & CEO, Mobile Roadie Yoni Bloch, Founder & CEO, Interlude Tim Wright, Vice-President, Worldwide New Media and Technology, Sony Pictures Europe and Co-Chairman, UltraViolet Europe Austin Chang, Co-Founder & CEO, Fridge Michael Acton Smith, CEO, Mind Candy

18.15 > 19.00 MIPTV/CONNECTED CREATIVITY MASTERMIND KEYNOTE SERIES: Hans Vestberg, President and Chief Executive Officer, Ericsson Interviewed by: Ralph Simon, CEO, The Mobilium Advisory Group & Chairman Emeritus & Founder, Mobile Entertainment Forum Esterel, Level 5

19.00 > 20.30 HAPPY HOUR & PUB QUIZ AT THE EXPERIENCE HUB

Host and Interviewer: Gavin McGarry, President, Jumpwire Media 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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NEWS

PRESS CONFERENCES & EVENTS

TUESDAY 5 APRIL 11.00 - 14.00 RTVE CELEBRATES LOVE IN DIFFICULT TIMES’ SUCCESS Client: RTVE By invitation only

17.00 - 19.00 WORLD PREMIERE TELEVISION SCREENING OF MOBY DICK Client: Telemunchen Palais des Festivals — Auditorium K

Palais des Festivals — Verriere Grand Auditorium

13.00 - 15.00 ARTIST MIKHAIL CHEMIAKIN TO PRESENT HOFFMANIADA OF PRODUCTION FILM STUDIO SOYUZMULTFILM

17.00 - 19.00 ORF COCKTAIL PARTY Client: ORF By invitation only Palais des Festivals — Booth 21.01

Client: FSUE INCORPORATED STATE FILM COLLECTION By invitation only Hotel Gray d'Albion — Salon 4 Saisons

14.00 - 17.00 COME JOIN THAILAND'S NETWORKING RECEPTION

19.15 - 20.45 BRANDED ENTERTAINMENT COCKTAIL SPONSORED BY OGILVY Client: Reed MIDEM By invitation only Majestic Hotel — Salon Croisette

Client: KNOWLEDGE DEVELOPMENT CENTER CO LTD Palais des Festivals — level 1, booth 05.12

16.30 - 18.00 ANYTIME ANIMATION KOREA CHI CHI HAPPY HOUR Client: KOCCA Palais des Festivals — Booth 10.35

17.00 - 18.30 EVERY EVENING, FROM 17.00, JOIN FASHION TV FOR A GLAMOROUS 3D COCKTAIL Client: FASHION TV Palais des Festivals — Booth 08.14

21.30 - 03.00 DORCEL TV’S 5TH ANNIVERSARY Client: MARC DORCEL By invitation only Les Marches Club

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PRODUCT NEWS

Scream Street (Walker Productions/Coolabi)

More of the real thing ENDEMOL comes to MIPTV with a portfolio of reality and multi-platform formats. Making its international debut is elimination reality show Club VIP, which pits reality-TV celebrities against a group of wannabes. The contestants are locked up together at Club VIP — a private resort where popularity is the name of the game.

Secret Story, which has aired in France, Portugal and the Netherlands, is an evolution of the Big Brother format. A group of contestants, each with a dramatic past, live together in an isolated house while they attempt to reveal each other’s secrets. Returning Endemol formats include the multi-platform hit The Money Drop.

Looking for love

What a scream SCREAM Street follows the adventures of Luke Watson — a schoolboy and a reluctant werewolf. When the Government Housing of Unusual Lifeforms (GHOUL) hears of Luke’s hairy habit, they transfer him to Scream Street, a ghoulish ghetto populated by surfer-dude goblins, laid-back zombies, ghosts, vampires

and witches. This is the plot of a new supernatural comedy series from Walker Productions and Coolabi, which have entered into a co-development deal to transform Walker Books’ quirky comedy book series, Scream Street, into an animated TV show for seven- to 10-year-olds.

ZIG ZAG Love, a film starring Robert Carlyle (The Full Monty) about a 16-year-old boy who, after loosing his best friend to cancer, hits the road in pursuit of life and love, is brought to MIPTV by Machine Productions. The Wales, UK-based company — headed by two producers who were originally involved in BBC series The Story Of Tracy Beaker — has a production slate covering the adult and children’s market, in drama series, films and specials.

Machine is also in development on Tati’s Hotel, a 26-part live-action co-production with Canada’s Screendoor.

Wildlife through a lens

Alien alert!

PROFESSIONAL wildlife and nature photographer Doug Gardner is both in front of the camera and behind it in Janson Media’s Wild Photo Adventures (13 x 30 mins). Gardner’s new series follows the veteran photographer as he travels the globe to capture the natural world on state-of-the-art HD cameras.

The result is breathtaking imagery of, among others, grizzly bears in Alaska, tornadoes in Tornado Alley and poisonous snakes in the Amazon.

THE WOTWOTS are two small puppet-like aliens who have come to explore planet Earth in their steam-powered spaceship. They land in a local zoo and delight in learning all about the exotic creatures that live there. Next stop on the WotWots’ voyage of discovery is Latin America, where they will be debuting on HBO Family. The 52 x 10 mins animation series, produced by Pukeko Pictures, is available from Australia’s ABC Commercial.

Wild Photo Adventures (Janson Media)

Family-focused films PROCTER & Gamble Productions’ familyfriendly programming is headlining Shine International’s MIPTV slate. Among the titles on offer is the TV movie Secrets Of The Mountain (NBC), which features a public defender and single mother, who finds herself embroiled in the adventure of a lifetime when she takes her family to stay in a remote moun-

tain cabin. The Jensen Project (NBC) tells the story of a secret community of geniuses who are attempting to solve the world's most difficult problems. A Walk In My Shoes (NBC) is a high-school drama with a difference; while Change Of Plans (Fox) sees the Danville's life turned upside down when a tragic accident results in them taking on four young children.

The WotWots (ABC Commercial)

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PRODUCT NEWS

Tales of three cities EYETRONICS Media & Studios is attending MIPTV for the first time to introduce its liveaction/adventure multimedia collection, Lost Generation: Paris, Berlin & Shanghai. The $60m project tells fictional stories of adventure and romance set in the legendary cities between the First and Second World Wars.

Currently in development, Lost Generation is being filmed on location in Berlin, Munich, Paris, Shanghai and Los Angeles.

The Mastery classes

Bitter medicine for guilty man

Bajo El Alma (TV Azteca)

TV AZTECA — the world’s second largest producer of Spanish-language programming — is launching a telenovela, Bajo El Alma (Within My Soul), at MIPTV. The 96 x 60 mins series tells the story of the wealthy Cavazos family, who run a pharmaceutical empire. Diego Cavazos rejects his family and fortune after his brother and several of his relatives die in a fire at one of the plants. Burdened with guilt, he wanders around the world, carrying out dangerous jobs to punish himself for the tragedy. Produced by TV Aztec, Bajo El Alma is distributed internationally by Comarex.

All in the mind

Warrior queen

PORTFOLIO International comes to MIPTV with its newly acquired animation Jobi’s Room (52 x 1 min). Produced by Brazil’s 2D Lab, the fast and frantic series targets six- to 11-year-olds. The action follows the wacky imaginary adventures of 10-year-old Jobi and his best friend, Oscar the talking frog. Each fact-filled episode follows the two characters as they explore the world from the safety of Jobi’s bedroom.

Tracing the leaks THE MAN behind Julian Essange, who created the whistle-blowing website Wikileaks, is revealed in Wiki Secrets (1 x 60). The documentary looks into the life of Private First Class Bradley E Manning, the army-intelligence analyst who purportedly handed over the largest cache ever of classified documents to the internet activist. Wiki Secrets follows the trail of both Manning and Assange to uncover the truth behind the leaks and explore the issues at stake. It is brought to MIPTV

by PBS International.

Wiki Secrets (PBS International)

Ermessenda, Queen Of Kings (Imagina)

Jobi’s Room (Portfolio International)

CONSENTIDOS, a teen-targetted telenovela produced by Ideas del Sur and distributed by Grupo Televisa, is scheduled to air on Disney Channel in Spain. The 150episode show was developed by the same team that created the successful Patito Feo series. The stories — full of drama, music and dance — are based in The Mastery, a school populated with students who don’t easily fit into an ordinary school.

IMAGINA has boosted its catalogue with the international rights of Ermessenda, Queen Of Kings, produced by Ovideo for TV3. Set in the 11th century, the mini-series tells the story of the Ermessenda, Countess of Barcelona, who governed for 60 years. Ermessenda reigned in a world dominated by ruthless men, against whom she had to fight to retain her power. Imagina is also showcasing Globomedia’s The Boat at MIPTV.

© Foto: ScienceVision / Rita Schlamberger, Lukas Kogler

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ONE UNIVERSE IS NOT ENOUGH

WALTER KÖHLER AND HIS TEAM, THE FORMER ORF UNIVERSUM-EDITORIAL STAFF, HAVE FOUND A NEW HOME: THE TERRA MATER FACTUAL STUDIOS. “We will invest a lot of our energy in strengthening the output in our core genres – wildlife, science and history – but will move on to create top end productions for the big screen and develop new and innovative factual formats for every media platform.

Together with our worldwide partners we want to make TERRA MATER a brand which is recognized throughout the world for its unchallenged quality.” © ServusTV

(Walter Köhler/CEO)

VISIT US AT OUR BOOTH 11.02 / 13.01

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PRODUCT NEWS

Singapore showcase

Global mash-up TORONTO-based producer/distributor Skywriter Media & Entertainment Group is launching a new science series for eight- to 12-year-olds. Planet Echo (26 x 30 mins) is billed as a fun mash-up of colourful stories about people, places and things from the natural world.

Planet Echo (Skywriter)

Creating a Wow!

Office highs and lows

ELASTIC Rights is taking pre-school animation Wow! Wow! Wubbzy south. It already manages the show in Spain and Portugal, has extended its agreement with Starz Media and Bolder Media to cover Italy, Greece and Turkey. The Spanish rights-management company has also signed a deal with Argentinian producer Resonant to co-produce a teen telenovela. La Musa is about a group of magical characters who go on missions to Earth. Elastic is also licensing two youth telenovelas from Televisa and Ideas del Sur in Southern Europe.

Patito Feo recently launched in Greece, while its new stablemate, Incorreggibili (The Incorrigibles) premiered on Mediaset’s Boing in Italy in February.

THE MARVELOUS Flying Box (50 x 2 mins) is a new comedy series set in a company lift.

Created by Belgium’s Ebuco Digital Productions, it features quirky characters and short, sharp gags so that it works in two-minute episodes for mobiles, as well as a half-hour cut for television. The series is distributed by ohm:tv.

Wow! Wow! Wubbzy (Elastic Rights)

AUGUST Media, Bang Productions, Infinite Frameworks and Ochre Pictures are just some of the 11 Singaporean companies attending MIPTV this year with the Media Development Authority of Singapore (MDA). Among the companies are MediaCorp, which debuts six drama series: Crimson; Almost Famous; Living For The Dead; Rest Of My Life For Sale; Street Teachers; and Angels Of Troubled Paradise. And Scrawl Studios brings pre-school series Guess How Much I Love You, co-produced with Australia’s SLR Productions. On the tech side, SyQic is marketing its IPTV platform Yoonic, and Aleph Labs will be pitching BeyondTV, an application that combines conventional TV-watching with real-time interactive content from social networks such as Facebook and Twitter.

Ninjas to the fore

Back to nature FRENCH producers GAD and N3D Land are taking a radical approach to factual programming with their new series, Pale Oceans Adventures 3D. The serial is a drama-documentary that follows a film crew travelling 65 million years back in time to film dangerous marine animals. The two companies are seeking international pre-sales for the miniseries, which is split into three 52-minute episodes, one each for the Triassic, the Jurassic and the Cretaceous eras.

Golf Jitsu! (Next Stage)

Pale Oceans Adventures (GAD)

A NEW series from Spanish company Next Stage combines two hobbies not often seen together: martial arts and golf. Golf Jitsu! (52 x 11 mins) is a multimedia comedy action series for viewers aged six and above in which four ordinary school kids go to a martial arts lesson and find themselves learning the ancient art of Golf-Jitsu. Other properties from Next Stage include 13 and Mopupo And The Treehouse Club.

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PRODUCT NEWS

Wedding belles MTV NETWORKS International is launching four new formats at MIPTV. Slips is an MTV UK production in which two wannabe racers bet their cars that they can beat each other on the race track. Dance Cam Slam is a talent show that allows viewers to compete for cash prizes from home, using their webcams. I Used To Be Fat is a formatted documentary that sympathetically tells obese teens’ stories as they try to change their lives, while Moving In subjects potential suitors to the scrutiny of their date’s parents as it forces them to live under the same roof for a weekend. Also on the MIPTV slate is Bridal Bootcamp, which sees brides-to-be enroll in a hardcore weightloss programme in order to slim into their dream wedding dress.

Bridal Bootcamp (MTVNI)

Doing the monster math

Elixir of youth

CANADA’s DHX Media has added a new series, Monster Math Squad (30 x 12 mins), to its slate for MIPTV. The pre-school property, commissioned by CBC and SRC, features lovable monsters who use their maths to solve problems, helping kids develop their numeracy and mathematical abilities in the process.

The show’s creator, Jeff Rosen, was also behind the company’s Poko, Animal Mechanicals and Bo On The Go.

YARSAGUMBU, a unique substance formed by fungus growing on mummified caterpillars, is the subject of Kwanza’s documentary, Himalayan Gold Rush. The Chinese believe yarsagumbu has anti-ageing and aphrodisiac properties and, at $50,000 a kilo, it is more valuable than gold, and it attracts hundreds to the dangerous high mountains to harvest it each year. Paris-based Kwanza is co-producing the 52-minute HD doc with France Televisions.

Himalayan Gold Rush (Kwanza)

Working on Instinct

Lost tribe discovered

HARD-hitting fiction headlines Telewizja Polska’s MIPTV slate. Instinct is a 13-episode crime series featuring an intriguing female police chief, while Made In Poland (90 mins) tells the story of an alienated teenager who, despite the attempts of teachers and family, tattoos a swearword on his forehead. Flying Pigs (99 mins) recounts how the demise of a local football club affects four men. Drama series Twisted Fortune follows a carefree single woman who re-evaluates her life when she looks after her friend’s children.

THE ANGRY Blazing Sun is an HD documentary available from Taiwan’s T&W Cultural and Creative Media. Using dramatic reconstruction, it tells the story of the Sakizaya, an ancient tribe long thought to have died out.

However, the Sakizaya was rediscovered, having hidden away for a century. In the film, they recount their turbulent history through the few remaining people in the outside world who can still understand their language.

Instinct (Telewizja Polska)

The Angry, Blazing Sun (T&W Cultural and Creative Media)

Monster Math Squad (DHX Media)

High-speed learning EXTREME English, a format brought to market by Spiral Design Innovation, is also one of the languages featured in the show that aims to help viewers learn launguages through travel and sports. Spiral also brings Space Rescue, a mockumentary that follows two aliens exploring earth; Fool Pool, which organises triple dates for friends; and Music Heroes, a reality format in which viewers watch their favourite bands battle for success.

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PRODUCT NEWS

Mini-witch hunt

mySkreen to yours

Reel-life heroes

DELPHIS Films is expanding its pre-school roster following the success of it animation series Dragon (78 x 12 mins); Doggy Day School and Adventures Of Pim And Pom have both been commissioned for a second season. Delphis is also showcasing its best-selling Fuschia The Mini Witch (85 mins) and the CG animation Luke And Lucy And The Texas Rangers (85 mins).

MYSKREEN is at MIPTV to promote its online video-search and distribution platform to content-providers. More than 1.4 million legal, professional-quality videos from all genres can be accessed by the user from the mySkreen website. All catch-up TV, VOD and web TV services are available. mySkreen can also charge for the content and harvest user information on behalf of rights-owners. The company is also working on multiplatform interoperability.

PUT THREE young adults together in an apartment in a strange city and what do you get? Love, hate, friendship and anger, according to Urban Heroes (11 x 5 mins), a German mini-series available from Reel Suspects. Inspired by the experience of sharing houses and transient relationships, Urban Heroes is based on real-life events taken from its actors’ lives.

Explosive history FRANCE Televisions Distribution is handling pre-sales of Artline Films and Kami Productions’ The Black Sun Of Hiroshima. The documentary tells the secret scientific history of the experiments behind the nuclear bombings in Hiroshima and Nagasaki, and examines the devastating aftermath of the attack. Director Kenichi Watanabe, who lives in France, was in Tokyo when the recent earthquake hit, and the film draws a sombre parallel between today’s events and those of the past. All archive material has been remastered in HD, and the film benefits from the production input of NHK. France 3, RTBF, RTS and Planete also co-produce.

Fuschia The Mini Witch (Delphis Films)

Urban Heroes (Reel Suspects)

Degrassi reaches 10 TEENNICK’s most watched series, Degrassi, is launching its 10th season at MIPTV. The teen show, distributed by Echo Bridge Entertainment, follows an ensemble cast as they experience the ups and downs of high-school life. Season 10 moves to a telenovela-style format (44 x 30 mins or 22 x 60 mins) and features a cliffhanger at the end of every episode.

Previous series have tackled issues including self-image problems, peer pressure, sexual identity and teen pregnancy.

The beautiful dream

Ivan’s Dream (Latido Films)

HEADLINING Latido Films’ MIPTV slate is the TV movie Ivan’s Dream, which follows an 11year-old schoolboy in his quest to play in a football team consisting entirely of kids. If he is picked, Ivan will have the incredible opportunity of playing in a match against Spain, the champions of the world. However, Ivan is also occupied by the interest of the team’s star player in Paula, the girl he loves.

The Black Sun Of Hiroshima (France Televisions Distribution)

Degrassi (Echo Bridge Entertainment)

The MIPDoc success story continues.

Thanks to all participants.

767 participants (+6%). 58 countries. 1,399 programmes, 27,097 screenings (+8%).

Screen programmes year round with MIP Online Screenings.

Visit our MIP stand N째 18.22/20.17 Level 01 or see you next year!

Where the story begins.

Save the 2012 date now!

Thursday 29 - Friday 30 March www.mipdoc.com

The international showcase for documentary and factual programme screenings

Thanks MIPDOC.indd 1

04/04/11 15:29

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PRODUCT NEWS

Imagining South Africa

CCI take Joe And Jack

CLICKBOOGIE Media is licensing a range of South African programming at MIPTV. The documentary series A Country Imagined (10 x 48 mins) looks at the country’s dramatic landscape and its cultural impact on its artists, musicians and writers. Like the companion series Shoreline (14 x 48 mins), it is shot in HD. In Cooked, Season Five, subtitled Living Free, South African foodie Justin Bonello embarks on an 8,000 km journey to discover the provenance of the food he eats. By contrast, Sharp Shooter (10 x 48 mins), takes us backstage with 15 skilled photographers to examine how they achieve their best shots. And documentary A

CCI ENTERTAINMENT is to handle worldwide distribution and merchandising for a new animated pre-school series, Joe And Jack (39 x 7 mins), from Ireland’s Dancing Girl Productions. Joe And Jack — about a boy and his best friend, a cat — has been picked up by Ireland’s RTE for delivery in mid-2012.

A Country Imagined (Clickboogie Media)

Farm For Africa tells the extraordinary story of how a handful of white Zimbabwean farmers made a new life in Nigeria at the invitation of Nigerian state governor Bukola Saraki.

Driver Dan on the right track DRIVER Dan’s Story Train rumbles into Cannes this week, with strong ratings for its first series on CBeebies and a second 50 x 10 mins series in production.

The show combines CGI animation and live action to bring stories and books to life. Pro-

duced by 3Line Media in the UK and twofour54’s Blink Studios in Abu Dhabi, Driver Dan’s Story Train is broadcast in the US on Sprout and in Australia on ABC TV. The Arabic version airs on Baraem, JCC’s pan-regional pre-school channel.

Joe And Jack (CCI Entertainment)

Russian intrigue FRANCE Televisions Distribution has licensed Russian rights in its Agatha Christie Collection to Total Content. Total acquired Russian TV rights, new media, DVD and other rights to the first two seasons of A Series Of Little Murders, Seasons One and Two (totalling 8 x 90 mins), and plans to make the most of them in 2011 — the 35th anniversary of her death.

Driver Dan’s Story Train (twofour54)

Timmy Time specials AARDMAN Animations has announced plans to produce two half-hour specials of the hit preschool series Timmy Time. The first of the specials will see Timmy and his friends enjoying their first sleepover, after being snowed in at nursery. The second follows Timmy and his classmates to the beach, where Timmy’s precious teddy gets washed out to sea. The two specials will be delivered in October 2011.

Timmy Time (Aardman)

Unlocking The Code THREE-part documentary series The Code shows how secret numbers can influence events thousands of miles away, underlying how whirlpools spin and flocks of birds move as one. Distributed by Open University Worldwide, it has pre-sold to Swedish educational broadcaster UR. Open University Worldwide is licensing another OU show, Ever Wondered About Food, which examines the history and science of cookery. Five seasons of the quirky show recently sold to National Geographic for transmission in Italy.

The Code (Open University Worldwide)

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Daily newsV6 indd 9

01/04/11 13:32

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PRODUCT NEWS

Sex comes under the spotlight

Living with lemurs

H GAGNON Distribution is at MIPTV with eight-hour documentary series Sex Around The World.

The show, hosted by journalist Philippe Desrosiers, attempts to debunk stereotypes, cultural ideals and sexual orientation, while excavating the history of societies to better understand the original and evolution of certain customs. Sex Around The World also discusses sexual practices socially acceptable in some place and repressible in others.

WILDLIFE specialist Earth-Touch launches a new documentary film at MIPTV this week, highlighting the plight of the silky sifaca lemur in Madagascar. Trouble In Lemur Land (1 x 52 mins) follows American primatologist Erik Patel and Malagasy conservationist Desire Rabary in their quest to protect the rare and beautiful species of lemurs. Earth-Touch is also showcasing HD documentaries Dolphins – Beauty Before Brains?, Boteti – The Returning River, Lost Lagoon, Deep Blue Dive and children’s show Survival Stars, which mixes documentary and animation to educate and entertain kids.

Sex Around The World (H Gagnon Distribution)

Kidobi keen on content KIDOBI, which offers an online destination for educational videos for children between three and six, is at MIPTV looking for new international partners to expand its digital library to meet growing demand for additional educational and entertaining content. Eric Sorenson, director of research and content at Kidobi, said: “Our goals over the next few months are to establish new partnerships with international content producers, to diversify our catalogue and build a library with a variety of educational videos that entertain our young viewers.”

Trouble In Lemur Land (Earth-Touch)

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PRODUCT NEWS

Food fest from Oz SBS AUSTRALIA launches a new slate of food titles this week including Zumbo (6 x 26 mins) and French Food Safari (9 x 26 mins), the long-awaited follow-up to Food Safari. Also being launched is Gourmet Farmer (two 10 x 26 mins series) and House Of Food Obsessives (2 x 52 mins), investigating people’s eating issues.

The Clan in Cannes FREMANTLEMEDIA is at MIPTV with a new daily drama in development. With a working title of The Clan, the show — created and produced by FremantleMedia Croatia — was commissioned by RTL Croatia for broadcast later this year. The drama series has been developed to suit the tastes of its home market and as an adaptable scripted format.

The story focuses on two families who are united against their will by a relationship between young lovers, with elements of conflict and resolution, secrets and revelations, upstanding morals and tempting corruption, and ulimately the love story between two young people trying to override them all.

Star memories THE LATE film legend Elizabeth Taylor is among the screen icons featured in Stars Of The Silver Screen (9 x 60 mins) for the UK’s Bio HD Channel, which also includes portraits of Marilyn Monroe, Frank Sinatra and Marlon Brando among others. The shows feature a wide range of interviews from those who knew the legends as well as contributions from film critic and writers. The series is brought to MIPTV by 3DD Entertainment. Also being presented by the UK company is Pop Profiles (13 x 30 mins) featuring artists like Lady Gaga, Rihanna, Katy Perry, Britney Spears and Justin Timberlake.

Stars Of The Silver Screen (3DD Entertainment)

Modern look at history LEGENDARY moments of our history are given a modern perspective in Written In Stone, an animated documentary shot in stereoscopic 3D. The series, produced by El Ranchito Imagen Digital and Empty, is brought to market by Nottingham Forest. It focuses on four great figures and cities that changed the course of history, including Julius Caesar and Rome, and Pericles and Athens. Nottingham Forest is also handling animated series Champions, Laland and Jokebox for production company Kotoc.

Written In Stone (Nottingham Forest)

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PRODUCT NEWS

Cross-platform tweens CROSS-platform property The Qpiz from Zodiak Kids has been enjoying notable success in Italy, now ranking in the top five most watched programmes for tweens and teens. The three Qpiz heroines, Hearty, Liebe and Lovelyn, now also have a dedicated domain on Libero.it portal, allowing its 12 million users to access exclusive content from the Qpiz world.

Mushers: The Sled Dog Race (Electric Sky)

Electric Sky’s 3D beasts THE MOST intense sled dog competition in the world will be available to view in 3D thanks to Electric Sky. The UK distributor has taken on French production company CowProd’s doc, provisionally titled Mushers: The Sled Dog Race, which is shot against the glorious backdrop of the French and Swiss Alps.

Electric Sky is also representing Bull Proof,

a 4 x 60 mins 3D doc series about professional bull riding, and its own The Wildebeest Migration (2D and 3D, 60 or 90 mins), which captures the epic movement across the savannah of two million wildebeest. On a different tack, it also has A 3D Guide To Belly Dancing (6 x 30 mins) and Stereograph: A 3D Tour Of Victorian London.

Nuclear spotlight

Globodoc on football

NUCLEAR Power – A Controllable Risk? is a Full Report Special documentary from Deutsche Welle and Transtel. It counterbalances the significance of nuclear fission and its practical and scientific benefits, with the dangers it poses to human life and the environment. The 6 x 30 mins series shines a spotlight on the spread of nuclear weapons, Chernobyl and the ticking time bomb that is radioactive waste.

GLOBODOC is launching nine new titles at MIPTV, among them Brazil 2014 – The Cup Of Hope, which charts how the country is preparing for the 2014 FIFA World Cup finals, with new stadia, transport facilities, services and security arrangements. Invisible Blanket, meanwhile, highlights the damage caused by the greenhouse effect. GloboDoc is Globo TV International’s documentary series that offers an inside perspective on Brazil. Its first two seasons were licensed to more than 30 countries.

Full Report Special: Nuclear Power – A Controllable Risk? (Deutsche Welle)

Brazil 2014 – The Cup Of Hope (Globo TV International)

Seeing Spanish stars SERGIO Cabrera y Asociados is a Spanish production company founded by the eponymous director. At MIPTV it has Estrella Fugaz (Shooting Star), a short featuring the legendary Spanish singer, Joan Manuel Serrat, and the ‘Making Of’ of Antena 3-broadcast Adolfo Suarez, El President. It also has a documentary on violence, made for the UN, in post-production, and a feature film, Santander, in development.

Following Dolly’s path MANTARAY Films’ documentaries I’m My Own Dolly Parton and A Mother’s Comeback are being premiered at MIPTV by NonStop Sales. The first features former Cardigans singer Nina Persson in a personal journey inspired by the American icon, treating the subject of how to deal with the challenges life throws at you. A Mother’s Comeback, which will have a Swedish theatrical release, focuses on Rosie, a woman who put her passion for drag racing aside to take care of her braindamaged son. Now, 30 years later, she feels ready to take back her ‘70s moniker, the Drag Racing Queen.

280_RM COLLECT GUIDE_N2_TV__ 01/04/11 13:50 Page1

Pick up your copy at registration or in aisle 19 level 01

Make the most of MIPTV with the 2011 guide.

A year round networking tool.

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29/03/11 17:32

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PRODUCT NEWS

Time for action

High Point for two docs

MUNICH-based distributor Telepool has picked up worldwide distribution rights for MEK 8, a new action TV series produced by the company action concept Germany. It tells the story of six highly trained policemen and women — their personal lives as well as their outer battles against armed and dangerous criminals. Action concept has produced the first season of 16 x 30 mins episodes in HD for RTL2 primetime.

HIGH Point Media has snapped up world rights to two feature-length documentaries: Jerry Rothwell’s Tribeca-nominated Donor Unknown and Jason Massot’s Road To Las Vegas. Donor Unknown follows a young woman who tries to track down her sperm donor father, while Road To Las Vegas follows the mixed fortunes of a family as they chase the American Dream from Alaska to the Nevada Desert battling unemployment, drug addiction and break-ups along the way.

Donor Unknown (High Point Media)

MEK 8 (Telepool)

Bringing the sunshine in CANADA’s Picture Box Distribution has brought its new design series Summer Home to MIPTV. The 10 x 30 mins lifestyle programme follows interior designer Karen Sealy renovating various properties using simple and inexpensive design principles and materials.

Produced by RTR Media, Summer Home premieres on HGTV in Canada later this year.

Summer Home (Picture Box Distribution)

Manga on the menu

A load of laughs

TOEI Animation is introducing Toriko at MIPTV, an adventure/action anime series currently in production and aimed at teen audiences.

Based on the manga written by Mitsutoshi Shimabukuro, the story takes place in a world where food is extremely important. It features Toriko, a legendary gastronomic hero who is chasing worldwide unknown ingredients to accomplish his dream of completing the ultimate full-course menu.

NELVANA Enterprises puts the spotlight on laughter this week with three animated comedies for kids aged six to 11: Sidekick stars Eric and Trevor, who are training to be superhero sidekicks. The series, already airing on YTV in Canada, launches on Canal J in France and K2 in Italy later this year; Spliced features a community of half-baked mutants living on Keep Away Island; and Scaredy Squirrel sees an awesome squirrel tackle life’s everyday challenges. Also available is live-action sitcom Mr Young, for kids aged eight to 12, about a child prodigy who lands himself a job as a high school science teacher, instructing students of his own age.

All in the name of art AIMED at a target audience of seven- to 12year-olds, Slash:// tells the adventures of a group of five youngsters from across the globe who, thanks to the magic power of a green stone, are able to physically travel through the worldwide web. They come up against the evil Cobra, who has a fragment of the stone and is intent on destroying some of the most important works of art on the planet.

Gruppo Alcuni has already sold the children’s series, only just completed, to Canal Panda Spain and RTP Portugal.

Slash:// (Gruppo Alcuni)

Eventful market DRAMA, comedy and reality shows are all on NBCUniversal International Television Distribution’s extensive slate of programme highlights for MIPTV. Drama series include The Event (22 x 60 mins), an emotional thriller about a man’s quest to find his girlfriend’s killer and who unwittingly begins to expose the biggest cover-up in US history.

Other dramas include The Cape, Law & Order: Los Angeles and Fairly Legal. Among the comedies are After Lately, Mrs Brown’s Boys and Perfect Couples, while All About Aubrey and America’s Next Great Restaurant are on the list of reality shows.

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PRODUCT NEWS

A taste of Spain

Magic new show

SHAFTESBURY has completed production on From Spain With Love. Presented by Annie Sibonney and the first series from the company’s newly launched factual entertainment division, the 13 x 30 mins food adventure series explores the diverse culinary culture of Spain.

The show premieres on Food Network in Canada and Cooking Channel in the US. Sibonney is a food writer and expert on Spanish regional and haute cuisine.

A NEW joint-venture between GroupM Entertainment and Sony Pictures Television’s 2waytraffic is launching Impossible? this week in Cannes. The new magic-based game show is created by Gogglebox Entertainment and co-produced with GroupM Entertainment.

In the format, a professional illusionist sets up a series of spectacular and seemingly impossible feats. The contestant’s dilemma is to decide whether what he’s proposing is possible or impossible. Illusionist Philip Escoffey hosts and performs in the UK version of Impossible? and is at MIPTV to present a special illusion event at the Sony Pictures Television stand.

From Spain With Love (Shaftesbury)

Tapping into Phone Genie MOONSCOOP, its sister company Lux Animation, UK production house Talent Television and Telegael in Ireland are to co-produce a new live-action series with special effects, My Phone Genie. CiTV has commissioned the 26 x 30 mins se-

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ries in association with ZDF/ZDF Enterprises. As well as a live-action TV series, the producers have also developed a multi-platform offering and plan to grow the brand via technology relevant to the target age group of 12-plus.

Impossible? (GroupM/2waytraffic)

Hair of the dog ITV STUDIOS Global Entertainment is launching A Different Breed (8 x 60 mins) at MIPTV. The show, from the creators of Pineapple Dance Studios, follows the eccentric people who work in dog

grooming salons, and the dogowners who visit. The show uses editing tricks and comedic scripted voiceovers to speculate what the canine participants might say, if only they could.

Popular Little Princess Turf Wars goes into action TURF Wars, a 13 x 60 mins series that depicts the real-life situation of the US Marines at war in the Helmand province of Afghanistan, is being launched internationally by Clockwork Zoo. The programmes follow the lives of a company of young soldiers as they go about their day-to-day op-

erations to suppress the enemy.

Much of the action is filmed through the use of mini HD cameras attached to the soldiers themselves. The company claims that the show gives a perspective on war that has never been seen before, with the viewer closer to the action.

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ZODIAK Kids, the new children’s production and distribution arm of Zodiac Media Group, is at the market with Little Princess, based on the best-selling picture books by author/illustrator Tony Ross.

The pre-school property already airs on Five’s Milkshake! in the UK and on international channels including NRK Super in Norway, SVT Barnkanalen in Sweden and Ki.Ka in Germany. Series three has been acquired by ABC TV Australia, Discovery Latin America, ATV for Hong Kong, DR1 in Den-

Little Princess (Zodiak Kids)

mark, Thai PBS, Czech TV, TVO Canada and RUV Ireland.

Dandelooo debuts DANDELOOO, a creative boutique company that produces and distributes original animation, is making its MIPTV debut. The Dandelooo launch includes titles from the Alphanim and Gaumont catalogues (in Latin America and the

US) as well as The Podcats; Pipi, Pupu And Rosmary; Ninon; and The Fishtronaut. Currently, it is coproducing (with 2 Minutes) Chico Chica Boumba (52 x 3.5 mins), featuring dancing animals, for France’s M6.

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PRODUCT NEWS

Climate change in the Himalayas UK-BASED distributor Journeyman Pictures is at MIPTV with HD doc Broken Moon, the story of a Himalayan community forced to abandon their homes as climate change turns their world into a desert. It also has Benghazi Stories (45 mins), which it believes to be the first documentary on the Libyan civil war. Also on the company’s slate is Sequestro. Four years in the making, Sequestro follows Sao Paulo’s anti-kidnap police. Journeyman is also active online. On the eve of the market, it said that its factual content-based YouTube channel is achieving one million video views in a single day.

Goodies and baddies ENTERTAINMENT One (eOne) brings a hefty drama catalogue to MIPTV covering all genres. Two true-crime projects from the company have already sold to Investigation Discovery in the US; The Devil You Know and Pig Farm, a 90-minute documentary about Robert Pickton, a serial killer who fed his victims to his pigs. Recent deals for The Walking Dead, the successful zombie series starring Andrew Lincoln, will see it airing on TVNZ, TV Norge, Danish Broadcasting Corporation and Ireland’s RTE . Rookie Blue, meanwhile, which follows five ambitious cops fresh out of the academy, has sold to SBS Networks in the Netherlands, Finland, Norway and TV4 in Sweden, among others.

Hell freezes over

Broken Moon (Journeyman Pictures)

ZODIAK Rights, the international rights division of Zodiak Media Group, is unveiling new HD documentaries, produced by Mona Lisa and directed by the award-winning Thierry Berrod. Titles include The Iceman (60 mins), a breathtaking adventure exploring the depths of a vast ice cave, and Life In Hell (4 x 60 mins), which examines ‘extremophiles’ — organisms that thrive in the most extreme conditions on earth. Manimal (5 x 60 mins) is about the unique and trusted relationships between man and animals, and Insectomania (4 x 60 mins) reveals how insects have contributed to the fields of science, medicine, architecture and the arts.

Trekking with the Prince

North Pole Warriors (BBC)

BBC ONE has been given exclusive access to film the UK’s Prince Harry and a team of wounded soldiers as they undertake a grueling 200-mile trek to the North Pole. Twofour Broadcast is making the documentary, which has the working title North Pole Warriors. The expedition is raising money for Walking with the Wounded, a charity of which the Prince is a patron, which helps wounded servicemen and women reintegrate into civilian life. With no back-up vehicles or doctors the team are pulling all the equipment and supplies they need for the duration of their four-week expedition over the toughest terrain in the world.

The Iceman (Zodiak Rights)

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COOKING SHOWS

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RECIPES FOR SUCCESS

What’s new in the kitchen?

Daytime and, increasingly, evening schedules are packed with cooking and how-to programmes at the moment.

Gary Smith looks at the reasons behind their popularity, and what’s new in the kitchen

T

EN YEARS ago, cooking shows were a solid staple of daytime and weekend schedules, but hardly any of them made it beyond the school-run watershed of morning and mid-afternoon slots. It was partly thanks to an English cook — the charismatic, shambolic and hilarious Keith Floyd — one of the first to break through the scheduling barrier by presenting the preparation and consumption of food as something that any sensible person could and should enjoy. Floyd’s genius, alongside his old-world charm, was that he made cooking look do-able and he made it appear fun, things which these days are two immutable rules of the genre.

The current wave of cookery shows invariably features an engaging presenter, but what is really driving the huge global popularity of the genre is the fact that there is pretty much no limit to what can be done within the basic “smile and stir” format.

Nadia G bringing New Jersey attitude to the kitchen (Tricon Films & Television)

“There has to be a unique element for a cookery show to really work,” says Sarah Tong, director of sales, Hat Trick International. “And a certain accessibility so viewers all over the world can connect and relate to it. Dinner Date is successful because people are fascinated by potential romance —

the ‘will they, won’t they’ element.”

Another Hat Trick show — One Man And His Campervan — appeals to viewers who long to simply travel the countryside at a slow pace and be totally self-sufficient. “To have the freedom to live off the land while cooking with the freshest in-

gredients is a dream for many,” Tong says. “Although some of the dishes that Martin Dorey cooks don’t turn out as planned, this adds humour to the story.”

Underlying the abundant charisma and the quirkiness, is the fact that we all need food. “Food shows,

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COOKING SHOWS

whether they are based around cooking, competition, travel or dating, work particularly well if there are characters who are interesting to follow,” Tong says. “My kids in the UK are glued to MasterChef Australia — not because they are interested in the food but because they love the competition element and root for their favourite to win.”

According to Munia Kanna-Konsek, head of sales at Beyond International, the cooking genre will continue to thrive while the three

Chuck’s Day Off (Beyond International)

ingredients are out there: “As long as there is imagination, funds to produce and a broadcaster willing to take it on, then there is no limit to what can be done,” she says. “Beyond has been very successful with series like Chuck’s Day Off and Chef Worthy, plus we even ventured into a drama based on a war between restaurants (a la Romeo and Juliet) with The Cooks.”

Lateral thinking has created the genre’s many variants but a hit show’s appeal remains rooted in re-

ality. “Everyone would love to create something mouth-watering to please that certain someone or the whole family,” Kanna-Konsek says.

“Start with an entertainment factor, add spoonfuls of stunning visuals, copious amounts of gorgeous closeups, fold in a wonderful host and you have a hit on your hands.”

Tobias de Graaff, director global television distribution, ITV Studios Global Entertainment, believes that human chemistry is an essential part of the mix. “In most of our cookery

formats the shows are not just about food, they’re about food and people. Come Dine With Me is an insight into people’s homes, their lives, their eccentricities and how they interact with other people.

Most of us are a bit nosey, and this is what the format plays to. Best Dish, for example, which pitches amateur chefs against each other in their bid to create an original culinary delight, follows contestants on a dramatic journey of success and disappointment as they perfect their cookery skills.”

There is also a wider and undeniably trans-national sociological factor at work here; all of these shows are thriving through an upsurge in the popularity of home cooking and entertaining. “Most people cook and most people relate to pressure in the kitchen whether they are good cooks or bad,” de Graaff says. “The beauty of our cookery formats is that they have the potential to work in most territories. Food is part of every culture and most people cook in some capacity; whether you are an amateur or have a desire to take it more seriously, success or failure in the kitchen is something most people can relate to.”

Among the 30 international versions of Come Dine With Me, one of de Graaff’s favourite episodes was more about altruism than food.

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My kids are glued to MasterChef Australia — not because they are interested in the food but because they love the competition element

Sarah Tong

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“There was a fantastic episode in Poland when three out of the four contestants scored the same points, so they decided to share the prize money between all four of them.

They had genuinely become friends and thought this was much more important than prize money,” he says.

Alongside the popularity of home cooking, interest in cookery shows also springs from the fact that the popular perception of running a restaurant has changed. “It used to be considered as something that was all about long hours, but it has become much more prestigious,” says Greg Moyer, president of Scripps International. “When you have shows such as America’s Next Great Restaurant airing in primetime on NBC, it’s clear that the popularity of cooking shows has exploded. And it’s happening all over the world, thanks to the application of highlevel production values to engaging, inspiring shows.”

There is also the ‘R’ word: “A lot of cookery shows have some sort of reality-TV element,” says Nick Thorogood, general manager, Food Network EMEA. “Food on TV can be easily made to look delicious, and that accessibility draws in audiences because nearly everyone knows what great food is, and we all have a taste memory. Then there is the question of the casting and context. In The

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Food on TV can be easily made to look delicious, and that accessibility draws in audiences because nearly everyone knows what great food is Nick Thorogood

Healthy Gourmet (Kaleidoscope Productions)

Barefoot Contessa, an engaging presenter like Ina Garten is central to the appeal of the show. She is charming and funny and an excellent chef, but there is also the lifestyle element.

She lives in a beautiful house in the Hamptons and is part of a glamorous, privileged world.”

The Food Network channel is currently measured in two markets, with the latest figures showing a slight skew towards women. “Overall our audience is about 45% men, but shows like Ultimate Hamburger and Burger Of The Gods are a big draw for men, especially ones who love to barbecue,” Thorogood says. “But documentaries with a reality/lifesyle element such as The Launch Of Ku De Ta, about the opening of a restaurant in a skyscraper 55 storeys

above Singapore, attract a very equally mixed audience.”

The fact that people are spending more and more time working also works in favour of the how-to genre: “I genuinely believe that shows such as these fill a profound human need,” says Mia Engstrom, director, Strix International. “A parallel and related trend here in Scandinavia is that DIY shows are extremely popular among young adults, perhaps as a consequence of parents spending less time at home doing basic things together with their children. And cookery shows are the ultimate DIY genre.”

According to Engstrom, combining food with entertainment is pretty much an instant recipe for success.

“We launched A Chef In The Fam-

ily VIP on commercial channel TV4, where a well-known chef goes to the home of a celebrity,” she says. “The focus is as much on the celebrity as it is on presenting new and exciting dishes. The show has a talk-show element where the chef interviews the celebrity about life, their relationship to food and their career, while they shop and cook together. Each episode ends with a dinner party for some of the celebrity’s best friends.”

Randy Zalken, president of Kaleidoscope Productions and the Fremantle Corporation US, points to a TV chef who preceded Keith Floyd by some 20 years and who was every bit as influential. “Graham Kerr, or The Galloping Gourmet, was a hugely unorthodox and highly inspiring figure,” he says. “And Paul Talbot, the founder of the Fremantle Corporation, was every bit as much a pioneer in terms of syndicating the show and product placement. Even the name, The Galloping Gourmet, is eye-catchingly unorthodox, and of course these days the more unorthodox your show the better.”

The Kaleidoscope Productions show Healthy Gourmet, now in its third season, is definitely not just another cooking show. “Every episode has a different location and provides a unique experience with groups like a team of female dragon boat racers,” Zalken says. “Viewers can identify with the unhealthy lifestyle choices being made by the person or group featured, and then a food intervention takes place. The show is honest in that it introduces the compromises required in the battle between taste and nutrition, and the two hosts, nutritionist Julie Daniluk and chef Ezra Title, have a unique dynamic going on, which basically means that they bicker a lot. We think of the series as taking

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COOKING SHOWS

Scripps International’s Greg Moyer: “The popularity of cooking shows has exploded”

Food Network’s Nick Thorogood: “We all have a taste memory”

cooking out of the kitchen.”

As well as providing virtual taste thrills, cooking shows are often a source of motivation. “Top Chef shows viewers just how hard it is to be so good, but in an inspiring rather than intimidating way,” says Charlotte Raben, vice-president, formats, NBC Universal. “And the show does that by focusing on how people can improve their own skills.

A spin-off of focusing on skill development is that it creates a lot of merchandising opportunities, such as books and kitchen implements.”

America’s Next Great Restaurant, currently airing on NBC, is, according to Raben, a true hybrid. “It’s a reality show where a shortlist of 11 concepts compete for the chance to open three restaurants, in Minneapolis, Hollywood and New York,” Raben says. “The show is like a cross between The Apprentice and Dragon’s Den, with cooking.”

Bitchin’ Kitchen is another show that bends the rules: “Like a lot of shows in the genre currently, Bitchin’ Kitchen is star-driven, in this case

by Nadia G. who is all New Jersey attitude, with pink nails and tattoos, but who is also an excellent, highly qualified chef, it’s a very cool take on the classic ‘dump and stir’ formula,” says Jon Rutherford, vice-president, sales, Tricon Films & Television.

Ina Garten, presenter of The Barefoot Contessa (Food Network)

ITV Studios’ Tobias de Graaff: “Food is part of every culture”

“It is also the sort of show where the food is as much the star as the presenter, and we believe it can compete with other primetime series.”

No less engaging, but in a diametrically opposed way, is Fresh with Anna Olsen: “Anna has a unique approach to organic cooking and is very charming and warm,” Rutherford says. “So much so that she is able to bring to life ideas that on paper might seem very basic.”

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Viewers can identify with the unhealthy lifestyle choices being made by the person or group featured, and then a food intervention takes place

Randy Zalken

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EMERGING MARKETS

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NEW TV TERRITORIES

Who’s next?

Last decade saw much talk about globalisation but a new batch of emerging markets is making it reality.

Andy Fry reports

The German version of SevenOne’s Clever!, known as B.U.M. on Turkey’s Star TV

U

NTIL recently, the TV distribution industry's claim to be a global business had to be taken with a pinch of salt. But in the last two or three years there has been a definite increase in buying and selling activity around territorial blocs which used to be regarded as off the map.

Four regions stand out in this respect: Latin America, South East Asia, Eastern Europe/Central Asia and the major economies of sub-Saharan Africa — all of which have become key customers for content distributors. All3Media Interna-

tional managing director Louise Pedersen puts this development down to two main reasons: "The first is economic growth, which is fuelling the TV market. But also important is the growth of formats, since this helps us deliver strong ideas that are culturally relevant.

“We did sell Midsomer Murders to Iran, but completed programmes generally present additional challenges because they are not in the right format or volume and don't have local elements."

A big All3Media success story, for

example, is factual format Cash Cab, which has sold in high volumes to Kazakhstan. "It's perfect for emerging markets," she says, "because it's inexpensive and very effective."

All3Media International also distributes "reconstructed reality" content from its German production arm, MME Moviement, Pedersen says. "Shows like Families At The Crossroads are working brilliantly in markets like the Ukraine and Greece because they offer great scripts in high volume." Pedersen adds that this represents "serious

business, not a few options".

Serious business is a phrase that could equally apply to MTV Networks International’s activities in the region. Just prior to MIPTV, the company’s Russian subsidiary sold 250 hours of Nickelodeon content to free-to-air channel TNT. This comes on the back of a deal which saw Ukrainian broadcaster STB launch a Nickelodeon-branded block with series such as SpongeBob SquarePants and Penguins Of Madagascar.

The exec on the other end of that

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Cash At Your Door, originally produced in Israel by Matar — in it's Kazakstani incarnation!

deal was STB programming director Sergei Nazarov, who has also added shows such as Got Talent, The X Factor and So You Think You Can Dance to his line-up. “As one of the leading Ukrainian channels focused on family audiences, we are always on the look-out for strong international brands,” he says. “We consider Nickelodeon animation to be top of its class and really unique content that will make an important contribution to the further growth and success of our channel.”

While economic growth and format flexibility are critical to this surge of activity, content owners/distributors can't sit and wait for buyers to come knocking. Endemol's CEO of Central and Eastern Europe operations, Marina Williams, says her company’s decision to open up dedicated offices

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Shows like Families At The Crossroads are working brilliantly in markets like the Ukraine and Greece because they offer great scripts in high volume Louise Pedersen

helped it realise its ambitions across the region. A key beneficiary is fastgrowing franchise The Money Drop, which has been localised for Russia (Rossiya), Ukraine (1+1), Turkey (Show TV) and Kazakhstan (Channel 7) — not to mention more established territories.

"Our production hub for the show in Moscow allows us to deliver high-value hit programming,” Williams says. “We plan to extend our capabilities to neighbouring territories.”

Similar commitments are paying dividends in other parts of the world. At Canada's Cineflix International, for example, company president Paul Heaney decided to target Latin America by appointing a regional specialist just before MIPCOM last year. “We noticed a sharp rise in activity across the Hispanic and Latin American markets,” he says. “We believed our brand of factual shows would be suited to these territories.”

Wind the clock forward just a few months and that specialist, New York-based Sabrina Ayala, has transformed the company’s performance in the region. Since the start of the year, she has racked up deals with pan-regional players such as Discovery (How Machines Work, Surviving

The Future); Fox Life (Property Virgins) and Turner Broadcasting (Conviction Kitchen). She has also clinched deals with US Hispanic players including Univision-owned Galavision (Cooler Facts) and Discovery en Español (Mayday).

Ayala is modest about her achievement, though she acknowledges that having a distribution specialist in the region is crucial if you are serious about doing business. “When you have a dedicated executive who knows a market, you seriously improve your prospects.”

Ayala says that the pick-up in the Latin American market has a lot to do with the rise of pan-regional channels, “since they have the scale

to do viable deals. At the same time, another big change is the way in which factual entertainment is now an accepted part of the landscape in Latin America. Even lifestyle shows which feature North American characters seem to be gaining popularity across territories in the region.”

For the most part, selling completed shows territory by territory is not cost-effective, Ayala says. “But we are having positive conversations about formats in some markets. Argentina has bounced back economically, which has reinforced its reputation as an important production base. And we’re having ongoing discussions about a format deal in Colombia.”

It is also worth noting that SPT’s

SevenOne International’s Battleship, known as Amiral Batti on Show TV in Turkey

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Cineflix International’s Nazi Hunters tells how secret agents hunted down some of the most evil men in history

game show format Stand Out From The Crowd is being adapted by Colombia’s City T].

Asia-Pacific is also a market on the move. For a long time, format licensing and deal volumes have centred on established markets such as Korea, Japan and Singapore. But there has been a surge of activity in territories such as Indonesia, Vietnam, Thailand and the Philippines.

This is evident at two levels. In terms of tape sales, there’s no question buyers from Asia’s emerging markets come to MIPTV and MIPCOM with a clear intention to buy. At MIPCOM 2010, for example, Disney sold its heightened-reality drama No Ordinary Family to ABS-CBN (Philippines) and Media Prima (Malaysia) within two days of arriving in Cannes. And at the market before that, it shifted FlashForward just as quickly (Media Prima and ABS-CBN among the buyers).

As for formats, the situation in AsiaPacific is starting to resemble that in Central and Eastern Europe. A leading player in the field is FremantleMedia Asia (FMA), whose CEO, Patrick Schult — soon to quit the company after two decades with the firm — has seen a dramatic increase in business across the region.

“We’ve had a big presence in Indonesia for years, which means we’ve witnessed the good times and the bad. But there has definitely been a lot of production activity during the last year.”

While Indonesian Idol on RCTI is one of FMA’s long-running success

stories, just as significant was Indosiar’s decision to back FMA’s dating show Take Me Out. “That was a bit risque for Indonesia,” Schult admits, “but it has turned out to be a huge hit, spawning spin-off series like Take Him Out and Celebrity Take Me Out.” Also interesting off the back of that is the decision by NTV7 in Malaysia to greenlight the show. “If anything, Malaysia is more conservative culturally,” Schult says, “and has less of a track record in buying formats.”

Back in Indonesia, a combination of economic stability and cultural awakening has led to some interest-

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Argentina has bounced back economically, which has reinforced its reputation as an important production base. And we’re having ongoing discussions about a format deal in Colombia Sabrina Ayala

ing deals for FMA. “If I had to pick out another breakthrough deal it would be RCTI’s decision to acquire MasterChef, which will run as a stripped show in primetime. That’s an unconventional decision.”

FMA’s heavy presence in Indonesia (staffing levels are around the 200 mark) has played a big part in its success there. But another major factor in making deals across the region is advertisers. “We’ve produced an increasing amount of shows in Vietnam and Thailand thanks to funding from Unilever. In the latter, they fully funded Thailand’s Got Talent on Channel 3.”

In most Asian markets, building a sustainable business requires a strong commitment to sustain a mutually beneficial partnership, rather than just bulldozing in and dictating the market]. While China is often cited as an example of this, Malaysia is another territory which

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shares this sensibility.

At MIPCOM, for example, a number of Malaysian companies came to Cannes under the umbrella of public body the Multimedia Development Corporation (MDeC).

While part of their agenda was to acquire content, no less significant was their desire to export shows and build partnerships.

One company that has taken this on board is Endemol, which recently signed a joint venture with Malaysia’s Astro Entertainment (AESB). Explaining the deal from the local perspective, Zainir Aminullah, executive director of AESB, says that just as important as producing Endemol’s hit formats for the Malaysian market is “creating IP that can travel internationally with the support of Endemol's distribution might”.

One of the key considerations for buyers in these newly emerging markets is controlling costs, which is why formats and factual entertainment feature so prominently.

But not to be overlooked in this regard are telenovelas, which for many broadcasters offer the high-impact, low-cost content they require. The genre is well established in Eastern Europe and Asia, and has been building up a head of steam in Africa. Brazil’s Globo TV International, for example, has secured deals in the region with recent titles such as The Clone and India – A Love Story.

It’s a similar story with Televisa Internacional, Telefe Internacional and Telemundo Internacional, which have sold content into Nigeria, Kenya, Ghana and Uganda.

Further proof that sub-Saharan Africa is increasing in significance is the growing interest of content suppliers from other regions. Indian distributors are taking on the telen-

Vietnam Idol (FremantleMedia Enterprises)

ovela suppliers with home-grown soaps, while there is also evidence of a growing format market.

The best example of this is a joint venture between John de Mol’s Talpa Media and Modern Times Group’s Ghana-based production subsidiary, Modern African Productions, which will see the latter produce local versions of Talpa’s formats across the region (excluding South Africa). As in Asia, this could involve backing from fast-moving consumer goods brands.

Typically, the emergence of a new territory is driven by more than one

broadcaster, which is good news for distributors wanting to extract fair prices. While some IP owners have found success with ABS-CBN in the Philippines, others have teamed up with rival players. A case in point is Fox Look, which has sold hundreds of episodes of entertainment shows to SolarTV/RPN. There is a similar pattern in Ukraine, where Fox Look has licensed the format for Beauty And The Geek to Ukraine’s 1+1 (a rival to SBT).

One of the best examples of competitive escalation is Turkey, where economic growth, a large popula-

tion and an increasingly global outlook have combined to create a dynamic market for distributors and format owners. Deals which underline just how vibrant the market has become include BBC Worldwide’s sale of Dancing With The Stars to Show TV (format), Zodiak’s deal for Being Human US with Media Vera, SPT’s sale of game show Stand Out From The Crowd to ATV (format), SevenOne International’s sale of The Successor and Clever! to Star TV, Dori Media’s sale of uMan to Sinerji Productions/TRT Okul (format), Off the Fence’s multi-title deal with Horizon Film and Endemol Worldwide Distribution’s sale of US comedy Hot In Cleveland to NTV. All these deals are with different partners, which underlines just what an important market Turkey has become. And the final deal underlines a point made by experts across the globe, which is that a trend towards shared cultural tastes is helping drive distribution and format deals. NTV’s Meric Bilaceroglu sums it up this way: "Midlife crisis and women are the same around the world. Hot In Cleveland is based on relationship dilemmas that everyone can find hilarious. Besides its talented cast, it is one of the best comedy series in our schedule and draws great attention from viewers."

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Midlife crisis and women are the same around the world. Hot In Cleveland is based on relationship dilemmas that everyone can find hilarious Meric Bilaceroglu

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Palais des Festivals, Cannes, France www.mipcom.com

Save the date!

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IPTV

85

TELCOS MOVE INTO TV

IPTV explores new boundaries Dolphin Boy (First Hand Films)

Internet protocol television — Juliana Koranteng sizes up the platform that is giving telecoms a growing chunk of the TV market, and considers the future for content owners and distributors

T

HE ACCELERATING growth of IPTV (internet protocol television) confirms that the world can’t consume enough video content. Although introduced just over 10 years ago, the internet infrastructure that enables IPTV operators to deliver protected programming to consumers has become sophisticated, less clunky and more affordable.

Even though the same web technol-

ogy has led to the proliferation of new screen-based services, industry experts argue that IPTV’s emergence has injected life into the global pay-TV sector and spurring the demand for more content.

This is amply illustrated in Asia, arguably IPTV’s fastest-growing region. “We have expanded the payTV market, not just taken away existing cable customers,” says Goh Seow Eng, chief of digital home at

telecoms company SingTel, which operates the mio IPTV service in Singapore. “With our launch three years ago, Singapore residents have a real choice between the pay-TV providers.”

CASBAA, the Asia-Pacific multichannel pay-TV association, lists IPTV members including Hong Kong’s PCCW, SingTel, Chunghwa Telecom in Taiwan, Telekom Malaysia, Indonesia’s Telkom, Sin-

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SingTel’s Goh Seow Eng

First Hand Films’ Esther van Messel

AT&T’s GW Shaw

gapore wireless carrier StarHub, plus South Korea’s KT and SK Telecom. Future players are expected to include India-based Reliance and Thailand’s TrueVisions.

“In net terms, IPTV still represents well under 10% of all pay-TV connections across the region,” says Simon Twiston Davies, Hong Kongbased CASBAA’s CEO. “However, the opportunities for growth, especially in well-developed telecoms markets, are vast.”

Technology giant Cisco Systems predicts that 87% of Asia-Pacific’s IP traffic will come from the consumer market by 2014. But as the MIPTV News chart of operators demonstrates, IPTV’s potential growth is global.

Entry into the sector is not influenced by the size of a country or its economy, because internet technology is reaching all corners of the world. IPTV has enabled telecommunications companies to enter the entertainment and media business once controlled by only cable and satellite.

Telecoms groups supply telephony services and broadband internet across their networks. But by providing customers with digital set-top-boxes as well, they can bundle an array of subscription-funded video shows, media, and information services.

These include live linear TV, catchup TV, video-on-demand, interactive advertising, 3D and HD content, digital video recording, website apps and even digitally aligned smartphones that function as virtual remote-control devices.

As digital-media service providers jostle for room in cyberspace, IPTV needs to be differentiated from: • Companies delivering legal or unauthorised content over the open internet, which anyone can

access to view; • OTT (over-the-top) services such as US-based Hulu, Netflix or the UK’s BBC iPlayer — where third parties use the internet to offer closed, protected, ad-funded or subscription-based streamed videos, but depend on the quality of someone else’s bandwidth; • connected TV, which requires the melding of broadcast and broadband signals, and is still in its infancy IPTV services are managed and controlled by the telecoms operator as part of same bandwidth and signals delivering telephony and broadband. If their networks have problems, they usually have backup to ensure their customers’ experience is not interrupted.

Michelle Abraham, principal analyst at US research firm In-Stat, says: “If fans are watching a live sports event and the signal goes down, they’ll be furious. So quality from cable and satellite TV providers and now IPTV providers is vital.

“The competition has forced them to push each other into launching HD, on-demand, and the telecom companies are also pushing each other in terms of broadband speed.

This has only been good for the consumer.”

It is allowing telecoms companies to give traditional broadcasters and cable and satellite pay-TV operators a run for their money.

Furthermore, with their fixed and wireless telephone networks, IPTV providers reach geographical parts that cable operators find too expensive to enter. They also offer a tidier alternative to the satellite dishes that some argue have blighted many residential landscapes.

Combined, these factors have encouraged the industry to foresee much potential for IPTV.

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We have expanded the pay-TV market, not just taken away existing cable customers...

Singapore residents have a real choice between the pay-TV providers Goh Seow Eng

Multimedia Research Group predicts the number of IPTV subscribers worldwide will grow from 44 million today to more than 111 million in 2014. Another research firm, RNCOS, makes similar predictions, with subscribers reaching 106 million by the same year.

And, considering the number of customers using broadband (therefore eligible for IPTV installation) already reaches 509 million globally, according to Point Topic, room for growth looms large.

Asia may be the fastest-growing market, but Europe is the biggest IPTV region today. It is led by French telecoms group Orange, which boasts 4.1 million IPTV customers, representing 28% growth from 2009 to 2010. Its biggest market is France, with 3.5 million customers, the remainder spread over Spain, Poland, Slovakia, and the African states of Senegal and Mauritius.

Italy-based FastWeb is another major European service, which serves more than 200,000 subscribers. It has even started to offers its best practices to third parties which want to use its network to deliver paid-for video services.

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IPTV

“The current strategic approach aims to leverage our IPTV knowhow, expanding to a ‘managed OTT TV’ and boosting the [third-party] requests for internet-based services, which require high bandwidth,” says Giorgio Tacchia, FastWeb’s head of media & TV. In North America, major cable operators and telecoms companies such as Canada’s Telus, and USbased Verizon and AT&T have found IPTV difficult to resist.

“During 2010, AT&T U-verse [its IPTV platform] gained nearly a million subscribers, while the major cable providers reportedly lost more than a million subscribers,” says GW Shaw, AT&T’s executive director of U-verse marketing. “During the same year, Uverse added 28% more customers than the next closest competitor.”

In Latin America, Brazil, Mexico and Colombia represent 70% of the region’s IPTV business, says research specialist Signals Telecom Consulting.

Buoyed by the commercial possibilities, IPTV operators are becoming adventurous in their strategies.

AT&T has made U-verse a multiscreen, multi-device service accessible via mobile handset, WiFi network, internet browser and Microsoft’s Xbox games console.

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One of the undoubted advantages is the viability of developing enhanced datamining capacity, the ability to find out more information on viewership patterns Simon Twiston Davies

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The current approach aims to leverage our IPTV know-how, expanding to a ‘managed OTT TV’ and boosting the [third-party] requests for internet-based services Giorgio Tacchia

Once, Spanish telecoms group Telefonica was considered maverick for acquiring a 99.7% stake in Endemol, the Dutch international reality-TV pioneer. Although it sold its share nearly four years ago, Telefonica, which operates the pioneering Imagenio IPTV platform, has opened a new content-production unit called Telefonica Producciones.

Hong Kong-based PCCW also produces content in-house for “now TV”, the IPTV platform which it describes as one of “Hong Kong’s largest pay-television providers”. Its 180 channels of local, Asian and international programmes, include the in-house- produced now Sports, now Business News and now Hong Kong.

“Breaking new ground in Asia TV history, now TV has launched Action-To-Money (ATM), Hong Kong’s first city-wide interactive television quiz on its new self-produced entertainment channel, now 101,” says Janice Lee, PCCW’s managing director of TV & new media. “This has been made possible by PCCW’s self-developed interactive technology and its IPTV infrastructure,

enabling viewers to participate in the quiz show using the ‘now TV’ remote control from home.”

Interactive advertising, which never seemed to take off on a mass scale on cable TV, may become a commercial reality on IPTV. Italy’s FastWeb, France’s Orange, and SingTel’s mio are among the services already transmitting interactive ads to viewers.

Twiston Davies says: “One of the undoubted advantages is the viability of developing enhanced data-mining capacity, that is the ability to find out more information on viewership patterns, and provide greater ability for ‘a la carte’ offerings, such as enhanced interactivity.”

However, when new developments in media emerge, so does regulators’ attention.

In France, an Orange spokesman says the company is concerned about the government’s threat to increase taxes on the IPTV element of triple-play services. “This may discourage development of such services,” he says.

Italian operators would like their government to establish concrete rules that guarantee IPTV operators some return on investment for the billions spent on connecting opticfibre networks to homes.

Nat Abraham, vice-president of distribution and acquisitions at Canadian content seller Breakthrough Entertainment, predicts inevitable regulatory interference.

“It is the emergence of IPTV services that has dramatically changed the [TV] landscape,” he says.

“Once the market develops, regulators may decide to treat the offering of any TV programming as broadcasting, leading them to regulate IPTV and mobile-TV providers in the same way as traditional broadcasters.”

87

Fireworks International’s Jonathan Ford

In-Stat’s Michelle Abraham

Breakthrough Entertainment’s Nat Abraham

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IPTV

IPTV – BY COUNTRY AND PLATFORM OPERATOR COUNTRY

PLATFORM/OPERATOR

COMMENTS

Australia

T-Box/Telstra Fetch TV

In 120,000 homes; recently added 30 channels from Foxtel, Australia’s leading pay-TV service White-label platform that offers IPTV to the country’s leading internet service providers, such as iiNet and Adam Internet; it has added European football channels RealMadrid TV and Manchester United’s MUTV to its offering

Austria

aonTV/Austria Telekom

Customer base jumped 50% to 151,000 this year

Belarus

ZALA/Beltelecom

220,000 subscribers and a mission to grow to 1.5 million in the next five years

Belgium

Belgacom TV/Belgacom

Will soon reach 1 million subscribers

Canada

Optik TV/Telus FIBE TV/Bell Canada

More than 310,000 subscribers by the end of 2010 Launched in September 2010 in parts of Montreal and Toronto; aiming for 5 million homes by 2015

China

BesTV/Radio & Television Shanghai

More than 1.3 million customers

Croatia

Iskon.TV and MAXtv/ T-Hrvatski Telekom

Nearly 300,000 customers; recently added Warner Bros. movies to its VOD service

Finland

Super Head End Finland

175,000 subscribers; has added London-based KidsCo to its packages

France

Orange

3.5 million customers accessing more than 130 channels, 20 pay-TV bouquets, a 3D channel, exclusive themed channels on cinema, sports, sports news and sports events

Germany

Entertain/Deutsche Telekom

Despite the whole DT operation reporting a loss in 2010, IPTV up 81% to 1.6 million subscribers and aiming for 5 million by 2015

Hong Kong

now TV/PCCW

More than 1 million customers spending an average of HK$169 a month

Iceland

Icelandic Television Company 365 Media

Added Food Network, the Scripps Networks Interactive/Chello service, to its packages Included Scripps Networks Interactive/Chello services to its packages

India

Bharti Airtel

After successful IPTV launch in Delhi, plans include entering the Bangalore market in 2011

Italy

FastWeb

More than 200,000 active customers, mostly young and tech-oriented

Kazakhstan

ID TV/Kazakh Telecom

Plans to upgrade its IPTV infrastructure in Astana, the capital, to boost subscription revenues

Kosovo

PTK

Launched IPTV service last year and is scheduled to introduce interactive content this year

Lithuania

Interactive GALA/ TEO

Operates as both IPTV and DTT platform with more than 130,000 customers and nearly 20% of local pay-TV market

Malaysia

Astro/TIME

Pay-TV operator and ISP (respectively) joined forces to introduce IPTV to Penang and the Klang Valley

Netherlands

Interactieve TV/KPN

Subscriber base grew to almost 2 million, giving KPN a 15% share of Dutch TV market; has deals with BBC Worldwide and pre-school service JimJam

Norway

NextTV/NextGenTel

Added a catch-up service in February

Paraguay

Itacom

Entered internet TV market in February

Portugal

Meo/Portugal Telecom Casa TV/Vodafone

Introduced Meo Remote, app that allows smartphones and PC tablets to function as remote-control devices Installed apps for Facebook, photo-sharing service Picasa and other information services

Russia

NTV Plus Utel.TV/Utel Beeline TV/ Vimpelcom Vladlink

To launch an IPTV service this year More than 26,000 subscribers two months after launch in February 2011; packages include 3D content Has more than 60,000 customers in major cities Internet service provider plans to enter IPTV market this year

Singapore

mio/SingTel

264,000 customers paying from $16.05 a month

South Africa

InternetOnTV/MTN

Designed to offer “affordable” TV via internet

South Korea

SK Telecom; KT; LG Uplus

Combined, the three operators reach more than 3 million subscribers, one-third of country’s pay-TV sector

Spain

Imagenio/Telefonica

Launched a dedicated production division called Telefonica Producciones to create local content; more than 770,000 subscribers; is Telefonica’s first content investment since selling Endemol

Turkey

IPtivibu/Turk Telecom’s TTNET

Added HD channels this year

UAE

du

Added 3D content to its IPTV VOD service

UK

BT Vision

Clinched 3D content deals with NBC Universal and successfully signed on to BBC catch-up service iPlayer to start this year; subscriber numbers up 40,000 during last quarter of 2010.

Ukraine

Velton Telecom

Launching IPTV service for Kharkiv, Ukraine’s second-largest city

US

FiOS/Verizon U-verse/AT&T

3.5 million customers in a potential 12 million homes, representing 28% penetration 3 million customers in 22 US states, with 246,000 added in the fourth quarter of 2010 alone; packages start at $54 a month with more than 75% of customers taking its triple-play or quad-play services

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IPTV

Sony Pictures Television’s Angel Orengo

Hat Trick International’s Paul Cohen

CASBAA’s Simon Twiston Davies

IPTV may be a niche business for content owners and distributors today. But the prospects are bettern than niche, according to US-based Global Industry Analysts. It predicts that the IPTV sector will generate nearly $80bn of revenue worldwide by 2015.

“There’s been a massive revolution in the IPTV business in terms of what it can do and how it has been adopted,” says Peter Iacono, managing director of international television at Lionsgate.

“When it first started, we all ran to the hills asking how we’re going to protect our business. But what it has done is bring us new customers.”

Nat Abraham, at Canada-based Breakthrough Entertainment, is looking forward to the promised new revenues.

“With the two-way interactivity that it offers, IPTV operators are packaging their content with better-targeted ads to more finite demographics like baby boomers, teens and professionals, in much more specific ways such as by location and even down to neighbourhoods,” he says. “Additional ad-revenue channels require additional content, so we see this as positive growth.”

In countries such as Japan, South Korea, Singapore and China, content distributors find that their programmes are gaining wider audience reach, says Angel Orengo, Sony Pictures Television’s senior vice-president, distribution.

“The format is bringing new clients that did not exist five years ago,” he says. “Equally important is that the growth of IPTV is challenging more traditional platforms. The IPTV platforms tend to be more aggressive in the way they market their products and, in doing so, encour-

age creativity. This often leads to collaborations, new ideas and opportunities that are not as common with traditional clients.”

Paul Cohen, commercial director at UK-based Hat Trick International, agrees and has seen the IPTV format open up new opportunities for its hit UK programming brands, such as comedies Father Ted, Fonejacker and Facejacker, especially in Australasia and the US. Moreover, IPTV has lured a new type of viewer, who is exacting about what to watch and can, therefore, become more engrossed in the show. “Viewers with niche interests are more likely to immerse themselves in their subject of choice, so the viewing pattern is more leanforward (like most online content) than lean-back (like TV and other shared viewing experiences),” Cohen adds.

The room that IPTV makes for specialist content has attracted the attention of smaller, independent players. “It has created a new scope for us,” says Esther van Messel, CEO of Switzerland’s First Hand Films, which is bringing new factual titles such as Aung San Suu Kyi – Lady Of No Fear, Dolphin Boy and Love Hate Love to Cannes. “Over the last two years, we have finalised more deals, one recently in the Philippines, which is a new territory for us.”

And, she adds, with independent productions, operators gain new products to stand out from the rest of the pay-TV pack, which have focused on international blockbusters.

At the end of day, however, these companies are in a commercial business and the monetisation of the IPTV format is imperative.

Breakthrough’s Abraham points out: “When this all began, broad-

casters were expecting to license all rights, including IPTV, for no additional fees. We have now seen that there is real value to IPTV rights and are negotiating accordingly.”

This has forced buyers and sellers to raise the bar when bargaining over video on-demand rights because of IPTV viewers’ ability to select their own programming.

“IPTV operators bring an increased focus for on-demand rights, both through their own licensing activity for VOD packages, but also from our traditional linear customers seeking on-demand rights for catch-up services made available through IPTV platforms,” says Jonathan Ford, executive vicepresident, content digital at London-based Fireworks International.

The trend is to add IPTV rights to the other deals negotiated with broadcasters, which, in turn, will sell them on to online, mobile and/or IPTV operators.

However, the IPTV business is still new enough to require caution among content sellers.

“To test new markets, we’ve licensed our content on a show-by-show basis rather than commit large parts of our catalogue to a small number of platforms,” Hat Trick’s Cohen says. “We also keep licence periods short and non-exclusive.”

In turn, he understands why some IPTV operators, such as PCCW in Hong Kong and Spain’s Telefonica, have started to invest in in-house content. “On their lower budgets, it might make financial sense to create your own content, however, they’ll always need the expertise of [dedicated] content creators. So, ideally, the model of commissioning will continue in the IPTV areas.”

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