Miptv 2014 news 1

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Monday 7 April 2014

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AMY POEHLER

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DRAMA / 18x52’

Today, actor and producer Amy Poehler is on the Comedy Central Broad City Keynote Showcase

AVI NIR

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Today, Keshet Media Group’s Avi Nir gives the TV 2014: Challenging Predictability Media Mastermind Keynote

STARZ’ POWER

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Today, the MIPTV World Premiere TV Screening is Starz’ new crime series Power

JERRY SPRINGER

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Yesterday, Jerry Springer joined Discovery’s Paul Welling for a MIPDoc keynote presentation

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WHO LIVES HERE?

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CONTENTS IN PICTURES

TODAY’S HIGHLIGHTS Media Mastermind Keynote Series

8 MIPDoc Closing Cocktail

>> Be inspired by the leaders in entertainment.

Monday 7 April

NEWS 10 Market news including stars, deals and conferences

Chris Albrecht CEO Starz

Avi Nir CEO Keshet Broadcasting Group

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e Schedulce

ren Confe me a r prog m P80–84 Jan Frouman Group Managing Director Red Arrow Entertainment Group

Kim Cattrall Star and Executive Producer “Sensitive Skin”

FEATURES 85 Brave new thinking for a brave new world 95 What to do with the data?

112 4K: Future proof

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The official MIPTV daily newspaper Monday 7 April 2014

Director of Publications Paul Zilk Director of Communication Mike Williams

The MIPTV Newsroom is located in the Gare Maritime (registration area)

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Sarah Cooper, Nigel Willmott Reporters Andy Fry, Ben Cooper, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, Chris White Editorial Assistant Sunnie Newby Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Veronique Duthille, Nour Ezzedeen, Carole Peres Head of Photographers Yann Coatsaliou / 360 Medias Photographers Christian Alminana, Olivier Houeix, Michel Johner, Yohann Mortier.

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators, Emilie Lambert Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Christine Mendes: sylvia.ferreira@reedmidem.com / +33 (0)1 79 71 99 42 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2014, Reed MIDEM Market Publications. Publication registered 2nd quarter 2014. ISSN 1967-5178.

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ANDREW

BUCHAN

JACK

HUSTON

ROSE

LESLIE

DANIEL

MAYS

The greatest drama begins with the smallest spark

This Autumn’s Epic New Event Mini

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CHARLES

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IN PICTURES

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Delegates relax after a full and busy MIPDoc, at the MIPDoc Closing Cocktail at the Martinez hotel.

The event was sponsored by NHK/NEP Shin Yasuda (left) with NHK’s Sayumi Horie, Point du Jour’s Doris Weitzel, ARTE’s Catherine Alvaresse and Point du Jour’s Luc Martin-Gousset

NHK’s Shin Yasuda welcomes the evening’s guests

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NEWS DUFRESNE CHANGES THE GAME “A LOT of people came for the game and stayed for the subject,” said David Dufresne, director of the multi-awardwinning interactive documentary game Fort McMoney, at the Transmedia And Storytelling In Documentary conference.

Using real people and information sources, the game allows users to explore the environmental and social issues involved with the controversial practice of extracting oil from tar sands in a northern Canadian town.

“A lot of people from all over the world came to debate and vote, and maybe if we did a classical movie they wouldn’t have done that,” Dufresne said. “It’s important to use the web to change storytelling.”

Fort McMoney was developed with funding from ARTE France and Canada’s National Film Board (NFB). It was the NFB’s first public-private and first international partnership in the interactive space, said Monique Simard, now of Canada’s Societe de developpement des entreprises culturelles, who oversaw the project for the NFB. “Tackling this issue from a digital perspective was exciting for me. Of course there was a risk there, as a public body,” she said. “When you see the project you will see how balanced it is.”

When pressed on the business model, the participants said the game was not generating revenue; however, a traditional documentary of the game’s story was now being made.

Fort McMoney director David Dufresne

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Mexico honoured in Cannes as media exports see growth

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N PREPARATION for Mexico’s stint as the Country Of Honour at MIPCOM in October, ProMexico, the trade and investment arm of the Mexican Ministry of the Economy, hosted the opening night party for MIPDoc on Saturday night. The event featured a 10-piece mariachi band and a welcome speech

by Alejandro Delgado, ProMexico’s chief of the grants division and institutional relations.

“Mexico’s turn as the Country Of Honour will see Cannes dressed as a Mexican town, but on a professional level we hope to build awareness among Mexican producers about the importance of attending events such as MIPCOM,” Delgado said.

Pointing to the fact that the number of Mexican companies attending MIPTV had risen dramatically since last year, Delgado said the country was “already making progress in this area”.

“At MIPTV 2013 there were 11 Mexican companies, and this year that figure has tripled, with 29 companies on the Mexican

pavilion, plus several of the larger companies with their own stands. And currently we estimate that there will be around 50 companies at MIPCOM,” Delgado added.

Another priority, said Delgado, was to make the international TV community aware of the depth, quality and richness of Mexican programming, storytelling and creativity.

“We are strong across every genre, from documentaries and drama to animation, through to post-production, plus we have sound stages and production facilities that are the equal of anything in Los Angeles and Canada. But most importantly we have the right products for any and every market around the world,” he added.

Mexico currently produces 100,000 hours of television programming per year, which has been sold to 100 countries and translated into 30 languages. The result is that the country’s media industry exports, which are growing at 8.3% per year, account for 3% of country’s total GDP.

ProMexico’s Alejandro Delgado speaking at the MIPDoc opening night party

Standing out from the VOD crowd “I’M PROUD to say we’re the number-one seller of lesbian dramas,” said Andy Green, COO of crowdfunding video-on-demand platform Distrify, at the Crowdfunding Meets Distribution conference.

“Even one or two years ago iTunes didn’t have a lesbian and gay category, whereas there’s a huge industry completely under represented in the traditional world,” said Green, whose message to documentary-makers was clear – find a niche audience that’s underserved by traditional platforms and you’ll prosper.

Pointing out the importance of quality product, Green added: “Generally speaking, the big sellers on Distrify are films that would be worthy of a broadcast

Andy Green, Distrify

sale. We can’t simply replace 100 years of industry skills and experience with technology.”

Nic Wistreich of the UK’s Netri-

bution urged producers to use the highly detailed data that VOD crowdfunding provides. Speaking in the session VOD For Success: How To Make The Right Deals, he said: “It’s less about the money, more about demonstrating you can communicate with an audience.”

Greg Moyer’s new company, Blue Chalk Media, produces highquality VOD for editorial and branded-content clients, including the New York Times and The Weather Channel. He believes the current lack of documentary on the big VOD platforms won’t last. “There will be successful documentaries that no longer find space on networks that will find it on VOD,” he said. “And they will be agenda-setting.”

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NEWS

Big buyers acquire taste for more action-packed factuals

CC&C’s Louis Vaudeville

LOUIS VAUDEVILLE’S APOCALYPSE GOES GLOBAL ARCHIVE-based history documentary is big business for French producer Louis Vaudeville, with the third season in his Franco-Canadian Apocalypse franchise launching internationally, and series four and five — respectively focusing on Stalin and the Cold War — in development.

Apocalypse: WW1 (5 x 52 mins), co-produced with France 2 and TV5 Quebec Canada, is also a transmedia phenomenon. Vaudeville, of CC&C, has entered into a new partnership with game developer Ubisoft: “It’s a way to bring the property to younger audiences,” he said.

This series has also generated an interactive animation called 10 Lives, websites, books, novels, graphic novels, educational lines and a console game and live performance commemorating the Canadian fallen.

Josette Normandeau of Ideacom International in Canada brought 30% of the TV and half the digital budgets, in line with the Canadian government’s push on digital creativity. “Some 650,000 young Canadians fought in WW1,” she said. “In a country of eight million, that was a huge proportion.”

Apocalypse: WW1 is distributed by France Televisions Distribution.

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DRENALINE-driven factuals are in demand on National Geographic’s global channels and at Canada’s Blue Ant, the MIPDoc Buyers’ session heard on Saturday. And while documentary remains a hard sell in China, in Australia, provocative reality docs on topical issues do the business for SBS. Ben Noot is manager, global acquisitions, for National Geographic Channels International. He buys for the fast-paced male-skewed core channel where the target viewer is “a taxi driver who likes facts”, and for the new female-skewing channel People. All Nat Geo content must be HD, he said, with 4K an added bonus where available.

Andrea Harrick, director of acquisitions at Canada’s Blue Ant Media, acquires over 500 hours a year for eight channels. “The trends for us are history, paranormal, cryptozoology and natural disasters,” she said.

LIC China produces, distributes and syndicates factual programming in China, and currently has shows on more than 550 local channels.

Even so, said CEO Leland Ling, documentary doesn’t rate well on Chinese television.

His solution is to brief local documentary producers on what will sell, and seek advertisers

Nat Geo’s Ben Noot

to help fund them. He recently sold natural history doc The Hidden Monkeys to Nat Geo in the US. Jane Roscoe acquires a broad range of docs for Australia’s SBS1 and 2, including shows that tackle current debates about race and immigration through reality formats. “Our viewers also like strong presenter-led history,” said Roscoe. “In fact, anything with Neil Oliver does well. But we have all we need on WW1 and WW2 for now.”

MIPDOC participants gathered at the Martinez Beach to network over lunch yesterday, in an event sponsored by China’s CCTV-9 Documentary Channel.

“We’ve seen rapid development beyond our expectations,” said Liu Wen, CCTV Documentary’s managing director, of the channel’s growth. It has increased its audience by 50% in the past year, to 900 million viewers, and has a 61% market share.

This year has also seen the launch of the Chinese Documentary Union, uniting more than 100 domestic stations and 150 production companies.

“It’s a milestone in the Chinese industry,” Liu said.

Stern says Yes to creative funding ISRAELI docs are thriving, said Danna Stern, head of acquisitions and programming at Yes DBS Satellite Services at the MIPDoc session on Israel. The “lean and mean” Yes is pioneering innovative ways to fund factuals using crowdfunding, crowdsourcing and social media.

For docs about well-covered topics like the Israeli-Palestinian conflict and The Holocaust, producers must seek out new angles.

Unique access helps. For her award-winning feature-length doc The Gatekeepers, Cinephil

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producer Philippa Kowarsky persuaded six former directors of the notoriously secretive Shin Bet to speak on camera. And in his highly personal doc The Green Prince, director Nadav Schirman convinced a junior Hamas member who spied on his own father for Israel to be interviewed, along with his Israeli handler.

A new take on The Holocaust comes from The Decent One, based on the personal diaries of Himmler, re-enactment, and footage from nearly 60 archives.

But there’s more to Israeli docs than the con-

Danna Stern

flict and the Holocaust, says Stern. Recent successes include The Muses Of Bashevis Singer, Putin’s Games, and Web Junkie, about China’s internet addicts.

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NEWS

MIPDoc International Pitch won by tax haven whistleblower film

Executive producer Josh Silberman (left) and reporter Egor Piskunov of News Team

RUSSIA TODAY IN FIRST FOR NEWS REALITY SHOW THIS week sees the premiere of a factual series that claims to be the world’s first reality show to be shot in a working news operation.

News Team (20 x 26 mins) follows seven reporters for Russia Today during January and February of this year, as they covered Syria, Israel, the early stages of the Ukrainian crisis and the run-up to the Winter Olympics in Sochi.

The reporting team included seasoned and rookie reporters from four nations, including Russian Egor Piskunov, and covered battlefield reporting, government press calls and interviews with the hardpressed reporters.

“We filmed them 24/7,” said US executive producer Josh Silberman. “In the news room and in the field.

And we made it clear that we would film what we saw, no matter what happened.”

Silberman, whose credits include Deadliest Catch, Fear Factor, and Dancing With The Stars, claims he was only twice prevented from filming what he wanted. First, when he was refused permission to follow a team to Afghanistan for safety reasons, and second when he wasn’t allowed to show RT staff smoking.

The series debuts on Russia Today International this Wednesday and is distributed by Russia Today.

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FILM following the dangerous path of a Swiss whistleblower who lifted the lid on tax evasion in the world’s offshore havens has won the MIPDoc International Pitch competition.

Rudolf Elmer, a former private banker, defied a culture of secrecy in an industry worth $21 trillion when he gave extensive records of his bank’s practices to WikiLeaks. Since then he has been harassed, threatened and jailed, but still he speaks out.

A Leak In Paradise is available for pre-sales from Belgium’s Ventes–CBA/WIP-Sales. World sales executive Thierry Detaille

said the company was planning to head to India with Elmer.

“Pretty much any emerging country, and India particularly, is plagued with tax evasion,” Detaille said. “Rudolf Elmer used to work on Mauritius, which is one of the hubs in terms of banking and tax evasion for the region, and now he’s a great promoter of tax-evasion enforcement in India.”

The other International Pitch finalists were: A Journey To Icaria (Je Suis Bien Content, France), a transmedia project following a group of 19th-century utopian idealists; Angry Warriors – The Salafi Call For Jihad (New Docs, Germany), on an ultra-conservative Islamic movement linked to DISTRIBUTORS and programme-makers congregated at the Commissioners Club for the MIPDoc Co-Production Marketplace’s Meet Up Session With Commissioning Editors. Anne Olzmann (right) of the German distributor Albatross World Sales was one of the participants benefiting from a talk with ARTE

Thierry Detaille (right), with Ove Rishoj Jensen, who chaired the contest

terrorist acts; Annihilation: The Destruction Of Europe’s Jews (Zed, France), an 8 x 60 mins series on the past 80 years of Jewish history in Europe; and Invisible Mothers (3BoxMedia, Germany/ Spain), about the scandal of single mothers’ treatment in Morocco.

France’s Catherine Alvaresse.

“This was my first meeting of MIPDoc, I came with two projects. One is about the technology used at the Olympics,” Olzmann said. “The other is a natural-history film about Abyssinian wolves, a rare species in Ethiopia. She liked both, so I’m off to a good start.”

Check out partners, say co-producers RESEARCHING co-production partners is essential to financing docs and Saturday’s session on commissioning editors grilled four key North European players.

Barbara Biemann, commissioning editor of documentaries at NDR, Germany, likes producers with a strong political story, solid investigative skills and unique access. “I do co-produce wildlife,” said Biemann. “But I’m a former journalist and I prefer political stories.”

“I look for authentic voices,” said Mette Hoffmann Meyer, head of documentaries at Denmark’s public broadcaster, DR. “Good stories and good storytellers, wherever they’re from.”

Hoffmann Meyer is currently co-producing nearly 40 films

with partners outside Denmark, often deploying Danish subsidies and DR’s editors to help cashstrapped independent filmmakers from emerging territories.

Barbara Truyen, head of documentaries at VPRO, the Netherlands, and Jenny Westergard, commissioning editor, YLE in Finland, want feature-length documentaries with a strong authorial voice that make an impact at festivals.”

As funding for documentary gets tighter across Europe, Truyen and Westergard are open to sponsorship from commercial partners — provided it’s transparent and hands-off in editorial terms.

Hoffmann Meyer and Biemann, however, are not. “Trust in public broadcasters is essential,” said

Hoffmann Meyer.

Instead, Hoffmann Meyer and Biemann work with newspapers such as Sueddeutsche Zeitung (Germany) and journalists such as Miki Mistrati of Danish tabloid Ekstra Bladet to source and research important political stories of the day.

NDR’s Barbara Biemann (right) with DR’s Mette Hoffman Meyer

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NEWS Innovation keeps us ahead, says Keshet’s Avi Nir

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VI N IR, CEO of leading Israeli media company Keshet, is in Cannes to deliver a MIPTV Keynote speech, providing insights into what has made the company such a creative force, both at home and abroad.

Speaking to MIPTV News, Nir said one of the bedrocks of Keshet’s success has been its ability to create content for one of the world’s most critical audiences: “Israelis are impatient. They like innovations and see through the mechanics of TV shows very quickly. Our success is down to the fact that we keep them on their toes, keep surprising them.” One way Keshet does this is by introducing new shows on a regular basis. “We don’t wait for shows to go into decline,” Nir said. “Even if a show is still a ratings success, we ask ourselves what comes next. It’s all about avoiding the predict-

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able, creating an irreverent, unpredictable, controversial voice.”

Keshet’s approach has helped it secure audience share of almost 40% on free-to-air network Channel 2, which it shares with rival firm Reshet. And more recently it has helped the company break through in other territories.

“Our international arm, Keshet International, has done a great job taking formats like Prisoners Of War (aka Homeland) and Rising Star to new markets,” he said.

“I really believe that the success of Rising Star was down to our desire to innovate. There are other good talent shows in the market but we put a lot of effort into making something better and that is paying off. Already we have sold the format to more than 20 broadcasters including ABC [US].”

Opening Night Party MIPTV gets off to a glittering opening as A-list stars walk the red carpet into the Opening Night Party at the Martinez hotel tonight. After the MIPTV World Premiere TV Screening, members of the cast of Starz’ new crime series Power, including 50 Cent and Omari Hardwick, join the VIP event to which all delegates are invited.

Other stars include Amy Poehler, here for the Comedy Central Broad City Keynote Showcase; Kim Cattrall, in Cannes to launch new series Sensitive Skin; Michael Connelly, writer of crime series Bosch; Maggie Gyllenhaal, star of BBC Worldwide drama The Honourable Woman; China Moses, here for the Q&A

after the Power screening; and actor Ray Wise, star of Chipotle comedy Farmed And Dangerous.

Included in the celebrations is the award ceremony of the International Digital Emmy Awards ceremony, where Alex Carloss, YouTube’s head of entertainment, will accept the Pioneer Prize on behalf of the company.

China Moses

Kim Cattrall

Michael Connelly

Ray Wise

Alex Carloss

Avi Nir: “Israelis are impatient”

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NEWS AWARD WINNER

Japan’s broadcasters lift lid on hidden format treasures

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RODUCERS and distributors from around the world crowded into Auditorium A on Sunday for Treasure Box Japan, an introduction to the most creative of Japan’s new formats.

Now in its third year, Treasure Box is a joint project in which eight leading Japanese broadcasters take turns to present innovative shows never before seen outside Japan. Titles this year included Asahi Broadcasting Corporation’s The Selfie Show, Fuji TV’s Whose Side Are You On?, NHK Enterprises’ Cook The Unknown, Nippon TV’s Mansion Madness, TBS’s Find The Wasabi, TV Asahi’s Be A Legend, TV Tokyo’s Can I Follow You Home? and Yomiuri TV’s Fake Family.

MARK Itkin, board member and co-head of television for William Morris Endeavor, celebrates his C21/FRAPA Gold Award, presented in association with MIPFormats. One of the most prolific packagers of formats for the US market, Itkin’s credentials include The Real World, Project Runway, Hell’s Kitchen, Deal Or No Deal, Big Brother and Fear Factor. Speaking to C21’s David Jenkinson before the award, given in recognition of outstanding contribution to the formats industry, Itkin said: “If you’re going to sell something to an American broadcast network, it’s got to feel like a big event in order to get the eyeballs to come to it. It has to be something that people can talk about the next day.” As for what genre will spawn the next big thing he said: “It’s time for a big event game show. There hasn’t really been one that’s worked since Deal Or No Deal.”

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Each broadcaster spent five minutes pitching their show and explaining how it might be adapted for other markets. There was then a networking lunch during which potential partners could discuss the formats and find out more about other shows that the eight Japanese companies will be promoting at MIPTV this week.

Last year was the first time that Treasure Box Japan became part of the MIPFormats event.

Shows from Treasure Box 2 that have gone on to be international successes include No Brainer, which sold to BNN Netherlands, Aha! which sold to Dori Media, and Clockhanger, which has been licensed to numerous territories.

Treasure Box Japan opens for business

Narashima hails Box business boost THE IDEA for Treasure Box Japan arose at a selling formats around the world. But Takmeeting between Japan’s leading internation- ayuki Hayakawa, deputy director worldwide al sales teams, explained Fumio Narashima, production and sales in Fuji TV’s programsenior corporate officer of NHK Enterprises ming and production department, is equally and a member of the Treasure Box Japan Or- upbeat about the event: “The creativity of ganising Committee.

Japanese TV is very strong, but the question “It was a joint idea,” he said. “We looked at has always been how to develop concepts for the kind of events being organised different cultures and markets.

by China and Korea and decided it Treasure Box is a way of buildwould be good for Japanese coming relationships and triggering panies if we developed a similar sales.” initiative.”

Both executives are involved in For NHK Enterprises, it has organising the event and declared proved very beneficial, he said. themselves thrilled with the “We didn’t have a lot of experihuge turnout in Auditorium A. ence in selling formats, so it has “I’m confident that buyers and been a good way for us to commucommissioning editors will find a nicate with international buyers.” NHK Enterprises’ format here that piques their interFuji TV has plenty of experience Fumio Narashima est,” Narashima said.

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NEWS Keynoter reveals his formula for a perfectly-formed format

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H E PE RC E P T ION that the formats industry is creatively stagnant annoys Rob Clark.

“I think the industry is extraordinarily creative at the moment,” said FremantleMedia UK’s director of global entertainment development in his MIPFormats keynote. “There are a lot of great formats around and I think this MIPTV will demonstrate that. It’s just the cyclical nature of television.

Nothing’s ever dead, it’s just how you retell the story.”

Clark said that FremantleMedia looked for three “central tenets”

in a format; cultural transferability, returnability and scalability. He also said that formats needed a digital strategy, adding: “That isn’t something I would have said five years ago.”

In answer to interviewer Ben Hall’s (Chalkboard TV) question about how important financial fire power is in terms of getting a format off the ground, Clark said: “Very important.

Broadcasters don’t have the same balls that they used to.

That’s understandable, given that the pressure to succeed is great and failure is expensive.

So they often want a format that’s worked somewhere else.”

While FremantleMedia has deep enough pockets to fund its own pilots, Clark said he preferred a co-funding model.

“That means the broadcaster has to believe in the format as well,” he said. “They need some skin in the game.”

Clark also has his doubts about Rising Star’s claim to be the Next Big Thing. “It’s sold extremely well but it’s not a hit yet,” he said. “When it gets 15 to 20 million viewers on ABC [US], then we can call it a hit.”

But Rising Star is a reminder that great formats can come from anywhere, Clark concluded. “This concentration on one ZOMBIE Boot Camp took the

top prize at yesterday’s MIPFormats International Pitch, winning €25,000 in development money from sponsor Warner Bros. International Television Production. Announcing the result, jury member Nick Emmerson of Ricochet said the zombie-apocalypse survival challenge had been the clear winner, despite the high standard of the other four finalists. “And we reckon it will

Carter shines light on black swans THE NEXT Big Thing in formats will come from nowhere, will be totally unexpected and impossible to predict. And then the industry will try, largely unsuccessfully, to apply its formula to the future.

This was Gary Carter’s response, as set out in his MIPFormats keynote on Saturday, to the quest that is currently obsessing the format world — the search for the next gamechanging concept.

“The Next Big Thing is always a ‘black swan’ event,” said the Shine Group chairman of North-

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ern Europe, referring to Nassim Nicholas Taleb’s metaphor to describe events that come as a surprise, have a major effect and are rationalised in retrospect, with the benefit of hindsight.

Identifying the major black swan formats as Millionaire, Big Brother, Survivor, Idol and MasterChef, he added: “And we are now surrounded by formats that copy these black swans.”

The key point, he said, is that it’s the consumer who decides on the Next Big Thing, “not the industry that generates or relies on it”.

Carter suggested that Keshet’s Rising Star possibly qualifies as a black swan, if only on the grounds of the skillful marketing that has propelled it from a relatively successful local talent show to arguably the hottest format on the market. “We may be entering into a period where the sales and marketing of formats requires more strategy, more marketing knowledge and much more money than it does now. And perhaps more money than smaller companies have at their disposal.”

Shine’s Gary Carter

territory, like Israel, is missing the point, “ he said. “The TV industry is now global. So the Next Big Thing will come from somewhere in the world. That’s the only thing that’s certain.”

FremantleMedia’s Rob Clark

need the development money to bring alive — so to speak — the scope of its ambition,” he added. In the format, 16 contestants fight their way through repeated zombie attacks, testing a wide range of skills. “To win, all you have to do is survive,” said Lisa Gray, head of content for Australia’s The Feds, pictured (left) with producer colleague Claire Marshall. “It’s a fun way of looking at the end of the world,” Marshall added.

miptv

NEWS PUSCHMANN: HOW TO BE A SOCIAL CLIMBER CREATE a social-media buzz between episodes and your show will climb, said Matthias Puschmann of Germany’s Vast Media. He brought case studies including E!’s Rich Kids Of Beverly Hills to the The Producer’s Toolbox: 10 Things You Should Know For Your Digital Strategy session. That show, itself inspired

by Instagram and Tumblr, created engagement with an Instagramactivated scavenger hunt.

Discovery, meanwhile, built a tweet-powered distillery, where viewers of Moonshiners tweeted their votes to choose the brew they were making. “It used a key element of the show in an effective digital campaign to create a social buzz,” Puschmann said.

Both examples supported one of the 10 digital strategy recommendations outlined by Daniel Ravner of Israel’s Practical Innovation: using existing social platforms in your show’s digital strategy. “Even if you don’t build it, they will come,” he said, highlighting the cost-saving opportunities afforded

by Twitter, for example, over a bespoke platform.

He also recommended differentiating the experience provided on the second screen, to let people express themselves through games and interactions, and not to stake your show’s digital strategy on creating a viral hit — the equivalent of winning the lottery. “You want to strive for digital that’s brilliantly simple,” he said. “Your average viewer is not an early adopter, so make it simple.”

Matthias Puschmann

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Bassetti teams with Goldberg to boost production in the US

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ARCO Bassetti, CEO of Banijay Group, used the MIPFormats stage to announce that the French super-indie is partnering with former Endemol North America head David Goldberg to launch Banijay Studios North America. The new company will be based in Los Angeles and will develop original content for the North American market.

“We now have everything in place to attract creativity and increase our production presence in the English-speaking markets,” Bassetti told interviewer Ben Hall, managing director of Chalkboard TV, in response to Hall’s light-hearted probing into “the mystery” of why Banijay has yet to produce a major hit.

Goldberg stepped down from his post at Endemol three months ago after 13 years with the company. “David and his team will develop new formats that we will roll out globally through our growing production capabilities,” Bassetti said. “His expertise, persuasive powers and creative vision will be huge assets to us.”

Banijay Studios North America will be the second Banijay production entity in the US, joining Bunim/Murray, creator of Keeping

Marco Bassetti announces Banijay Studios North America

Up With The Kardashians, Total Divas and Bad Girls Club. Bassetti said Bunim/Murray would remain autonomous from the new Banijay division.

Bassetti ended his keynote with some advice for tomorrow’s format creatives. “There’s a lot of attention being given to the digital space and the connected generation who don’t like to watch TV,” he said. “But it’s important to bear in mind that you are storytellers and there are a lot of people out there who still want to lean back and listen. Content can be delivered in any way, but there always needs to be a good story.”

Findings highlight format fatigue SCRIPTED is on the way up; singing and talent shows have peaked. Many of the super-formats — the likes of Idol, Strictly and X Factor — are on the verge of extinction.

Changing media consumption patterns and the digital landscape are not format-friendly, with online consumers preferring to binge on drama rather than formats. There are more formats on the market, but not more money.

The balance of power is shifting to new territories, such as Israel, Turkey and Scandinavia.

And IP theft remains a key concern.

These were the conclusions of three C21 research projects — the annual Formats Survey, a two-question buyer’s survey and an analysis of Schedule Watch — presented by C21’s David Jenkinson at yesterday’s session on the future of formats. Joining Jenkinson on stage to discuss the findings were DR Denmark’s Rasmus Ladefoged, Global Agency’s Izzet Pinto, Nordic World’s Jan Salling and Zhejiang Satellite TV’s Summer Zheng. Ladefoged agreed that many of the vintage formats are getting tired. “Personally, I’m tired of seeing classic formats with a new twist being hailed as game-changers,” he added. “At DR, we are looking for something truly original, and a

new gimmick [bolted on to an old format] is not going to be it.”

However, Pinto, Salling and Zheng questioned the report’s contention that talent would decline in 2014. “Shiny-floor entertainment, singing and dancing still work best in China,” Zheng said. Salling also believed that “talent will be with us for a long time”, but he acknowledged that the formats industry has challenges ahead: “Everybody’s looking for that lighthouse format that will cast a glow over a whole schedule. And that means that all non-lighthouse formats are struggling.”

DR’s Rasmus Ladefoged (left), Global Agency’s Izzet Pinto, Nordic World’s Jan Salling, Zhejiang Satellite TV’s Summer Zheng and C21’s David Jenkinson

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miptv

NEWS 50 Cent takes to Cannes stage as Starz’ Power gets World Premiere

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ONIGHT’s World TV Premiere Screening is the Starz original drama Power, created by showrunner Courtney Kemp Agboh (The Good Wife) with

rapper 50 Cent — aka Curtis Jackson — on board as executive producer.

The exclusive screening of the first episode will be followed by a Q&A session with Jack-

son, who also acts in the series, Agboh, lead actor Omari Hardwick (Sparkle; For Colored Girls; Kick Ass) and executive producer Mark Canton (300; Immortals; 300: Rise Of An Empire).

Curtis 50 Cent Jackson and Omari Hardwick

Stars take serious look at Comedy AMY POEHLER is in Cannes today for the Comedy Central Broad City Keynote Showcase alongside the creators, writers, executive producers and stars of both the original web and TV series, Abbi Jacobson and Ilana Glazer. Poehler is executive producer.

The three will be joined onstage by Kent Alterman, president, content development and original programming, Comedy Central US, and MIP veteran Caroline Beaton, senior vice-president international programme sales, VIMN. Drawing on insight from Viacom’s recent research study, Comedy Across Borders, which

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identified o edy as the nu ber one social currency”, the panel will address the impact

of the web on today’s comedy development process for TV and the lessons learned about

Power, which is in production and due to air later this year on Starz, centres on the double life of a wealthy New York City club owner. On the surface, James ‘Ghost’ St Patrick, played by Hardwick, is a successful businessman, husband and father.

But underneath the veneer of respectability, he is the lynchpin of a lucrative drug network serving an elite clientele.

“The story is about a man who has created a series of different persona he uses to his advantage,” Agboh said. “It is set against the backdrop of New York and has a strong music feel to it.”

Starz retains the global distribution and home-entertainment rights to Power, which is being produced in association with CBS Television Studios.

Starz is also creating a buzz on the conference stage this morning, with CEO Chris Albrecht in conversation with Playground CEO Colin Callender, formerly president of HBO Films. “We are going to spend some time looking at the proliferation of co-productions between US networks and international partners,” Albrecht said.

“We’ll also look at the increasing trend towards scripted formats and the dynamics of having two versions of a show in the market.” transplanting comedy from one medium to another.

Broad City is an odd-couple comedy with a sketch-show feel, following two friends as they navigate their way in New York City. The series, which has received critical acclaim from the New York Times, Vanity Fair, Vogue, LA Times and others, captures comical moments between the friends and features cameos from popular comedians including Poehler. With season two already green-lit for production, Comedy Central’s hot new series is launching on the international market in Cannes.

Abbi Jacobson (left), Ilana Glazer and Amy Poehler

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miptv

NEWS

Macallister unveils Zodiak’s new drama-driven strategy

Z Julius Jr. (MarVista Entertainment)

JULIUS JR ON WAY TO ITALY SABAN Brands has signed a broadcast distribution deal for its animated pre-school series Julius Jr. with Disney Junior in Italy. The series, which is inspired by the characters of Paul Frank, will premiere in Italy this spring.

The deal, brokered by the series’ international distributor MarVista Entertainment, will be expanded to additional countries in Europe, the Middle East and Africa in the near future. “Disney Junior delivers high-quality and trusted programming to children and families,” said Saban Brands’ Frederic Soulie, senior vice-president of global distribution.

Fernando Szew, CEO of MarVista Entertainment, added: “We are certain that pre-schoolers in Italy will enjoy the magical inventions and amazing adventures of Julius and his pals.”

BOLLYWOOD IN FULL-HD THE BOLLYWOOD Movie Channel VOD service has re-launched its entire library in full HD, and has also been ugmented with a Bollywood linear HD channel, which comes free of charge. The Bollywood Channel, which is available globally on Samsung smart TVs, tablets and smartphones, features more than 600 hours of the best of Bollywood and Indian cinema in full HD. The line-up includes films in all genres.

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ODIAK Rights (ZR) comes to MIPTV with a new focus on drama and a commitment to “beefing up” its digital capability, according to the distributor’s recently appointed CEO, Steve Macallister.

The ex-BBC Worldwide chief, who took over the distribution and rights-exploitation arm of Zodiak Media in January, said he was still in the process of fine-tuning ZR’s strategy after just two months in the job. “But we have identified drama as a key area for expansion within our catalogue,” he added. “We are very keen to build on the success of The Returned, which has been a smash hit on Channel 4, has been sold to over 74 countries and became the mostexported French drama of 2013.

We are also launching Braquo series three, which has been another success for us, with the first two series notching up sales to 113 countries.”

Zodiak Rights’ Steve Macallister: “It’s a really exciting time to be in the business”

Reflecting this mission, Macallister and his team are on the hunt for new drama projects at MIPTV, specifically in the scripted area. “We have recently appointed Caroline Torrance as head of scripted to help lead this process and we are actively seeking new production partners,” Macallister added.

Another new appointment is in the offing to help ZR drive

forward its digital growth strategy. “We are in the process of recruiting for a brand new position,” Macallister said. “Call me an optimist, but I see the evolution of the media landscape as a big opportunity for those that are willing to embrace it. It’s a really exciting time to be in the business and the demand for quality content has never been higher.”

Blue Ant Media goes global BLUE Ant Media, the rapidly expanding Canadian independent, is launching its international division, Blue Ant International, at MIPTV. Ex-Tricon and SI Entertainment executive Solange Attwood, who has

Solange Attwood, senior vice-president international, Blue Ant Media

joined the company as senior vice-president international, is overseeing the development of the new division.

“I’m eager to showcase Blue Ant International’s fresh, collaborative approach connecting high calibre content creators with international buyers to provide a 360-degreee approach to rights exploitation,” Attwood said. “Our own library contains 700 hours of premium, evergreen, non-fiction programming including the five by onehour documentary Nomads Of The Serengeti, which is filmed in 4K. One of the many reasons why we’re here is that we’re looking for co-production partners for 4K projects, it’s an area we’re actively pursuing. And

more generally we are seeking strategic partners, as well as third-party producers looking for international distribution.”

Blue Ant Media, which runs four free-to-air and four premium channels, is helmed by ex-Alliance Atlantis executive chairman Michael McMillan.

“The launch of Blue Ant International is an integral part of the growth strategy for our company,” said Raja Khanna, CEO, television & digital, Blue Ant Media. “In such a crowded marketplace we hope to stand out by focusing on superior service and by continuing to build a roster of top-tier content partners to create an industry-leading catalogue of high quality programming.”

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miptv

NEWS

Kasparian’s online Turks ‘feed the need for honest content’ Applicaster in action

APPLICASTER HAS BREAKING NEWS APPLICASTER, a provider of broadcast technology for cross-screen TV experiences based in Israel, has integrated its technology with the Avid iNEWS newsroom management system, allowing broadcasters to trigger second-screen activities directly from the system itself, and send back results to on-screen graphics systems.

The integrated system enables the broadcast production team to launch and operate second-screen activities in real time, increasing viewer engagement and enriching information in news programmes, based on audience feedback and content sent through the second screen.

The iNEWS system allows broadcasters to create and deliver breaking news, and unify their entire news operation, and iNEWS provides a dashboard of content related to key stories in a single location, enabling teams to focus on creating and delivering compelling news stories.

“Offering a simplified newsroom workflow adds a new layer of information, based on viewers’ input and generated content,” said Liron Deutsch, Applicaster’s vice-president, corporate development. “This integration will open many more opportunities for second-screen activities in news programming, which is not regarded as the typical genre for viewer participation,” she said.

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H E I NAUGU R A L MIP Digital Fronts in Cannes is offering an opportunity to a new generation of producers to show how honest news content can be, according to Ana Kasparian.

The co-host/producer of the US-based online-only news programme The Young Turks said the company was participating in Digital Fronts, MIPTV’s new marketplace for

The Young Turks’ Ana Kasparian

digital-only content, mostly to sell its productions.

But, she added: “I will also be giving a presentation about how badass our company is, and how revolutionary our show has been in the US media landscape. We fight back against the establishment media and that’s how we were able to grow so rapidly. People were hungry for honesty.”

The Young Turks (TYT) began as a satellite-delivered radio sta-

tion, and is now a video channel on its own website TYTNetwork.com and on YouTube. On YouTube, it has more than 1.5 million subscribers and recorded almost 1.4 billion views.

“We do not treat it as an extension of TV programming, but we do see the show as something that can be syndicated in TV,” she added. “The production quality in online programmes has improved dramatically with unique content, beautiful graphics, and highdefinition footage.”

But the traditional TV format should never be dismissed: “We have a business model that allows us to be profitable while being strictly online. However, TV is still very relevant.”

Although digital media has created new opportunities for content marketing, transparency remains essential.

“One thing that is a little concerning is how anyone can say anything on the internet and make it seem like it’s journalism when it’s not. TYT has been very good about being open and honest about any biases.”

French firm is game on with viewers A FRENCH start-up is inviting broadcasters of linear content to bond with their viewers via GamificTV, a proprietary second-screen technology.

The company was a finalist in MIPTV’s 2013 MIPCube Lab pitching competition.

It says it is able to connect a broadcaster’s linear-TV show being aired on a connected-TV set with viewers’ smartphones or tablets and the technology’s computer servers. The selected smart-TVs are the ones manufactured with Hybrid Broadcast Broadband TV (HbbTV) technology.

The show is ‘gamified’ by allowing viewers to download the dedicated app from the

broadcaster to the TV set.

Viewers can use their mobiles to interact with the TV content and play related GamificTV games against each other on one TV set in the same room or with other GamificTV-connected viewers outside.

As an example, GamificTV has illustrated the technology using The Walking Dead, the popular hit drama series from US network AMC. In it, gamers invite each other to see how many zombies they can shoot on-screen to win.

“We do not have a broadcaster who is testing our solution yet, but we have started different projects with that in mind. The most advanced is Normandie TV, which is a local channel in Nor-

mandy. But we may have something running in a few weeks on a national French broadcaster,” said William Schlegel, GamificTV’s CEO. GamificTV CEO William Schlegel

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NEWS

Armoza/JSBC collaboration spawns China’s first format

Wananchi’s Charles Murito

ZUKU LAUNCHES BASKETBALL IN UGANDA KENYAN broadcaster Zuku is in Cannes to showcase African content to the market and promote a university basketball league it has backed as part of a strategy to invest in local sports. Zuku, owned by Wananchi Group, will run live games from the league, which is made up of teams from 12 of Uganda’s universities, following a similar launch in Kenya last year. The broadcaster has worked closely with the National University Sports Federation of Uganda (NUSFU) to develop the league, which previously existed on an unofficial basis without any formal structure. Wananchi deputy managing director and chief commercial officer Charles Murito said: “We’ve made a strategic decision to invest in sports. It’s a relationship; you have to build it up from the ground if you want to achieve a great end result and get great content”.

Zuku is also looking to acquire new shows to feature across the wide range of channels it operates in East Africa. It is seeking a variety of content, particularly movies and kids shows, Murito said. “We are focused on quality acquisitions and the retention of consumers,” he added. The broadcaster is also offering a range of its own content at MIPTV. This includes political drama State House, which follows the inner workings of the official residence of a fictional Kenyan president, and musical drama Groove Theory, based around a university campus choir.

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RMOZA Formats comes to Cannes with what is understood to be the firstever international format to come out of China – JiangSu Broadcasting Corporation’s (JSBC) high-octane studio entertainment show Celebrity Battle.

The MIPTV launch is the latest move in the collaboration between Armoza and JSBC, which sees the Israeli and Chinese companies harness the synergies between their content development, broadcasting and distribution resources.

In the first phase of the partnership, JSBC invested in the celebrity primetime format I Can Do That!, which headlined Armoza’s MIPCOM slate and is now in production in 10 territories.

Celebrity Battle, the first series of which pulled in top ratings and over 200 million viewers when it aired on JSBC in November, is based on the premise that behind every great singer there is a great producer. Eight celebrity singer/

Armoza Formats/JSBC’s Celebrity Battle: China’s first international format

producer duos compete each week in a variety of musical genres, with the audience voting for their favourite team. The tension mounts as the votes are counted, sending the celebrities’ chairs gliding across the stage in a physical reflection of the score line.

Zhao Jun, head controller of JSBC’s programming department, said that the show has performed strongly in the “intensely competitive” mainland Chinese market and had attracted “broad global attention” in the run-up to MIPTV. “We are so proud that it is the very first original Chinese format to be

distributed globally,” he added.

According to Avi Armoza, CEO of Armoza Formats, co-development will be the next step for the two partners, as they forge stronger connections between their “capabilities, cultures and creativity”. “We pride ourselves on bringing Israeli innovation to the market, and we strongly believe that working with JSBC will help us to create the next generation of content,” he said.

Zhao added: “China is very creative and productive. I believe there will be more and more Chinese formats emerging on to the global market.”

Red Bull partners with Korea’s KT RED BULL MEDIA HOUSE has struck a deal with South Korean telecommunications company, KT, that will deliver 150 longform video-on-demand titles for KT’s Olleh TV service.

Olleh TV is the biggest IPTV player in South Korea, with

Red Bull Cliff Diving (Red Bull Media House)

over five million subscribers, around 70% market share and the country’s largest number of TV channels.

Red Bull Media House is also bringing a programming lineup to MIPTV covering a diverse range of subjects, including Red Bull

Cliff Diving, Red Bull X-Fighters and the Red Bull Air Race World Championship, which brings together the world’s best race pilots in a pure motor-sport competition.

Other titles include Neymar, a portrait of the Brazilian soccer superstar Neymar de Silva Santos Junior; All In With Laila Ali, features the daughter of Muhammad Ali; and feature film Cerro Torre – A Snowball’s Chance in Hell “In every offering and across every platform, we deliver exceptional value to our partners by putting a premium on audience engagement,” said Alexander Koppel, chief commercial officer at Red Bull Media House.

“We look forward to building on our existing relationships – and forging new ones – at MIPTV.”

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NEWS

All the world’s a stage Now: In The Wings On A World Stage, the first collaboration between Kevin Spacey and director Sam Mendes since American Beauty, saw its first international outing at MIPDoc. Spacey spoke to Julian Newby about the project NOW: IN The Wings On A World Stage documents the 10-month world tour of Sam Mendes’ Bridge Project’s production of Shakespeare’s Richard III. Kevin Spacey took the lead role in the play, and is executive producer of the documentary that gets its worldwide launch onto the international marketplace here in Cannes this week. “It’s not so unusual these days to find a production that might go to Beijing or Broadway for three nights, but international touring productions are very, very rare,” Spacey said of the Bridge Project.

So together with Jeremy Whelehan, Spacey’s long-time collaborator, he set out to capture the whole experience on film, starting in London, then to the ancient Greek amphitheatre in Epidaurus, the deserts of Doha, across the Great Wall of China, through Istanbul, Sydney, Naples, San Francisco, and ultimately ending up in Brooklyn.

As well as documenting what was a challenging 10 months for everyone involved, Spacey said the film also serves to “answer some of the questions I get all the time, probably because of the value we put on movies over the theatre… ‘Why is theatre so important to you?’ ‘Why do you do it?’ ‘Don’t you get bored doing it every night?’”

And he was determined that the film would not just become “a lovey insider’s pat-on-the-back”, where you had to be a part of the production to understand what was going on. “I was actually interested in setting out to make the theatre inviting and compelling to people who just don’t go to it.”

Spacey’s performance as the mad King Richard who destroys everything in his wake, has stunned audiences and won critical acclaim wherever it has been seen. But to the actor himself it has served a further purpose, informing the character of Frank Underwood in House Of Cards.

“I have to say that it was the run of Richard III that taught me about the directaddress,” he said. “The difference is I’m not looking in the eyes of an audience any more, I’m looking down the barrel of the lens and that’s a very different experience from the one I had in over 200 performances, looking into the eyes of audiences around the world and seeing in their faces their reaction to how they felt about being included in on something and being told something no one else knew. So what I learned from that experience has completely gone into how I do the direct-address in House Of Cards. Doing it live helped me do it on set.”

He added: “There is no doubt that if you look at it in its original incarnation, it is Richard III,” Spacey says of the Netflix hit series. “In fact the direct-address we use in that, Shakespeare invented. Richard Dobbs didn’t, I didn’t, Ferris Bueller didn’t.

The idea of a character stepping out and sharing his plans with the audience is directly Shakespeare. There is so much about House Of Cards that is Shakespearian… like Richard III, it’s a story about the nature of power.”

Spacey is involved in all aspects of Now: In The Wings On A World Stage — he stars in the play, is executive producer of the documentary, and is even involved in the film’s distribution. “That has probably taken up the bulk of my time over the last four months, preparing for the exclusive internet download on kevinspacey.com starting May 2 in the US and Canada,” he said. “We’re now finalising our deals for cinema release, digital download and broadcast and in all of the countries around the world I would love to see the movie in.”

Ro*co Films is representing the film in Cannes this week. “MIPTV is the global coming-out party for Kevin’s film,” said Ro*co founder and CEO Annie Roney.

“While plans are set in motion for the US, UK and Canada, the rest of the world is wide open. At MIPTV we are eager to talk to broadcasters and theatrical distributors alike about windowing all the rights to work for them. We know that Kevin has enormous worldwide appeal, and this film will draw audiences and ratings.

MIPTV will be the first opportunity for international buyers to make their claim.”

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NEWS

BBCWW deals reflect China’s growing demand for factual

Volcano Live (DCD Rights)

MUSIC AND DOCS DO THE BUSINESS FOR DCD RIGHTS UK-BASED distributor DCD Rights has unveiled a raft of sales for its music and documentary programming.

MIPTV headliners to have found new homes include George Michael: Live At Palais Garnier Paris, which has been snapped up by AXS TV (US), Foxtel (Australia), DirecTV (Latin America), Globosat (Brazil) and Phoenix Satellite Television (China). Also on the move is Jessie J: Alive At The O2, which has been secured by DirecTV, Globosat and PST. Nicky Davies Williams, CEO of DCD Rights, said: “The multiplatform accessibility of concerts and documentaries makes them particularly interesting to content buyers looking for ways to build their brand with a specific audience demographic.”

In a separate development, DCD Rights has won the tender to represent the Open University (OU) programming catalogue.

The deal will add 188 hours of BBC-produced factual content to DCD’s portfolio, as well as a further 40 hours of new programming over a two-year period. OU series covered by the deal include Coast, Bang Goes The Theory and Volcano Live.

Caroline Ogilvie, OU’s head of broadcast, said: “We are very proud of our programming and are sure that DCD Rights will give it the hands-on attention it deserves, enabling more viewers around the world to benefit from both its educational content and its entertainment value.”

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HE CHINESE will be watching more BBC Worldwide (BBCWW) programming thanks to deals with two of the country’s media powerhouses: TVB, Hong Kong’s biggest freeto-air broadcaster; and internet services giant Tencent.

BBCWW will supply a range of natural-history and factual titles to TVB, including How To Build A Planet, Supergiant Animals, and Deadly Pole To Pole.

Also included in the package are Sherlock, Michela’s Classic Italian and Show Me Show Me. “TVB has been a trusted partner of BBC Worldwide for many years and this deal has cemented our relationship,” said Pierre Cheung, BBCWW’s vice-president and general manager of Greater China.

Under the Tencent deal, more than 60 natural-history and factual titles, including Frozen Planet and Penguins: Spy In The Huddle, will become available on the Chi-

BBCWW’s Penguins: Spy In The Huddle licensed to Tencent

nese ISP’s VOD service. Cheung said: “With Tencent, we’ve had immense success with drama titles in the past, with series one of Primeval raking in its highest ratings at eight million views by the end of March 2014. Now, we are eager to explore new grounds with them and expand our offer-

ings on their VOD service.”

Suman Wang, chief editor of Tencent Video, added: “With the growing demand for factual content coupled with BBC Worldwide’s reputation for quality, we are confident that these titles will receive the same or even greater traction with our users.”

Why humans are fish out of water WE OWE fish a lot, including hands, hiccups and hernias.

These are among the surprising facts revealed in Your Inner Fish (3 x 60 mins), the first project from Tangled Bank Studios, which launched in 2012 under the leadership of Emmy Awardwinning producer, writer and documentary specialist Michael Rosenfeld.

The three-part “scientific adven-

Paleontologist Neil Shubin presents “scientific adventure story” Your Inner Fish

ture story”, based on the book by paleontologist Neil Shubin and distributed by Off the Fence, sets out to answer how the human body became “the complicated, quirky, amazing machine that we all inhabit”, Rosenfeld said.

To achieve this, the series travels back to the dawn of time, tracking various human features and peculiarities — including skin, hair, hearing, hiccups, hernias and bad backs — to an ancient cast of characters.

“I’ve been involved in a number of human-body films, but this one tells a very different story,” Rosenfeld said. “It uses multiple scientific disciplines to show how the human body carries the legacy of animals that lived millions of years ago. For example, we trace the hand back 375 million years

to an ancient fish that had fins that were part way to becoming limbs.”

Rosenfeld believes Your Inner Fish, which premieres on PBS this Wednesday, is a universal concept. “It’s got a real combination of attractions,” he said. “It’s groundbreaking science, it offers a new perspective on the body, it gives real insight and it supplies answers. It’s also got a great presenter in Neil Shubin and the most eye-popping graphics I’ve seen in my 30-year career.”

Off the Fence CEO Ellen Windemuth said initial market reaction to Your Inner Fish had been positive. “The market loves it,” she said. “It’s a highly visual approach to a complicated subject, but the story is very individual, because it’s about where we all come from.”

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NEWS

Fans vote to take Connelly’s sleuth from page to screen Christophe Bochnacki of Balanga (left) with producer Simon Howley, director Chris Long and screen writer Erin Donovan

DOCUMENTARY HAS INSIDE TRACK ON TRAIN ROBBERY LAST night for the first time in the event’s history, a documentary was given a World Premiere TV Screening at MIPDoc. A Tale Of Two Thieves (1 x 90 mins), about Britain’s Great Train Robbery in 1963, features interviews with Gordon Goody, a hairdresser who was part of the gang. Goody reveals for the first time much of the inner workings of the ‘caper’ as he calls it.

“It’s a story that has a certain generational cut-off, but most people over 40 in Europe and the US are well aware of it,” director Chris Long said. “For example in France the film Le Cerveau (The Brain) with Jean-Paul Belmondo and David Niven, is based on the original robbery, and when gang-member Buster Edwards died it was widely reported in the US.” The show has already been pre-bought by SBS in Australia, and several other deals are very close to being signed: “We are in advanced negotiations with the UK, US, France, Germany and Russia as well as with several Asian territories,” Christophe Bochnacki of distributor Balanga said. “And in order to keep something back for broadcasters, we have bleeped out the big reveal, which is the name of the Irish mastermind behind the robbery.”

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Harry Bosch creator Michael Connelly

M

ULTI-million selling crime writer M ichael Connelly takes to the Cannes stage today to tell the story of how his hero of some 18 books, LA homicide detective Harry Bosch, finally made it to the screen.

The cinematic Harry Bosch books have been crying out for a screen adaptation for years, but an ill-fated deal with Paramount

has denied Connelly’s fans until now. At the start of this year some 11,000 of them approved a streamed pilot commissioned by Amazon Studios, and the unanimous ‘yes’ vote has now led to a full season, which starts shooting in July.

And Connelly was fully behind this radical move. “For me it was taking it out of these back rooms, where you have no say and don’t even know what

they’re talking about, and putting it out to the people who love the books,” Connelly said. “I’d much rather take that chance than have a bunch of network people deciding the future of the show. I’d rather give it to the people who know Harry Bosch and know the books.”

For Connelly, the two stars of the books are Bosch and his city, Los Angeles. Connelly insisted in his contract that the series was shot entirely on location there, and so the element of doubt was whether the pilot’s star Titus Welliver would be accepted as Bosch.

“Now we know that Titus is Harry Bosch, because the fans have told us,” said executive producer Henrik Bastin, CEO of production company Fabrik Entertainment.

Connelly and Bastin, both executive producers on the project, and Welliver, join Jan Frouman, group managing director, Red Arrow Entertainment, for his MIPTV Media Mastermind Keynote today at 16.30. Red Arrow is distributing the series.

Shooting starts on Tandem thriller LAST year’s MIPCOM saw Tandem Communications president Rola Bauer announce plans for a new TV series called Sex, Lies And Handwriting, to be developed in partnership with Lionsgate TV. This week, Bauer returned to Cannes to reveal that the show will begin principal photography this summer in Vancouver, Canada.

She said: “We have a great showrunner (Nancy Miller) and writer (Annie Brunner) on board. And we also have a number of partners including Bell Media Canada, TFI France and Pro7Sat1 Germany. In the next few days, we will be able to reveal our US broadcaster as well.”

Sex, Lies And Handwriting is

a crime series that follows Katie Bold, an accomplished artist and forensic handwriting expert who possesses the skills and genius of a Sherlock Holmes. A 12part series will be produced by Sea To Sky Studios, a partnership between Lionsgate TV and Thunderbird Films. Global distribution on the project is shared by Tandem and Lionsgate.

At MIPTV, Bauer has a pilot script to discuss with buyers and is predicting it will be “one of the most original and intriguing new series in the past few years”. Between now and the summer “we will be providing regular updates on the script, the cast and other production developments as we sign up more partners.”

Lionsgate TV chairman Kevin Beggs declared himself happy with the way the partnership with Tandem is working out. “Our goal has been to fast track Sex, Lies And Handwriting by leveraging our combined relationships on both sides of the Atlantic.”

Tandem’s Jonas Bauer and Rola Bauer

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2014 OFFICIAL MIPTV WORLD PREMIERE TV SCREENING

Monday, April 7th at 18 :15 ❘ The Grand Auditorium With appearances by cast members Omari Hardwick and Curtis “50 Cent” Jackson

Starz and related channels and service marks are the property of Starz Entertainment, LLC. Power © 2014 Starz Entertainment, LLC. EXE4120-14-O

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NEWS

Second run for TV4’s ratings success Welcome To Sweden

Y Gwyll/Hinterland (All3Media)

SECOND SERIES OF HINTERLAND SCHEDULED A SECOND series of the S4C English- and Welsh-language series Y Gwyll/Hinterland was commissioned this week, with broadcast partners S4C and BBC Cymru Wales announcing that production on the five-part series will start in September.

“As with series one — distributed internationally by All3Media — we will be shooting the English and Welsh versions back to back,” Ian Jones, chief executive of S4C, said.

“And our focus is once again firmly on producing a highquality series, because it’s the only way that we have a chance of attracting the domestic audience. While we’re keen to expand our international presence, first and foremost our productions have to appeal to that core market.”

Y Gwyll/Hinterland, sold to BBC4, Denmark’s DR and NRK in Norway, with several more deals soon to be announced, is also popular with the online audience, inside and outside Wales.

“Our previous best figure was around 20,000 views, but Hinterland attracted close to four times that amount, with over 70,000 views in one month,” Jones said.

S4C has also just launched 35 Days, a six-part drama series entirely in Welsh. “It’s undeniably true that Nordic Noir series broke the mould, and audiences are now much more accepting of series with sub-titles, as evidenced by the fact that 35 Days is already garnering international interest,” Jones added.

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UST TWO weeks after its series one premiere, Sweden’s TV4 has commissioned a second run of Welcome To Sweden, a comedy series executive produced by siblings Amy and Greg Poehler.

The latest in a series of productions that seeks to cross cultural boundaries, Welcome To Sweden is a fish out of water story about a New York accountant called Bruce who follows his Swedish girlfriend Emma when she goes back home. Already airing on TV4, the show will premiere on NBC US during July.

Produced by eOne, TV4 and the Poehlers’ company, Syskon, Welcome To Sweden has been TV4’s second-best rated show since it debuted: “The launch has been a huge success,” said Fredrik Arefalk, executive producer and head of commissioning at TV4.

“Viewers love the show and the ratings are fantastic. We look forward to a new season and to keep on following Bruce and Emma and their continuing struggle to settle down in Sweden.”

“It’s an amazing feeling to

Syskon’s Amy and Greg Poehler

create a show to which people are responding so favourably,” added Greg Poehler, whose own real life experiences provided some of the source material for the show. “We intend to make season two even better.”

Carrie Stein, executive vice-

president global production, eOne, said: “We’re thrilled with the success of the show which is a testament to the incredible concept and creative auspices behind it. TV viewers are interested in stories that stretch beyond their borders.”

GIT finalises Hemlock Grove deal

Gaumont International Television’s Erik Pack

GAUMONT International Television (GIT), the production and distribution studio based in Los Angeles and part of the European motion picture studio Gaumont, has finalised deals with Shout! Factory in the US and Kaleidoscope Home Entertainment in the UK, for home video rights to the company’s gothic thriller Hemlock Grove.

The announcement was made

by Erik Pack, GIT’s head of international distribution and co-production.

From director Eli Roth and

based on the novel by Brian McGreevey, Hemlock Grove stars Famke Janssen, Bill Skarsgard, Landon Liboiron and Dougray Scott.

Currently in production on its second series, the 23 x 60 mins gothic thriller, produced by GIT for Netflix, tells the tale of a once vibrant community that is now struggling after a mysterious death throws everything into confusion. As the town’s secrets begin to unravel, Hemlock Grove questions what is the true nature of a monster.

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NEWS

France TV Distribution signs global sales deal for Peanuts

F New romance, Go With Le Flo

EUROCINEMA GOES ON-DEMAND IN US HOMES EUROCINEMA, a North American video-on-demand channel dedicated to European cinema, has launched an online, on-demand platform called eurocinema.com. The move will boost the service’s distribution, which currently stands at 36 million homes via cable and internet TV. “Eurocinema has been delivering the best in European filmmaking to US television viewers since 2007,” said company president and CEO, Sebastien Perioche. “The launch of our online, on-demand service will allow a new audience of cinema fans to enjoy our collection of movies, any time and anywhere.”

To celebrate the launch, Eurocinema will debut day and date with the world theatrical premiere, online and on TV, of the new romantic German/French language film Go With Le Flo. “Go With Le Flo is a love story reminiscent of the comedies from the Golden Era of filmmaking. We believe the film will resonate with fans of European cinema who are already fans of Eurocinema, as well as attract many new viewers to our new online platform,” said Perioche.

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RANCE TV Distribution will be the global distribution partner for all new animation from NORMAAL Animation and France Televisions based on the Peanuts comic strip and characters by Charles M Schulz.

The animated series are part of Peanuts Worldwide’s long-term content-building strategy that includes a new animated feature film from 20th Century Fox and Blue Sky Studios, set for global release in the final quarter of 2015.

NORMAAL is in production on a series based on the 18,000 daily comic strips created by Schulz, which is currently packaged as 500 x 90 seconds shorts, and 104 x 7-minute blocks. It marks the first ever animated interpretations of the Peanuts comic strips in short form. The new shows will be available for global distribution at the end of 2014, airing in France on France 3.

Peanuts (France TV Distribution)

“Partnering with a global distribution partner like France TV Distribution is a great next step for us as we continue to build new content for Peanuts around the world,” said Neil Cole, CEO, Iconix Brand Group, owner of Peanuts Worldwide.

“Getting in front of younger generations is a key strategic initiative for Peanuts and there’s no better way to do this than creating and distributing easily consumable content like these beautifully crafted animations from NORMAAL.”

Keshet’s BOOM! set to go on TF1 FRENCH network, TFI, is the first international broadcaster to acquire Keshet International’s new primetime quiz show, BOOM!. This follows a record ratings launch on Israel’s Channel

2 shortly before MIPTV, allowing Keshet to arrive in Cannes boasting a big local hit.

BOOM! scored a 41.2% share and a 26.7% household rating, making it the most viewed game

Keshet International’s new quiz format, Boom!

show ever in Israel. The show combines the drama, intensity and thrill of a blockbuster action movie with the high-octane fun of a video game, appealing to viewers of all ages.

A team of four players must defuse eight (replica) bombs by answering trivia questions correctly within a strict time limit. Players defuse the bombs by cutting through coloured wires. If they cut the wrong wire, the bomb explodes and they lose a team player and potential prize money.

Following in the footsteps of Keshet’s format, Rising Star, its selling point is the show’s interactive aspect — viewers at home can also play along.

Keshet DCP, the joint venture between Israel’s Keshet International and Dick Clark Productions’ DC Media, will bring Boom! to the US market.

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NEWS

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ERRY Springer is a scholar of the human condition. “Every job I’ve had has dealt with human behaviour,” he told MIPTV News as he prepared to give a MIPDoc keynote yesterday. “As a lawyer, and then mayor, then a journalist and a talk-show host. I guess that’s the common thread, all my life.”

His newest job, Tabloid, is a marquee show for Discovery Networks CEEMEA’s newly launched ID Xtra channel. It investigates the backstories behind the headlines of major crimes, taking him into even murkier areas of human psychology than usual.

“Our show doesn’t deal with criminal behaviour,” he says of his famously raucous talk show, which has been broadcast in the US and worldwide since 1991. “It’s crazy, people get angry, they pull each others’ hair but they’re not committing crimes.

Our show is a circus. But Tabloid — these are serious crimes, where people go to prison, where people die. And they are crimes that made headlines.”

Tabloid tells these stories through archive, interview and re-enactment, with Springer hosting and narrating.

He recounted one of the cases, in which a jilted man arranges for thugs to throw acid in his ex-girlfriend’s face. The woman is blinded for life; the man is caught and imprisoned. Springer continued the tale: “After 14 years he gets out and he finds the woman again… and they get married. She died last year after a 34-year marriage.

You couldn’t make that up.”

He continued: “And what’s interesting here, if you think about it, is the common thread is love. If I say to you I want to tell you a love story, we think it’s a wonderful thing. But this is a love story too. Their behaviour was dysfunctional but he loved her, and he couldn’t take the rejection. She obviously loved him: she married him after everything, and lived forever with him.” He shrugged. “It’s so… unpredictable.”

It’s the power of stories like this that will attract people to Tabloid, Springer said, but his grasp of human psychology is, perhaps, why he keeps making compelling TV, a medium which “is one of the only professions where the consumer knows more than the experts.

Because the consumer is watching TV seven hours a day.”

Our interest in gossip goes back thousands of years. “5,000 years ago people would gather in the marketplace and they would exchange stories about what such and such was doing in the next cave or in the next hut,” he said. “Well, nothing has changed, we’re still doing it, except now, because of technology, the neighbourhood has become global.”

And to take it from the sublime to the ridiculous, as a final thought, Springer shared the best headline from the making of Tabloid: “‘Headless body found in topless bar,’ that was my favourite,” he laughed.

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NEWS

3DD sets off on a sales quest with Raiders Of The Lost Art

U Knietzsche (Studio 100)

KNIETZSCHE RIGHTS DEAL FOR STUDIO 100 STUDIO 100 Media, the media TV sales division of the global family entertainment company, Studio 100, has secured extensive distribution rights to the 2D animation series Knietzsche (26 x 3 mins) from German studio Vision X Film und Fernsehproduktion.

The agreement covers all broadcasting rights including home video and digital rights worldwide, excluding Germany, Austria and Switzerland.

Nominated for the German children’s film prize (Goldener Spatz) shortly after its inception, and awarded and honoured twice with the Digita award

by German Educational Media in 2013 and 2014, Knietzsche is a spirited and witty show packed with edutainment and comic elements.

“We are delighted to welcome Knietzsche to the Studio 100 Media portfolio,” Patrick Elmendorff, managing director of Studio 100 Media, said.

“The series makes an ideal addition to our rights library.

We are certain that this entertaining and energetic show, with its rich blend of educational elements, will be well received internationally.”

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K PRODUCER and distributor 3DD Entertainment has secured pre-sales with three channels for a new show documenting the thefts and disappearances of famous works of art throughout history.

Raiders Of The Lost Art uses a combination of re-enactment and archive material to tell its stories, including the theft of the Mona Lisa in 1911 and Hitler’s plans to hoard works of art for a specially constructed museum in Nazi Germany.

3DD CEO and director of sales Dominic Saville, who also produced the show, said: “A lot of interesting characters have been attracted to the art world and powerful leaders have always dreamed of controlling the world’s art.

“Now art is being found all the time, and there are lots of great stories about how it was stolen and discovered”.

3DD, which is celebrating its

3DD’s Dominic Saville “wants to do more storytelling”

20th appearance at MIPTV this year, has signed a deal with UKTV to premiere the show on its factual channel, Yesterday, later this year. It has also pre-sold it to French broadcaster TF1 and Foxtel in Australia.

The company is at MIPTV to showcase Raiders Of The Lost Art and secure further broadcast

deals internationally. The show is a departure from 3DD’s traditional base in live-music productions.

Saville said it was a deliberate move towards documentary and factual content.

“As a production company we’ve been more known for our music, arts and concerts,” he said. “We want to do more storytelling.”

Echoes of intergalactic alien wars PEACOCK Alley Entertainment and Don Carmody Television have partnered to co-produce two new shows, Echoes and Between.

The agreement will also see Peacock Alley Entertainment handling international distribution for both series.

Echoes follows the journey of Sonya, a young woman desperately trying to survive after the intergalactic battle of two warring extra-terrestrial species, in which Earth and humans are caught in the crossfire.

Don Carmody Television and Peacock Alley will also co-produce the one-hour survivalist drama series, Between. Award-winning writer/director Michael McGowan (One Week, Saint Ralph, Still Mine) has been signed to write

and direct the series, which is currently in development.

“These shows are an excellent addition to our slate which includes Money Moron, Brave New Girls, High Tech Rednecks and Darknet.

“There are currently six finished half-hours of Darknet, and we are currently looking for financing for the next 12 episodes,” Craig McGillivray, vice-president of distribution at Peacock Alley, revealed.

“We’re very close to closing a deal for the US and in advanced negotiations for the UK, France and Germany.”

McGillivray is also optimistic about the faux-reality series Unusually Thicke, starring TV theme composer Alan Thicke

and his many celebrity friends.

“It started out as a reality show, but Alan’s reality is so unique that it became more like a sort of Curb Your Enthusiasm,” McGillivray said. “It has been picked up by TVGN for the US and they are mounting a massive marketing campaign around it.”

Peacock Alley’s Craig McGillivray

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miptv

NEWS

TV Asahi’s winning combination brings double ratings whammy TCB Media Rights’ Age Gap Love

TCB MEDIA’S TOP TITLES SECURE GLOBAL DEALS TCB MEDIA Rights has closed a string of deals for six of its top titles, including MIPTV headliners Age Gap Love (1 x 60 mins), World’s Most Extreme (6 x 60 mins) and Inquisition (4 x 60 mins), as well as the 60-minute documentary Hercules The Human Bear.

Nine Lives/GroupM Entertainment’s Age Gap Love, which pulled in record ratings for Channel 5 UK, has been sold to SBS Belgium, TV4 Sweden and Channel 9 Australia. The documentary about couples whose age differences are no barrier to love was also sold in the run-up to MIPTV to Channel 9 Australia. Channel Seven Australia has licensed Arrow Media’s 747: The Jumbo Revolution (1 x 60 mins/1 x 120 mins), which tells the story of the jet that ushered in affordable air travel. Middlechild’s Hercules The Human Bear was picked up by Channel 7 and TV3 NZ and Arrow Media’s World’s Most Extreme, by Channel 7 and TVNZ. Like a Shot Entertainment’s Inquisition, which chronicles 500 years of bigotry, fear, persecution, torture and death carried out in the name of faith, has been acquired by SBS Australia, Viasat and Discovery Italy.

“We knew we had a strong slate for MIPTV and these deals have confirmed our optimism,” Paul Heaney, TCB Media CEO, said.

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TV Asahi’s Yutaka Imai, making the most of matchmaking opportunities in Cannes

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AST YEAR TV Asahi h it t he nu mb er- one ratings spot in both primetime and slightly shorter golden time for the first time in its history, according to ratings monitor Video Research. “A factor contributing to our success is the powerful combination of news,

sports, drama and game shows presented in a schedule that is adapted to the lifestyle of contemporary Japanese viewers. In addition to our flagship news show Hodo Station, our late afternoon show Super J Channel has built up its audience to become a household name in Japan,” Yutaka Imai,

general manager of the TV Asahi’s content division, said.

Imai also revealed that the broadcaster will be focusing heavily on for mats for the foreseeable future: “We have a lot of formats, and they’re already selling in various countries, but we think it is important to match them as closely as possible to the individual needs of broadcasters, and MIPTV and MIPCOM provide excellent matchmaking opportunities for this. I am also delighted by the fact that Treasure Box, an organisation that promotes Japanese formats, has grown its influence year on year and genuinely helps to increase awareness of our products.” Asahi TV’s formats include No Brainer, Ranking The Stars, and Village Voices. “Village Voices has just been acquired by TV Globo in Brazil and marks our first ever sale to South America,” Imai added.

CenMedia on multicultural mission KOREAN factual TV producer CenMedia is at MIPTV for the first time in search of co-production partners for a slate of new shows.

The company won an International EMMY Award in 2013 for Hello?! Orchestra, a documentary that explored the role of music in helping children overcome racial discrimination. Now it is hoping that this success can act as a springboard for it to meet producers, distributors and broadcasters from around the world.

CenMedia general director Wangmo Yeon said: “The Korean market is quite difficult for independent producers because the broadcasters usually

keep all the rights to shows.

So indies like ours are looking at other ways to survive in the future.”

CenMedia’s new shows all tackle the same kind of multicultural issues as Hello?!

Orchestra. Homecoming tells the story of a Syrian student in South Korea who is looking to do something about the terrible situation in his home country, while Container Full Of Dreams, is about Ghanaians who work in Korea in exchange for used car parts, which they then ship home to sell.

CenMedia’s Wangmo Yeon

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NEWS FRENCH APP FOR GAME OF THRONES VIACCESS-Orca is to use its bespoke technology to provide telecoms giant Orange and its Orange Cinema Series (OCS) group of pay-TV channels with a French-language secondscreen app for cult fantasy series Game Of Thrones.

OCS and Orange will use Viaccess-Orca’s Data Enrichment and Engagement Platform in Cannes to illustrate the immersive second-screen qualities it offers to TV subscribers.

DEEP is a content-protection, delivery and discovery system that offers interactivity via computer tablets, while also protecting the show from illegal use.

OCS has the live and on-demand rights in France to HBO series, including Game Of Thrones, which is now in its fourth season. It means the show’s fans will be able to discover when Game Of Thrones is airing, interact with it and explore further content once the show is over.

“A great way for service providers to tap into new revenue streams is by offering complementary content on second screens,” said Francois Moreau de Saint Martin, CEO of Viaccess-Orca. “Our award-winning DEEP platform makes it easy and cost-effective for content-owners and service providers to develop secondscreen apps that increase viewer engagement.”

Jackson spearheads new formats business from distributor DRG

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NDREA Jackson, managing director of newly formed DRG Formats, is at MIPTV to spearhead the formats business launched last week by independent distributor DRG. Tapping into resources belonging to parent company Nice Entertainment Group — including big format brands The Farm, Catch Phrase and This Is Your Life — DRG Formats offers a wealth of global unscripted and scripted formats.

Jackson also welcomes the opportunity to acquire and co-develop new formats — especially ideas developed in growing territories.

“MIPFormats has already introduced me to innovative format creators from countries such as China and the Ukraine who we haven’t met before,” Jackson said.

“I am keen to see fresh ideas coming from new territories in my continuing search for formats with a unique hook and universal values.”

Scoring a hit format can be “a game-changer for the entire business” and Jackson is keen to FUJI TV has signed a deal with OTT video service Crunchyroll to broadcast Japanese drama throughout Europe and the Americas.

The network, one of the largest in Japan, announced the deal at MIPTV today. It has licensed Crunchyroll to deliver a raft of shows to its 10 million users via multiple platforms, including tablets and mobile devices, Apple TV and PlayStation.

DRG Formats’ Andrea Jackson

replicate the success of DRG’s format Singing Bee that sold to 32 countries in less than a year.

“We are now well-positioned to deliver a format success story and also be proactive in terms of creating the type of content we know will have international value.”

The deal represents a strategic shift for Tokyo-based Crunchyroll, which has mainly focused on Japanese animation in the past. It is the first time it has offered a major body of drama on its platform.

Speaking to MIPTV News, Crunchyroll’s executive president for Japanese channels, Vincent Shortino, said: “Our goal is to bring Japanese drama to the world; it’s the first time we’re offering this to our users on this scale.” Included in the Fuji content it will be airing is Gokuaku Ganbo, a drama series based on a successful Manga cartoon; and the first four seasons of highly popular Iryu Team Medical Dragon, a drama featuring a disgraced surgeon.

Pictured left to right are Brady McCollum from Crunchyroll, Fuji’s Takayuki Hayakawa and Vincent Shortino from Crunchyroll.

Hettie Makebelieve sold to CBeebies 1973 FILMS has pre-sold the new 52 x 7 mins animation series Hettie Makebelieve to the BBC’s CBeebies channel, while indie distributor Union Media has picked up the international rights.

Hettie Makebelieve is a stop-frame animation series about a collection of toys who come to life and make up fantastical stories.

“I believe the distinctive look and quirky premise of the show will delight our youngest audience,” said CBeebies’ controller, Kay Benbow.

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An award-winning team is behind the animation series, including 1973 Films’ producer-director and co-creator, Tim Goodchild; art director and co-creator, Louise Scott; and model makers Ian Mackinnon and Peter Saunders, whose credits include Wes Anderson’s Fantastic Mr. Fox and Tim Burton’s Corpse Bride.

Union Media is a new international distribution business founded in 2012 by Adam Selly. It represents a growing slate of new animation series for broadcast and licensing rights worldwide.

Hettie Makebelieve (1973 Films)

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Media I.M. launches Russian kids shows onto international market Marvelous Stories From Quran (CAP)

CAP SHOWCASES EXPANSION PLANS ESTABLISHED in the 1950s, Cedars Art Production — which has offices in Dubai, Cairo and Beirut — (CAP) is taking its first booth at MIPTV. The company has a track record in film distribution and production, pan-Arab TV series, video and newmedia rights across the Middle East and Arab countries, including content produced in Egypt, Lebanon, Syria, Iraq and Kuwait and children’s animation movies and series in 2D and 3D. “We hold all rights of our productions worldwide, and our group produces yearly on average 100 hours between TV series and motion pictures,” said Lama Sabbah, CAP’s vice-general manager. “Our company has been participating since 1990 at MIPTV and MIPCOM but this is our first year having a booth, because we believe that with the strong relationships we hold today not only in the MEA but in Europe and the States as well — and the total number of products that we have today — MIPTV and MIPCOM are the best place for expanding our networks.

An important immediate project is a series of productions in participation with Lebanon’s Eagle Films, including Marvelous Stories From Quran, Dahsha, What If, and 60-part TV series The Mistake.

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EWLY formed international content distributor Media I.M is run by ex-Viacom International execs Irina Nazarenko from Russia, and Ukrainian Maria Ufland. The duo, now both UKbased, have 900 5- to 13-minute episodes of pre-school and kids programming from Russian animation houses Melnitsa Animation Studio, Petersburg Animation Studio and Studio Nebo, at MIPTV. The titles are Luntik, The Pooches, Kikoriki: The N ew Ad ve n tures, Pin Code and The Bubbles.

“We felt that it was important to be based in London because there’s such a huge concentration of media Irina Nazarenko

companies there,” executive director Nazarenko said. “We’re very excited about the five properties that we’re representing here. They’re all family-friendly, and The Pooches, Pin Code and Kikoriki are all in CGI HD.” Kikoriki is already known internationally but the rest of the titles will be new to most broadcasters. “We based our choice of shows on what we believe will work for international audiences and broadcasters, and we have a lot of HD properties because

that’s what channels increasingly want,” general director Ufland said. “There are a lot of great properties coming out of Russia, every bit as good as anything currently on the international market. For example Pin Code is hugely popular there, and it could be equally so internationally.

We’re very passionate about the shows that we’re representing and we have already had a lot of interest. Now it’s a case of matching the right show to the right broadcaster, something we regard as very important.”

Nazarenko and Ufland are also keen to meet producers looking for distribution.

“We have a lot to offer in terms of our years of exper ience in building series brands,” Nazarenko added.

Maria Ufland

Videos show Europe’s positive side AT THE start of 2014, the European Union joined forces with the UN to launch a video contest under the slogan We Are Europe.

Every Day. Timed to coincide with the run-up to the elections of the European Parliament, the competition asked people to tell video stories about what makes them proud to be European, utilising either the drama or documentary genre. The deadline was March 10 and the winners will be revealed this week at the web address http://www.europeinaday. eu/en/content.

Speaking to the MIP News, Sixtine Bouygues, director of the Directorate General of the European Commission, said: “With the European elections coming up, we felt it would be nice to remind Europeans of the luck they have

had being born on this continent.

Sometimes we grumble about what is not working, and forget how lucky we are to be part of the European Union. We tend to forget that countries in the Union have lived in peace for decades, while right outside our borders people are still being killed.”

Explaining why the UN chose to get involved, Afsane BassirPour, director of the United Nations Regional Information Centre (UNRIC) for Western Europe, said: “More than a billion people still go to bed hungry and millions more are refugees in their own countries, so the UN wanted to make Europeans see the advantages of being part of the European Union. UNRIC has always encouraged creativity, seeing it as an effective tool

to inspire citizens. Moving images speak a thousand words and translate to every language.”

The competition received 73 video productions from 15 countries.

Three have been chosen as winners by a jury composed of EC, UN and external experts. However all of them will be available to view for a year on the abovementioned platform. There is also an ambition for the films to be disseminated by social media, say Bouygues and BassirPour. “Both of our institutions are convinced that social media plays a vital role. The brief asked competitors to pay attention to the universality of the produced content, its capacity to reach a large audience all over Europe via different platforms and its capacity to go viral.”

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Turner teams with Platinum to take Matt Hatter into Asia

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BOB THE BUILDER MAKES COMEBACK PRE-SCHOOL entertainment company HIT Entertainment, is bringing back the popular pre-school kids character Bob The Builder in a new CG-animated series. The show is being produced out of HIT’s UK headquarters with animation services provided by Canada-based digital animation company Mainframe, a division of Rainmaker Entertainment.

HIT Entertainment will produce two series of 52 x 11 mins episodes of the show, due to be delivered late 2015.

Rainmaker Entertainment announced last year the re-launch of Mainframe as its television division. The new Bob The Builder series will be the first production under the name.

“We are thrilled to be bringing an all-new series of Bob The Builder to viewers around the world,” Michael Carrington, vice-president global content and executive producer at HIT Entertainment, said. “The brand is built on strong foundations and with the new creative direction we’re working on we are committed to ensuring the future remains bright for TV’s favourite builder. Viewers can look forward to lots more excitement from Bob and the team, compelling new characters and dynamic locations.”

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IDS adventure/com- (EMEA, India and Russia) is edy series Matt Hatter set to launch an innovative toy Chronicles is powering range targeted at boys aged fiveinto Asia after Platinum to 10 years-old that infuse interFilms struck an early locking SKUs, 3D Multivision three-season deal at MIPTV with Cartoon Network and global toy company the Simba Dickie Group, for the Indian launch of the Matt Hatter toy range.

Series one and two of the show will premiere across India, Pakistan, Bangladesh, Nepal and Sri Lanka ahead of the debut of the new season later in 2014.

Krishna Desai, executive director and network head, kids, South Asia, Turner International India, said: “By partnering with Platinum Films, a leading global production house, we hope this new series becomes the latest addition to our repertoire of successful properties in India.”

Master toy partner Simba Matt Hatter (Platinum Films)

features and ‘Hero Hatter Tech’.

Role-play, vehicles and action figures will be core to the first phase release with interactivity, play-power and collectability defining the range focus. The Indian toy launch will be further bolstered by Platinum’s recent appointment of Dream Theatre to manage and execute a multicategory campaign.

Platinum has also appointed CGI animation studio Xentrix Studios in Bangalore to animate series three of Matt Hatter.

Platinum Films founder and chief executive Nigel Stone said: “The first-class broadcast platform with Cartoon Network and the robust commercial and production infrastructure we now have I place, will ensure a very exciting future for Matt Hatter in India.

New format asks Who Lives Here?

FREMANTLEMEDIA has acquired the global production rights, excluding North America, to Who Lives Here?, a new competitive property format from Canadian production company, 3Bird Media.

In each episode, five strangers tour each other’s homes together and try to work out who lives where. The only information they have at their disposal is their first impressions and their knowledge of each other’s professions.

“Who Lives Here? is one of those fantastically simple concepts that has massive potential to travel globally. It taps into two universal notions: our desire to see where, and how, other people live, and the preconceptions we make about people on first meeting them,“ Vasha Wallace,

senior vice-president, global acquisitions and development at FremantleMedia, said.

“It is hugely addictive to be both looking at the people’s homes but also to be guessing along with the participants as to who lives in

Who Lives Here? (FremantleMedia)

which house. We’re very excited to be working with the creative and talented Andrika Lawren and Jennifer Twamley at 3BirdMedia, to help take their idea to the rest of the world,” Wallace added.

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PRODUCT NEWS

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The MIPTV News highlights some of the content for sale in Cannes this year KOAN

US-BASED distribution and production company Koan is at MIPTV to showcase a co-production project in development with Kuala Lumpur-based Vision New Media, for a slate of three adventure movies to be shot in Malaysia. The first one — in production — is about a 16th-century expedition to search for mythical fountains of youth.

TRICON FILMS & TELEVISION

THE DIVIDE is a drama about influence, power and corruption in Philadelphia, seen through the eyes of caseworker Christine Rosa (Marin Ireland) and Adam Page (Damon Gupton), a district attorney. When evidence comes to light that puts Adam and Christine on opposite sides of a death row murder trial, they must reconcile their ideas of justice with the realities of the system. Canada’s Tricon is also launching sales of new dramedy Sensitive Skin (6 x 30 mins), starring Kim Cattrall and Don McKellar, at MIPTV. The Divide (Tricon Films & Television)

BOPAUL MEDIA WORLDWIDE

NEW FILMS on the MIPTV slate for LA-based BoPaul include: Porky’s (1 x 94 mins/HD), a coming-ofage romp, starring Kim Cattrall, set in Florida in 1954; My Bodyguard (1 x 102 mins/HD), about a new boy at school who acquires a bodyguard; The Stunt Man (1 x 131 mins/HD), starring Peter O’Toole and Barbara Hershey; and Piranha II: The Spawning (1 x 84 mins/SD), directed by James Cameron.

CNEX FOUNDATION

CJ E&M

A NEW Korean drama is brought to MIPTV by Seoul-based producer CJ E&M. Cheo Yong: The Paranormal Detective stars Oh Ji-Ho, Oh JiEun and Jun Hyo-Seong from K-Pop girl group Secret, and tells the story of a detective who investigates unsolved cases with a teenage ghost and a young colleague. Also in the supernatural and science fiction genre CJ E&M brings Nine: Nine Times Time Travel, as well as the fantasy dramas Who Are You, Master’s Sun and My Love From The Star.

HAT TRICK INTERNATIONAL

GO GRANDRIDERS profiles 17 ageing adventurers, who, against the advice of family members, take on a 1,178 kilometre-long journey on scooters. Brought to Cannes by Taiwan’s CNEX Foundation, the programme follows the intrepid gang that includes members who have battled cancer, five suffer from high blood pressure, eight have coronary disease, and added to that they all experience the usual joint degeneration associated with their age.

THE UK’s Hat Trick is launching a new entertainment format from Plum Pictures at MIPTV. Presented by chef Simon Rimmer, and commissioned by the UK’s Channel 4, in Win It Cook It two pairs of contestants answer questions to win the ingredients they use to cook a potentially prizewinning dish. They could be left with spam and sauerkraut or have luxury ingredients to impress the chef along with a guest judge.

Go Grandriders (CNEX Foundation)

Win It Cook It (Hat Trick International)

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Shooting is under way for the first of three films from Koan and Vision New Media

DAEHAN MEDIAWORLD

TWO FACTUAL programmes top the slate for Korea’s Daehan at MIPTV. HD wildlife documentary Marsh Creatures (1 x 52 mins), shot with a 4K camera, is set in a beautiful garden and focuses on the diverse community of creatures and the struggle between life and death in the natural world. Golden Island, Sulawesi (1 x 52 mins) profiles the 11th largest island in the world, located in the north of Indonesia, which has recently attracted gold miners from around the world.

Marsh Creatures (Daehan Mediaworld)

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PRODUCT NEWS

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MGM TELEVISION

MGM’S television highlights are led by new series Fargo (10 x 60 mins), inspired by the award-winning film. The cast includes Billy Bob Thornton, Martin Freeman, Colin Hanks and Allison Tolman. Also new is: series two of Vikings (19 x 60 mins); series three of MTV hit Teen Wolf (48 x 60 mins); and Paternity Court With Lauren Lake (150 x 30 mins). Theatrical highlights include: action films RoboCop and Hercules; the third film of the Hobbit Trilogy, The Hobbit: There And Back Again; comedies 22 Jump Street and the sequel to Hot Tub Time Machine; love story If I Stay; and the reimagining of the classic horror film Billy Bob Thornton, star of Carrie.

Fargo (MGM Television)

IGMAR

RUSSIAN distributor Igmar brings a new historical mini-series to MIPTV. Savva Morozov, based on fact, is set in the revolutionary ferment at the turn of 20th-century Europe. International relations were influenced by a number of powerful magnates, and Savva Morozov was one of them. He invested millions in Stanislavski’s theatre and eventually contributed to the revolution.

BEACTIVE

SHINE INTERNATIONAL

MANY of the internet’s most amazing real stories originate from Barcroft TV, one of the world’s most watched original factual channels across YouTube, MSN, Youku, Huffington Post and Dailymotion. Really? (10 x 30 mins) uncovers the real stories behind Barcroft TV’s most amazing, shocking, cute and controversial videos, offering an insight into stories that seem too incredible to be true.

THE LATEST transmedia project from Portugal-based beActive is also its first foray into the documentary genre. Road To Revolution (2 x 52 mins) looks at the Arab Spring through blogs, webdocs and photographs in a project that includes a book, a mobile app, an extensive online presence, a theatrical feature film as well as the television documentary. BeActive is based in Portugal and has offices in Brazil, Ireland and London.

Savva Morozov (Igmar)

MEDIATOON DISTRIBUTION

IN MEDIATOON’s latest series Linkers (26 x 26 mins), five teenagers visit the chalet belonging to Cassiel, their online friend and game designer, for a study break, only to find that he is missing and has become trapped inside the video game that he created. The friends have to enter the game to bring him back to the real world, embarking on actionpacked adventures in a virtual world.

EBS

TWO HD titles top the slate for Korea’s EBS (Educational Broadcasting System). Birds Of Paradise (3 x 50 mins) looks at the diverse ecosystem of Papua New Guinea, including the intricate courtship dances of the birds of paradise and the complicated structures built by the bowerbird.

The Physics Of Light (6 x 50 mins) tells the story of the scientists who, over time, unveiled the secrets of light. With easy-to-understand examples, theories about light are explored.

Birds Of Paradise (EBS)

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Linkers (Mediatoon)

COTE OUEST

COTE Ouest, a distributor specialised in content for and from Africa, headlines its MIPTV slate with Brazilian-produced telenovela Side By Side and Angolan soap opera Windeck. Side By Side (105 x 45 mins), from Globo TV, focuses on two very different women who strive for freedom in the early 20th century. Windeck (120 x 40 mins), produced

by Angolan production company Semba, explores the unbridled ambition at a fictional lifestyle magazine. The company, which has offices in Ivory Coast, Morocco, Mauritius and Congo, also brings: Africa Zapping, a series of three-minute TV moments from Frenchspeaking Africa; and The Story Of My Life (26 x 26 mins), the first English-language version of an Ivory Coast drama.

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VISIT US AT MIPTV STAND R8.B3! WWW.ARMOZAFORMATS.COM | INFO@ARMOZAFORMATS.COM | +972.3.540.8333

PRODUCT NEWS

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PEACE POINT RIGHTS

AB INTERNATIONAL DISTRIBUTION

SIGNED, Sealed, Delivered (10 x 60 mins/1 x 120 mins), created by Martha Williamson and produced

by Muse Entertainment in association with Moonwater Productions, is a dramedy about four civil servants working in the dead letter office of the US Postal Service who decide to deliver the undeliverables — letters lost for years — which take them into an unpredictable world where mail from the past can save lives, solve crimes, reunite old loves and change futures. The Canadian company also brings: Rise Of The eSports Hero (1 x 44 mins), about the professional video gaming industry; and The Sheepdogs Have At It (1 x 85 mins) about a small-town rock band that is catapulted to stardom.

SEX, POWER And Dictatorship (1 x 52 mins/HD), produced by Theorem, looks at whether power transforms a tyrant into a sexual monster or if it is sexual monsters who become tyrants — including Stalin’s hypocritical puritanism, Mussolini’s Don Juan attitude, Hitler’s infantilism, Mao’s sexual bulimia and Muammar Gaddafi’s sordid private life.

Paris-based AB brings the documentary to MIPTV.

BEYOND DISTRIBUTION

Sex, Power And Dictatorship (AB International Distribution)

BEYOND’s lead series for MIPTV is Airshow (8 x 60 mins), a behind-the-scenes look at the most dangerous part-time profession on the planet, in which many air show pilots die as they push themselves harder each season.

Other key titles include 3 Chefs, 1 City (13 x 30 mins), an exploration of the world’s great foodie destinations; and Anh Does Scandinavia & Iceland, another installment following the travelling comedian. Beyond has offices in Dublin, London and Sydney.

Airshow (Beyond Distribution)

ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE)

BROUGHT to life with special effects, The Great Fire (4 x 60 mins) tells the story of exhausted baker Thomas Farriner who forgets to close his ovens, sparking a terrible blaze which threatens to destroy 17th-century London. Personal stories reflect the horror, including that of Sarah, a penniless widow searching for her missing son, famous diarist Samuel Pepys and the pleasure-seeking King. The drama is an Ecosse Films production brought to MIPTV by ITVS GE.

The Great Fire (ITVS GE)

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Signed, Sealed, Delivered (Peace Point Rights)

MILE HIGH MEDIA

CANADA’s Mile High Media brings over 2,000 adult titles to the international market, including Sweetheart Video, Sweet Sinner, Reality Junkies and Male Reality. The company recently launched Open Life Entertainment (O. L. Entertainment), an exclusive network of adult content featuring the work of award-winning director Mason.

ZODIAK RIGHTS

CHEER DIGIART CO

A MIPTV priority for Zodiak Rights is Dropped (1 x 60 mins/1 x 90 mins), a format that sees two teams of celebrities blindfolded and dropped into remote locations — whether desert, jungle, mountains and snow — with no food, no map and no help. They must then race back to civilisation. Produced by Mastiff Sweden, Dropped made its debut on SVT.

TAIWANESE company Cheer Digiart brings thriller film Control to Cannes. Mark is an average insurance salesman whose life begins to unravel after he commits perjury to save his mother. Facing the threat of exposure and blackmail by some mysterious entity, Mark is coerced into robbing a bank to keep his secret safe and falls victim to an unseen nemesis. Mark navigates through a futuristic metropolis in an effort to uncover the source behind his misfortune.

Dropped (Zodiak Rights)

Control (Cheer Digiart Co)

Episodes : 272 x 24’ Documentary about the Smurfs’ creator Peyo

us Meet TH at BOO 4 R7.E6

Feature film “ e Magic Flute”

www.smurf.com info@smurf.com

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PRODUCT NEWS DUOPOLY/ITHENTIC

DUOPOLY and iThentic bring new series to MIPTV for digital and traditional broadcast formats.

Topping the iThentic line-up is the second series of Guidestones: Sunflower Noir (18 x 7 mins/1 x 126 mins), about two journalism students who uncover a global conspiracy. New comedy series Space Riders: Division Earth (13 x 5-8 mins), written by and starring two of Canada’s comic talents — Mark Little and Dan Beirne — is about two nobodies who accidentally become Earth’s heroes.

ELECTRIC SKY

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MIRAMAX

UK- AND Hong Kong-based factual distributor, Electric Sky, is launching a catalogue of content from UK music channel, Vintage TV, at MIPTV. Initially, the deal sees Electric Sky take over 300 hours, but this is planned to increase. Included in the catalogue is 100 hours of My Vintage, which profiles stars including Billy Ocean, Lisa Stansfield and Michael Ball. Neil McCormick’s Needle Time and Future Vintage Needle Time feature Jools Holland, Nile Rodgers, Katie Melua and many newer talents. Also in the package is Broadway Bonanza, Vintage TV Live Sessions and over 200 Original Vintage TV Music Videos

NEW ORIGINAL series From Dusk Till Dawn is launched at MIPTV by Miramax. Based on the cultclassic film of the same name, the series marks action auteur Robert Rodriguez’s first foray into serialised drama. Along the Mexico-US border, bank robber Seth Gecko (DJ Cotrona) and his violent brother, Richard ‘Richie” Gecko (Zane Holtz) shoot their way south after a bank heist in Texas. The 10-episode series takes place over the course of one night, following the brothers as they evade a pair of Texas Rangers. Rodriguez directed and executive produced the 1996 film written by Quentin Tarantino, and has directed four of the 10 episodes.

Michael Ball on My Vintage (Electric Sky)

From Dusk Till Dawn (Miramax)

Guidestones: Sunflower Noir (Duopoly/iThentic)

URBAN CANYONS

MANCHESTER-based UK indie Urban Canyons is highlighting its third co-pro with Smithsonian Channel and UKTV. Shooting has begun on Samurai Warrior Queens and the company has been negotiating pre-sales.

Samurai Warrior Queens (1 x 52 mins/HD) tells the real-life story of Samurai woman Nakano Takeko who in 1868 formed an all-female fighting unit to defend her clan’s independence. The company is seeking further co-production and pre-sales for the next batch of films: Gladiatrix (female gladiators), Admiral Yi (Asia’s Nelson), African Samurai and Beyond Death, a science mystery based on Japan’s self-mummification monks. All films have broadcasters attached.

PILOT PRODUCTIONS

PILOT Productions is launching Planet Food, series 6 (6 x 60 mins) at MIPTV. Produced in high definition the series is dedicated to culinary voyages. Presented by Rosie Lovell and Bobby Chinn, the show looks at how the history, geography, climate and economy of a country are intrinsically reflected in the diet of its people. Specials are available, including The Story Of Tea and The Story Of Cheese.

Pilot also brings new documentary/travel series Great Railway Journeys Of Europe (4 x 30 mins).

COSMOS CREATIVITY

TAIWANESE company Cosmos Creativity brings Africa Tour to MIPTV, the story of musical group Joy Chorus as they prepare for a tour of Africa in the summer of 2012. A fun bunch of people, they share their experiences, their talents and their abilities to encourage others.

Africa Tour (Cosmos Creativity)

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The Story Of Tea (Pilot Productions)

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DISCOVER A WORLD OF PREMIUM CONTENT

WORLD OF SPORTS AND LIFESTYLE Action based sports and culture content with a wide variety of programs including magazines, factual entertainment and feature films for multiple platforms.

Red Bull Air Race (8 x 60 min) The Red Bull Air Race World Championship 2014 – a series full of action, adrenaline and high drama.

WORLD OF NATURE AND SCIENCE High production values result in premium factual programming for TV and theatrical release. Core genres are nature, science, history and factual entertainment series.

Invasion of the Killer Whales (1x 53 min) The rise of the orca in the Arctic’s changing environment.

WORLD OF TRADITION AND INSPIRATION Programming highlights with a focus on tradition, “love of life”, inspiration and authenticity including cultural features, entertainment and documentaries.

Bombs Away (1 x 50 min) The True Story behind Hollywood’s “The Monuments Men”.

Meet us at MIPTV: Red Bull Media House, Palais -1/F2.G1 See all premium content for licensing on premium.redbullcontentpool.com

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17.03.14 15:26

PRODUCT NEWS

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MARVISTA ENTERTAINMENT

MARVISTA is debuting 12 movies at MIPTV. Included in the new titles are: Thinspiration (aka Starving In Suburbia/1 x 90 mins), in which a 17-year-old dancer joins a “thinspiration” website, and her health deteriorates rapidly; Christmas Past (1 x 90 mins), in which a woman is transported in time and comes face-to-face with her 17-year-old self; and teen drama Dance-Off (1 x 90 mins) in which two talented dancers compete in a national dance competition. One of them needs the prize money to keep a dance studio open.

BANIJAY INTERNATIONAL

EXTRAORDINARY Masters is a show that seeks to set records in new and surprising disciplines that have never before been seen on TV, including climbing trees upside down, stacking dice on the palm of the hand, reciting poetry, speed calculating, walking barefoot on hotplates, geography tests, identifying crime series based on a single image, back flip jumping or sprinting in a side-split position. There is a series of contests, and the studio audience votes for its three favourite Masters. In the final episode winners compete against an international champion in their discipline. The show was created

by Brainpool for ARD channel.

Extraordinary Masters (Banijay International)

BBC WORLDWIDE

BBC WORLDWIDE’s MIPTV roster includes: The Honourable Woman (8 x 45 mins), a thriller set against an international political backdrop, starring Maggie Gyllenhaal; Da Vinci’s Demons, series two (10 x 50 mins), a fantastical, revisionist account of the early life of Leonardo Da Vinci; science series Human Universe (5 x 50 mins), presented by Professor Brian Cox; Life Story (6 x 50 mins), which follows individual animals from birth to parenthood; Land Of The Monsoon (5 x 50 mins); 60-minute documentary series Louis Theroux’s LA Stories; natural-history series Wild Things With Dominic Monaghan (10 x 50 mins); and music special Robbie Williams: One Night At The Palladium (1 x 60 mins).

ZIG ZAG PRODUCTIONS

SOFA King Clever is a new interactive game show from the UK’s Zig Zag Productions and Israel’s Screenz, in which studio players pit their knowledge against a group of home players. Studio players learn to spot the Sofa Kings’ strengths in each episode and the audience does too, thanks to live data from the show’s app. The finale sees the Sofa Kings and a studio player going head-to-head for the prize money, however viewers playing along can steal their own share of the cash. The company also brings Work On The Wild Side (8 x 60 mins), where a group of co-workers are dropped into a wilderness where they must survive with only the most basic of tools for one week.

Thinspiration (MarVista Entertainment)

FREMANTLEMEDIA INTERNATIONAL

NEW 10-part documentary series The Sixties is executive produced by Tom Hanks, Gary Goetzman (HBO’s John Adams and The Pacific), and Mark Herzog (History’s Gettysburg). The series uses archival newsreel footage, personal movies and interviews with eyewitnesses, experts and personalities including TV journalists and news anchors Dan Rather and Robert MacNeil. The series launched on CNN in the US with a 90-minute special The Assassination Of JFK. A + E NETWORKS

A + E NETWORKS marks the 100th anniversary of World War One with the sixhour docu-drama, World Wars, a story told through the eyes of some of the powerful players, including Roosevelt, Hitler, Patton, Mussolini, Churchill, Tojo, DeGaulle and MacArthur. The series examines the two wars as one timeline from 1914 to 1945. The MIPTV line-up also includes the Lifetime Original Movie, Petals On The Wind, the second installment to V C Andrews’ Flowers In The Attic. Wahlburgers (8 x 30 mins/1 x 60 mins) follows Hollywood celebrities and brothers, Mark and Donnie Wahlberg, as they join forces in a new business venture with their sibling Paul.

World Wars (A + E Networks)

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miptv

PRODUCT NEWS RCN

NEW PRODUCT from Colombia’s RCN includes Mama Tambien (Mom By Accident), a 80 x 60 mins series, which follows stories of teenage pregnancy, rejection by society, sexism, adoption and abortion.

Also from RCN comes: El Mexicano, in which a farmer gets mixed up with illegal business which, within two years, provides him with enough money to put the Colombian government in jeopardy; gangland series Story Of A Drug Lord 3 (60 x 60 mins); comedy drama Quest For Happiness (90 x 60 mins); El Estilista (80 x 60 mins), about a kidnapping; and comedy La Playita (124 x 30 mins).

WARNER BROS. TELEVISION

BODY Of Coppens is a science entertainment series in which two human guinea pigs take part in experiments to answer questions about the human body. Other new shows from Warner Bros.

Television include: game shows The Link and Two Vs The Nation; 24 Hours To Go Broke, in which two celebrities must spend an amount of money in a remote or unusual location, obeying certain rules; Benefits Camp, a format that takes six unemployed families on vacation, not realising that it is geared at getting them back to work; reality series Births, Deaths And Marriages; music competition show Copycat; and Clip Traders, in which anyone can make money from user-generated clips.

AMPERSAND

Mama Tambien (RCN)

ENTERTAINMENT ONE (EONE)

NON-SCRIPTED titles from eOne at MIPTV include: Close Up Kings (8 x 60 mins), which sends top US sleight-of-hand artists into cities with a few dollars and a series of challenges; Shannon & Sophie (8 x 30 mins), a reality show about the daughters of Gene Simmons, one an actress and model, the other a singer and straight-A student who runs her own charity; Cars That Rock With Brian Johnson (6 x 60 mins), which features the car fanatic and AC/DC front man; 50 Ways To Kill Your Lover (8 x 60 mins), which uncovers stories of spousal murder; Cook Your Ass Off (13 x 60 mins), which features talented chefs who convert popular high-fat foods into lean dishes; food and travel show One Night Stand With Annie Sibonney (6 x 30 mins); Korean Food Made Simple (10 x 30 mins); and Twin Life: Sharing Mind and Body (1 x 60 mins).

ICONS Of The Wild is a new HD wildlife collection, brought to Cannes by Ampersand.

The French company also brings: Homes Of Brazil, which looks at everything from modernist and colonial mansions to luxurious beach houses and even favelas; Asian Century, visiting 11 countries; French travel series Gourmet Explorers; and 4K documentary The Sultanate Of Oman.

EXPLORA FILMS

AUSTRALIA (1 x 52 MINS) tells the history of the biggest island in the world from when it split from the continental landmass millions of years ago.

Both the animals and the landscape have evolved over time to create one of the most beautiful, unique and diverse ecosystems in the world. The documentary is brought to MIPTV by Spain’s Explora Films.

Australia (Explora Films)

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Body Of Coppens (Warner Bros. Television)

DISTRIBUTION360

NEW TITLES have been added to Distribution360’s catalogue in time for MIPTV. Leave It To Bryan (91 x 30 mins) features construction guru Bryan Baeumler who helps homeowners with renovation projects. In House Of Bryan (29 x 30 mins) Baeumler builds his family’s dream vacation home, (House Of Bryan: On The Rocks) and country residence (House Of Bryan: In The Sticks). Tessa & Scott (7 x 30 mins) is a documentary series about Canada’s icedancing sweethearts, Tessa Virtue and Scott Moir.

Other titles showcased in Cannes include the pet docu-drama Save My Pet (39 x 30 mins), At The End Of My Leash (78 x 30 mins), The Skinny Dip (8 x 30 mins) and investigative series Talent Hounds (1 x 60 mins/4 x 30 mins).

Leave It To Bryan (Distribution360)

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PRODUCT NEWS COHEN MEDIA GROUP

David Lynch in What Is Cinema (Cohen Media Group)

HG DISTRIBUTION

QUEBEC-based HG Distribution brings Time Out (1 x 115 mins/5 x 50 mins), an HD drama to MIPTV. The story follows Joel as he travels north when his father suffers a stroke. The weather deteriorates into a world-stopping storm. After 255 days Joel and his friends journey south in search of survivors, and encounter a disquieting stranger.

COHEN Media Group offers a catalogue of restored works by Buster Keaton, D W Griffith, Douglas Fairbanks, Alfred Hitchcock and other cinema pioneers at MIPTV. The company also brings a new documentary from Oscar-winner Chuck Workman, What Is Cinema, about the history of cinema, from familiar films to lesser-known, underground and avant-garde works.

Included are more than 100 clips and new and archival interviews with major figures including David Lynch, Michael Winterbottom, Mike Leigh, Robert Altman, Robert Bresson, Akira Kurosawa and Alfred Hitchcock.

RAYS OF SUNSHINE

SPANISH formats creator Rays Of Sunshine brings two new formats to MIPTV. What’s Up With English? is a 40-minute family game show in which competitors pair with a guest celebrity to win points in rounds building up to the final test, the Let’s Talk English round. The company also brings talk show Time For English!, a 60-minute show that begins with a report on the importance of knowing English, followed by conversation in English about trending topics.

miptv

KESHET INTERNATIONAL

SET TO air on Israel’s Channel 2, and brought to MIPTV by Israel’s Keshet International, BOOM! features a team of four — friends, family or colleagues — who must defuse eight replica bombs by answering trivia questions correctly against the clock. The nominated player defuses one bomb per question by cutting through coloured wires. If the player answers correctly the prize money remains intact and they move to the next bomb; if they cut the wrong wire, or run out of time the bomb explodes strewing material across the studio and the team loses a player and 25% of the potential prize money.

FREMANTLEMEDIA

FREMANTLEMEDIA has acquired global format and finished tape distribution rights (excluding UK and North America) to Benefits Street, the controversial social reality show that recently aired on the UK’s Channel 4. The series follows people’s experiences of economic hardship, raising children, low levels of education and training, and crime. The show created such a strong reaction that an additional live debate show, Benefits Street: The Last Word, was commissioned. A second series of Benefits Street is in the pipeline.

BREAKTHROUGH ENTERTAINMENT

NEW DRAMA series Hard Rock Medical (13 x 30 mins) makes its international debut at MIPTV. The show is based in a medical school in the country, an environment that brings students and teachers up close and where tensions rise as they balance personal and professional lives. The factual slate from the Toronto-based company includes: The Motherload (1 x 60 mins), looking at challenges facing working mothers; Rustic Adventures: Argentina (8 x 30 mins) and The Chef’s Bar (10 x 30 mins), featuring chefs Rob Rossi and Craig Harding; environmental special Stand (1 x 60 mins); and quirky DIY show Brojects (13 x 30 mins).

What’s Up With English? (Rays Of Sunshine)

ORF ENTERPRISE

ORF ENTERPRISE brings Wild Venice to MIPTV, from its Universum strand. In the documentary the wildlife of the famous lagoon is captured in 4K. Other highlights from the Austrian company include Secrets Of Bumblebees, and Triumph Of The Tomato, a cultural history of tomatoes.

Wild Venice (ORF Enterprise) Hard Rock Medical

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Benefits Street (FremantleMedia)

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The first ever docu-reality series about NEWS

From the award-winning producer from Fear Factor and Deadliest Catch

What does it take to bring stories from different corners of the world to TV screen in your home? For two months, a crew of filmmakers led by Josh Silberman followed a team of seven RT journalists as they reported on breaking news and current events, from protests in the Ukraine to battlegrounds in Syria.

Josh Silberman is an awardwinning producer from such acclaimed docu-reality and competition shows as Dead liest Catch, Fear Factor, Dancing with the Stars, Deal or No Deal, Ice Road Truckers and more.

Worldwide distribution by RT.

To license this and other RT programs go to catalog.rt.com

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PRODUCT NEWS GMA WORLDWIDE

THE PHILIPPINES’ GMA Worldwide is highlighting a couple of series at MIPTV. The Borrowed Wife (35 x 45 mins) tells the story of Maricar, a girl who appears at a beach resort with severe burns and memory loss. After surgery she takes on a different look and calls herself Sofia. She then meets Rico and Tessa, her husband and best friend, without them knowing who she is. Innamorata (35 x 45 mins) is a fantasy drama about a young woman who finds an enchanted necklace.

TV ASAHI

JAPAN’s TV Asahi brings a new crime drama to Cannes. Grill Room Investigation (5 x 54 mins) features officer Yukiko Makabe starting a new career in a new unit, surrounded by veteran investigators and a boss she doesn’t get on with. TV Asahi also brings Ramen to MIPTV, about the passion in Yamagata city for ramen, a noodle soup.

According to the Japanese Ministry of Internal Affairs this city spends the highest amount per household on ramen.

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STARZ WORLDWIDE DISTRIBUTION

FAMILY feaure film Far Away From Home (1 x 88 mins) is brought to MIPTV by the US’ Starz Worldwide. Nicholas Bell (Barry Morgan) leaves the city and rushes home when he learns about his uncle’s passing.

During his time back home he meets a scheming businessman with plans to foreclose the local newspaper that was his late uncle’s passion. With a blossoming romance and his hometown behind him, he must decide whether to stay or go.

Far Away From Home (Starz Worldwide Distribution)

CALINOS ENTERTAINMENT The Borrowed Wife (GMA Worldwide)

Grill Room Investigation (TV Asahi)

GLOBO

NEW HD telenovelas from Brazil’s Globo include: Brave Woman (140 x 60 mins); Trail Of Lies (160 x 60 mins); Side By Side (105 x 60 mins); Caribbean Flower (120 x 60 mins); and Tangled Hearts (120 x 60 mins). Globo also brings a number of HD mini-series, including: Next In Line (5 x 45); Siren’s Song (4 x 45 mins); Suburbia (8 x 45 mins); Xingu and Bald Mountain. From the Globo film catalogue comes Time And The Wind (1 x 115 mins), Till Luck Do Us Part (1 x 100 mins) and Till Luck Do Us Part 2 (1 x 100 mins).

William The Conqueror (ZED)

CALINOS is representing series from Turkey’s Show TV worldwide, including drama titles: Sakli Kalan (Hidden Lies), Ask, Ekmek, Hayaller (Love And Dreams), Pis Yedili (Different Lives), Her Sevda Bir Veda (Endless Love), Benim Icin Uzulme (Don’t Worry About Me), Fatih Harbiye (In Between). The Turkish company has also announced that it is launching a pay-TV channel called DramaTiVi. TRACE

TRACE Sport Stars’ Star Block Workout, hosted by Terroll ‘Boost’ Lewis takes the audience and four celebrity guests through a wide range of exercises.

The French company is highlighting the Brazil Edition at MIPTV, which includes six new episodes, in which Boost heads to cities that will host World Cup matches

ZED

FRENCH producer and distributor ZED brings William The Conqueror to MIPTV, a docudrama about the last monarch to have invaded England. Also on the slate is Winston Churchill, A Giant In The Century and The Man Who Cracked The Nazi Code, about codebreaker Alan Turing. Another highlight is Art: Behind The Artist (10 x 52 mins), which goes behind the scenes of major exhibitions, including Roy Lichtenstein and Le Corbusier.

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Star Block Workout (Trace)

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PRODUCT NEWS TERRANOA

TELE MUENCHEN INTERNATIONAL

CAMERA Lucida’s documentary film, Moon: The Story Of The Earth (1 x 90 mins/2 x 52 mins) is brought to MIPTV by France’s Terranoa. Co-produced with Planete+, with the participation of France 5, the documentary explores the relationship between the Moon and the Earth. The film — due in early 2015 — is part of a transmedia project including a smartphone application, a website, a photo exhibition and an illustrated book. The company also brings another space documentary, Mission Rosetta, Comet Chaser (1 x 52 mins).

HUBERT & Staller are police inspectors working in the Alpine region. Hubert is boyish, rational and orderly and Staller is awkward, impulsive and quick-tempered. The fourth season of Hubert & Staller (66 x 60 mins/HD) is in production and the crime procedural regularly ranks among ARD’s top programmes.

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AVALON DISTRIBUTION

TRYING Again (8 x 30 mins) is an original British comedy created by Simon Blackwell and Chris Addison, and produced by Avalon Television. Meg (Jo Joyner) and Matt (Chris Addison) are soul mates trying to get their relationship back on track after it was disrupted by an affair. The series is a romantic comedy of errors about love, loss, friendship and nearly throwing it all away.

COMMERCIAL TV

SPAIN’s Comercial TV comes to MIPTV with the worldwide distribution rights for MMA Stars (18 x 45 mins/HD), an international sporting competition which combines mixed martial arts and reality entertainment. The shows are produced in Spanish, English and Portuguese and the competition covers 16 fighters from 11 countries, a prize of $100,000 and the Gold Belt. During the competition the fighters live together over a number of weeks in Cuernavaca, Mexico.

MMA Stars (Commercial TV)

FLAME DISTRIBUTION

NEW FROM Flame at MIPTV is: Ultimate Wheels (8 x 60 mins) which follows London Motor Museum owner Elo and mechanical mastermind Will Trickett as they transform rust buckets into smooth-running machines; The First Great Escape (1 x 60 mins), a documentary about the escape attempt of 29 British officers in 1918; Danger Dogs (12 x 30 mins), in which abandoned dogs are given a second chance at a training academy; Haunting: Australia (8 x 60 mins); Lyndey Milan’s Taste Of Australia (14 x 30 mins); Darren Robertson’s Charcoal Kitchen (10 x 60 mins); The Assange Agenda: Surveillance, Democracy And You (1 x 53 mins); and Great Escapes (7 x 30 mins).

Ultimate Wheels (Flame Distribution)

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Hubert & Staller (Tele Muenchen International)

SECOUYA

SPAIN’s Secouya brings The Shower to MIPTV, a new talent show where singers perform while they’re taking a shower on stage. The audience uses an app to decide whether the singer deserves to leave the shower and complete their performance on stage or whether they are doomed to remain shower singers. If the answer is no the shower steams up and the singer disappears.

The Shower (Secouya)

Trying Again (Avalon Distribution)

INTRIGUE

LOS ANGELES-based TV/film producer Intrigue specialises in projects based on international formats, and is at MIPTV to acquire US format rights for scripted television properties. Its newest sale to CBS Studios and CBS-TV, concerns The Ran Quadruplets, a one-hour series airing in Israel. Under the working title Only Human, the US network version stars Jamie Lee Curtis in the fictional story of a group of siblings who grew up in front of a documentary camera. The pilot episode is in pre-production in Los Angeles.

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PRODUCT NEWS CARGO FILM & RELEASING

NEW YORK-based distributor Cargo Film & Releasing headlines its new MIPTV titles with Titanic - Band Of Courage (1 x 58 mins), which looks at the inspiring story of the eight musicians who continued to play as the ship went down. The PBS production mixes commentary and interviews from experts with archival film, including footage of the Titanic on the ocean floor. Additional documentaries include: American Arab; Ecopolis China; The Search For General Tso; and First Comes Love.

DLT RAYDAR

FIRST HAND FILMS

FIRST Hand Films returns to MIPTV with programmes in a broad range of genres, including: Fonko (6 x 26 mins/3 x 52 mins/1 x 90 mins), which looks at club music styles based on traditional rhythms in South Africa, including Afrobeat, Azonto, Kuduro and South African House; Radical Evil (1 x 93 mins), a Stefan Ruzowitzky film about Nazi death squads; A Match Made In Heaven (3 x 45 mins/1 x 52 mins/1 x 90 mins), about relationships in the Israeli Orthodox Jewish community; and Silicon Wadi (1 x 90 mins), which looks at the proliferation of startups in Israel.

XICAMOTION

UK-BASED DLT Raydar launches Reggie Yates: Extreme South Africa, a BBC Three three-part documentary series, at MIPTV. In the series Yates takes an in-depth look at contemporary South Africa 20 years after the country’s first free elections, spending time in three different communities for seven challenging days.

XICAmotion is a platform for clips from the Basque region for producers seeking to license content for their programming. Clips include everyday events, cultural celebrations, extreme sports, eccentric rural sports and bloopers.

Reggie Yates: Extreme South Africa (DLT Raydar)

Clips from XICAmotion

OHM:TV Titanic - Band Of Courage (Cargo Film & Releasing)

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NEW FACTUAL format Elevator Pitch (10 x 60 mins) is brought to MIPTV by Germany’s ohm:tv. The programme — from Oslo-based The Beagle Productions — follows 10 young entrepreneurs who get the chance to deliver a business idea to a potential investor in the time span of an elevator ride. The winning entrepreneur is assisted in the start up of his or her business. In the localised version of the series, the entrepreneurs come from different cities and in the international version from different countries. The format has been developed for cross-media and second-screen use.

COMAREX

COMEDY series Mulher De Fases/States Of Grace (13 x 60 mins), brought to Cannes by Mexico’s Comarex, is co-produced by HBO Latin America Originals and Casa de Cinema. Filmed in Porto Alegre, Brazil, the series is a modern relationship drama following recently divorced Grace.

States Of Grace (Comarex)

KOREA HD BROADCASTING CORP

Fonko (First Hand Films)

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Elevator Pitch (ohm:tv)

KOREA HD Broadcasting launches various travel programmes at MIPTV, including: OffRoad In Australian Outback (4 x 60 mins), a 4WD road travel show starring actor Se-joon Park; Modern Architecture Travel In Japan (4 x 60 mins), a history of Japanese modern architecture with architect Dae-jin Bu travelling with businessman and travel expert Gi-seong Lee; Kim’s Photo Bike Diary (10 x 30 mins); and healing-themed travel show Healing Road (5 x 30 mins).

VISIT THE PROMEXICO PAVILLION P-1.J19

Siempre Tuya…Acapulco

Meet the following innovative companies at the ProMexico pavilion ( P-1.J19), and discover

why Mexico is the leading exporter of creative goods in Latin America.

• ADICTA FILMS • ALL ABOUT MEDIA/ TELECOMUNICACIONES VIVA • ARTIC • BLUE PRINT • CAALIOPE • CAMALEON FILMS SA DE CV • CANAL 22 • CAPONETO • COMAREX • DUBBING HOUSE • FACET SCHOOL MEXICO • FILM TANK SA DE CV • FPU NEXUS (FREELANDIA) • GYROSCOPIK STUDIOS • HUEVOCARTOON • LEMON MEDIA SA DE CV

• MANTARRAYA PRODUCCIONES • MANUVO • MENTAL REVOLUTION • MEXICAN FILM INSTITUTE • MEXICO CITY FILM COMMISSION • MIGHTY ANIMATION • MODEL ARTE EFECTO SECUNDARIO ENT • ORGANISMO PROMOTOR DE MEDIOS • PROMEXICO • RENDER FARM STUDIOS • STORY WE PRODUCE • TV UNAM • UNMUNDUS • WE ARE NOT ZOMBIES TV

One of the most important cultural TV Stations in Mexico, TVUNAM produces high quality documentaries which have been awarded with over 200 prizes in just 8 years of existence.

For further information please contact: Manuel Villanueva manuelvillanuevaguerra@yahoo.com.mx

Title: Siempre Tuya…Acapulco (A Love To Remember) Year: 2014 Length: 120 X 60’ Genre: Drama Produced by: Azteca Cast: Melissa Barrera, Daniel Elbittar, Cecilia Ponce Synopsis: The architect Diego Rivas Santander calls his fiancée, Irán, just before boarding his private jet to let her know he is leaving town to attend an award ceremony. The jet is flying over the mountains outside Taxco when a mechanical failure causes it to nosedive.

Diego jumps and his chute opens. Olvido, who has just been for a refreshing swim in a nearby river, is making her way through the thick vegetation when she comes across Diego, who is on death’s door. Without further ado, she takes him home to tend to his wounds. When Diego comes to, he is dismayed to discover he is blind and that he has completely lost his memory. To the extent that Olvido’s attachment to the man she rescued in the mountains grows stronger, so do the chances he will recover his sight and his memory.

The story of a love unfettered by the past that struggles to survive cold-blooded ambition of the present.

PRODUCT NEWS

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NBCUNIVERSAL INTERNATIONAL TV DISTRIBUTION

CINEFLIX RIGHTS

THE UK’s Cineflix Rights is premiering its new series produced for Investigation Discovery at MIPTV. Rambam Gets His Man (6 x 60 mins) follows a private investigator, an expert in cases of disappearance, including fraudsters, scammers, missing persons and fugitives. Steve Rambam and his team relive some of their greatest cases in the series.

Rambam Gets His Man (Cineflix Rights)

ABOUT A Boy (13 x 30 mins), based on the Nick Hornby novel, is a comedy about a single guy whose primary goal in life is avoiding responsibility until he accidentally befriends the young boy and his needy single mom who live next door. The cast includes David Walton, Minnie Driver, Benjamin Stockham and Al Madrigal. NBC also brings Chicago PD (13 x 30 mins), about the uniformed cops and detectives dealing with everything from street crime to organised gangs and murder.

URBAN FILMS

ON THE slate for Madrid-based Urban Films is: new documentary My Spanish War (1 x 77 mins), about a couple of Marxist militants in the late 1920s; The Journey To The Mediterranean Tradition (8 x 50 mins), a cultural exploration available for Latin America and Orient; and documentaries Controlled (1 x 59 mins) and Mexico - End Of Two Loves (1 x 52 mins).

Sendokai Champions (Nottingham Forest)

NOTTINGHAM FOREST

SENDOKAI Champions, co-produced by Kotoc, TVE and Planeta Junior, is brought to MIPTV by Spain’s Nottingham Forest, and features a group of youngsters who must compete in a tournament to save the world. Two seasons of 26 x 12 mins are available, and the latest deal for broadcast has been signed with RAI in Italy, bringing the number of countries broadcasting the series to over 50.

THE ALKEME COMPANY

THE TELEVISION SYNDICATION COMPANY (TVS)

TVS BRINGS a range of new HD programming to Cannes, including: Reality Rides (13 x 30 mins), in which a car is taken apart and reconstructed; Curator’s Vault (13 x 30 mins), which visits car museums; Magnificent Motorcars (13 x 30 mins) focusing on the art, collectors and stories behind rare old cars; US talk show The Charla Young Show (41 x 30 mins); documentary Song Of The Dunes (1 x 55 mins) about India’s caste system; live-action kids show The Choo Choo Bob Show (36 x 12 mins); and reality shows Operation Dog Tag, Wine Warriors and Dynamite Music.

THE ALKEME Company returns to MIPTV with its flagship project I/Nation, a political thriller shot in Barcelona, Ireland and the Canary Islands. The series follows a CIA analyst plotting revenge against those who took his parents lives in the bombing of Pan Am 103. Production is set to begin in September and the series stars James Cosmo and Timothy Gibbs. The Spanish company also brings vampire animation Nightbreeds (26 x 23 mins/3D), a co-production with Sweatbox and TV3.

Reality Rides (TVS)

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Candice Renoir (Newen Distribution)

NEWEN DISTRIBUTION

PARIS-based Newen brings a range of programming to MIPTV including: new documentaries The Mittal Empire (1 x 52 mins), Colossal (1 x 52 mins), Saving Venice (1 x 52 mins/1 x 90 mins) and Putin’s Hidden Treasure (1 x 52 mins); new docu-dramas, Lady Liberty (1 x 52 mins/1 x 90 mins) and Marie Curie: A Woman At The Forefront (1 x 90 mins); drama series Candice Renoir (18 x 52 mins), Blood Of The Vine (16 x 90 mins) and Life’s So Sweet (2,500 x 26 mins); animation series Mysterious Cities Of Gold (78 x 26 mins) and Loopdidoo (208 x 7 mins); new gameshow format Run & Buzz (1 x 26 mins) and returning game show Harry; and magazine show Motherly Yours (1 x 52 mins/1 x 90 mins).

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PRODUCT NEWS ALBATROSS WORLD SALES

HIGHLIGHTS from the Albatross catalogue include: The New Wilderness (3 x 52 mins), which looks at an area of land that has been transformed into a productive wetland; and the investigative documentary The Dark Side Of Red Bull (1 x 43 mins), which takes a look at the soft drink giant’s PR machinery and confronts concerns about accidents, some of which have been fatal.

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION

KIEFER Sutherland reprises his role as agent Jack Bauer in 24: Live Another Day. Now in exile, he is still called on to risk his life and freedom to avert yet another global disaster in the new series. Also from Twentieth Century comes: Tyrant, from Homeland producers Howard Gordon and Gideon Raff, which tells the story of an unassuming American family that is drawn into the workings of a turbulent Middle Eastern nation; and Guillermo del Toro and Chuck Hogan’s The Strain, based on their best-selling novel trilogy, about an outbreak of an ancient virus with vampire-like characteristics in New York.

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ARMOZA FORMATS

ARMOZA Formats’ new launches for MIPTV include Runway In My Closet, in which each week three upcoming designers take regular people as models and using clothes from their model’s closet, create three different looks within a limited time and budget to win the grand prize. Who’s Asking? is a new studio game show where the contestants must select a questioner from the faces on the screen in front of them, choosing a questioner who they believe can help them win the grand prize.

The New Wilderness (Albatross World Sales)

OCTAPIXX WORLDWIDE

HEADING the Canadian distributor Octapixx’s MIPTV catalogue are: The Vatican And The Third Reich (1 x 60 mins/HD), a new documentary about accusations concerning Pope Pius XII and his relations with the Nazis during World War 2; and Cosmos: Closer To Truth (26 x 30 mins/HD) which features leading scientists, philosophers, theologians and diverse thinkers as they explore new knowledge of the universe.

24: Live Another Day (Twentieth Century Fox Television Distribution)

LOOKING GLASS INTERNATIONAL

NEW FACTUAL series The Conspiracy Show (65 x 30 mins) is brought to MIPTV by Australia’s Looking Glass. Presented by writer and producer Richard Syrett, The Conspiracy Show delves into secrets and hidden agendas, including conspiracies, paranormal phenomena, UFOs, ancient mysteries and top-secret government programmes. The series is produced by Film One Productions for Vision TV/Zoomermedia and launches in the US later this year. PPI Releasing distributes the series in the US and has partnered with Looking Glass International on international sales.

The Conspiracy Show (Looking Glass International)

Runway In My Closet (Armoza Formats)

INDUSTRYWORKS PICTURES

TOPPING IndustryWorks Pictures’ slate of projects is The Lost Legion (13 x 60 mins). The film is set when the Roman Empire is in decline and the Dark Ages are imminent. In a remote outpost, one Legion strives to bring Rome back to its former glory.

The Lost Legion (IndustryWorks Pictures)

COBALT PICTURES

The Vatican And The Third Reich (Octapixx Worldwide)

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THE NEWLY formed Cobalt Pictures brings its first project to MIPTV. The feature film Small Time is the directorial debut of Joel Surnow, co-creator of the series 24, and is produced by Asylum Entertainment.

It stars Christopher Meloni as a used car dealer in the thick of a mid-life crises, whose future changes when his son joins him working on the car lot. Cobalt Pictures — a sales, production and finance company — was created earlier this year.

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The new Sony 4K UHD TV Each purpose has a perfect shape

OFFICIAL 4K ULTRA HD TV OF THE 2014 FIFA WORLD CUP™

Ultra HD TV

Sony.fr

Sony is a registered trademark of Sony Corporation. All other logos and trademarks are the property of their respective owners

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MONDAY 7 APRIL TALKS

PRODUCERS’ TOOLBOX

THE FUTURE OF PRODUCTION: THE DO-IT-ALL PRODUCER

HOW TO PITCH? 9.15-9.45 | MIPCube Agora, Palais -1 Moderator Jason DaPonte, Managing Director & Executive Producer, THE SWARM, UK @jasondaponte

9.45-10.15 | Esterel, Palais 5

Jason Daponte

Speakers Rajjat A. Barjatya, Managing Director & CEO, Rajshri Entertainment, India @RajjatBarjatya Aileen Docherty, Co-founder & Owner, Emerald Films & ThisIsDrama, UK @ThisIsDramaYT Seth Laderman, Senior Vice President Production, Seth Laderman Nerdist Industries, USA @sethladerman4

NEW FUNDING AND PRODUCTION OPPORTUNITIES IN WALES 9.30-10.30 | Auditorium K, Palais 4 Breakfast served.

Moderator Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe

By

Speakers Steve Christian, Director, Pinewood Pictures, UK Jonathan Moody, Senior Business Development Manager (International), Creative Industries Sector, Department for Economy, Science and Transport, Welsh Government, UK

SUMMITS & SPECIAL EVENTS

DIGITAL MINDS SUMMIT 10.00-13.00 | Carlton Hotel By invitation

ULTRA-HD KEYNOTE

NICLAS ERICSON, DIRECTOR TV DIVISION, FIFA, SWITZERLAND 9.30-9.45 | 4K Theater, Palais -1 Moderator Chris Forrester, Journalist & Industry Consultant, UK Speaker Niclas Ericson, Director TV Division, FIFA, Switzerland

Knowledge Partner:

Chair Susan Etlinger, Analyst, Altimeter Group, USA @setlinger Speakers Scott Button, Co-Founder and CEO, Unruly, UK @unrulymedia Yannick Sadowy, Managing Director, Accenture Media & Entertainment France & Benelux, France Eric Scherer, Director Future Media, France Televisions, France @EricScherer

Niclas Ericson

TALKS ULTRA-HD

THE UHD BROADCASTERS, READY FOR TOMORROW 9.45-10.45 | 4K Theater, Palais -1 Moderator Chris Forrester, Journalist & Industry Consultant, UK Speakers Oleg Kolesnikov, CTO, NTV-Plus, Russia Tom Morrod, Senior Director, IHS, UK Andy Quested, Head of Technology BBC HD Oleg Kolesnikov & UHD, British Broadcasting Corporation, UK Euan Smith, EVP Product & Operations, Sky Deutschland, Germany

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SHOW ME THE MONEY! 10.30-11.00 | Esterel, Palais 5 Moderator Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe Speakers Sue Brooks, Director of Video Transformation, Associated Press, UK Catherine Tait, President, Duopoly, USA Thomas Thirlwall, CEO, Bigballs Films, UK @tomthirlwall

Catherine Tait

04/04/2014 16:04

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OFFICIAL CONFERENCES & EVENTS ULTRA-HD

PRODUCERS’ TOOLBOX

THE UHD FACTUAL CONTENT CREATORS

HOW TO BRAND IT LIKE BECKHAM?

11.00-12.00 | 4K Theater, Palais -1

11.30-12.00 | MIPCube Agora, Palais -1

Moderator Chris Forrester, Journalist & Industry Consultant, UK Speakers Hiromichi Iwasaki, Executive Producer, Natural History, NHK, Japan Cosetta Lagani, Head of Sky 3D, Sky Italia, Italy Keiya Motohashi, Head, Executive Office and Senior Strategist, UHDTV, NexTV Forum Japan, Japan Marie-Noëlle Vallès, Head of AFP Video, AFP, France

Speakers Mark Grande, Senior Director, Programming & Integrations, MEC, USA @markgrande Amber J. Lawson, CEO, Comedy Gives Back Mark Grande *WINNER 2014 IAWTV Award Best live Event & Managing Partner, StoryTech, USA @AmberJLawson

MIPTV MEDIA MASTERMIND KEYNOTE 12.15-12.45 | Grand Auditorium, Palais 1

MIPTV MEDIA MASTERMIND KEYNOTES 11.00-11.30 | Grand Auditorium, Palais 1

CHRIS ALBRECHT, CEO, STARZ IN CONVERSATION WITH COLIN CALLENDER, CEO, PLAYGROUND

A FIRE-SIDE CHAT WITH KIM CATTRALL, STAR & EXECUTIVE PRODUCER, “SENSITIVE SKIN” Moderator Julian Newby, Editor in Chief MIPTV News, Boutique Editions, UK

Kim Cattrall

Chris Albrecht

INNOVATION SEMINAR Colin Callender

HOW BRUSSELS BASED COMPANIES ARE SHAPING THE FUTURE OF DIGITAL CONTENT? 12.30-13.00 | MIPCube Agora, Palais -1 By

MIPTV MEDIA MASTERMIND KEYNOTE 11.30-12.00 | Grand Auditorium, Palais 1

AVI NIR, CHIEF EXECUTIVE OFFICER, KESHET MEDIA GROUP “TV 2014: CHALLENGING PREDICTABILITY” Moderator Peter White, International Editor, Broadcast, UK

Presenters Alexandre De Saedeleer, Business Development Manager, Screenity, Belgium David Mendlewicz, CPO, TEVIZZ, Belgium

Avi Nir

SCREENINGS

FRESH TV 13.00-14.00 | Grand Auditorium & Balcony, Palais 1 Presenter Virginia Mouseler, CEO, The Wit, Switzerland @thewitfreshtv

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Presented by

04/04/2014 16:04

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MONDAY 7 APRIL ULTRA-HD

ULTRA-HD

4K: THE PROVEN EXPERTS

AMBITIOUS FOR 4K, AND INNOVATING THE PROCESSES

15.15-16.15 | 4K Theater, Palais -1

14.00-15.00 | 4K Theater, Palais -1

Moderator Chris Forrester, Journalist & Industry Consultant, UK

Moderator Chris Forrester, Journalist & Industry Consultant, UK Speakers Giuliano Berretta, President, DBW Communication, Italy Norbert Hölzle, CCO Europe, SES Astra, Luxembourg Kevin Williamson, Co-Founder, FourK Productions, USA

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TALKS

THE ATTENTION ECONOMY: CAPTIVATING THE USER © Trevor Good

14.00-14.15 | Esterel, Palais 5 Speaker Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe

Louisa Heinrich

TALKS

THE RULES OF ENGAGEMENT: STRATEGIES FOR AN ON-DEMAND GENERATION 14.15 -15.15 | Esterel, Palais 5 Moderator Louisa Heinrich, Founder, Superhuman Limited, UK @customdeluxe Speakers Gregory Dorcel, CEO, MARC DORCEL, France Keith Hindle, CEO, Digital and Branded Entertainment, FremantleMedia, USA Reza Izad, CEO, Collective Digital Studio, USA

Keith Hindle

INTERNATIONAL DRAMA SCREENING

“THE HONOURABLE WOMAN” SCREENING 15.00-16.30 | Auditorium A, Palais 3 Presented by

Speakers Bolke Burnaby Lautier, Manager Operations Sports & Events, United, The Netherlands Simon Craddock, CEO, ONSIGHT, UK

STARTUP COMPETITION 15.15-16.45 | MIPCube Agora, Palais -1 Finalists Grabyo (UK) – Gareth Capon, CEO MyCastingNet (Australia) – Hayden Kerr, CEO Multipop (USA) – Josh Lamb, COO, EVP & Executive Producer, New Velocity Media (USA) Parrot Analytics (USA) – Wared Seger, CEO TVTY (France) – Eliott Reilhac, CEO Jury members Christopher Barry, Managing Director, International Strategy & Digital Media, A+E Networks, USA Kirsty Hunter, Head of International Creative Development, Digital, Sony Pictures Television, UK @Kirsty_Hunter Rhys Noelke, VP Business Development, RTL Group, Luxembourg Eric Scherer, Director Future Media, France Televisions, France @EricScherer Gary Woolf, SVP Digital and Business Development, all3media international, UK @garywoolf Presenter Caroline Pandraud, Project Director, FABERNOVEL, France @pointpandraud 16.10-16.40: Special Presentation during the jury deliberation: STARTUPS - THE MOVERS AND SHAKERS OF THE MEDIA BUSINESS Speaker Dominique Delport, Global Managing Director, Havas Media Group and Chairman, Havas Media Group UK and Havas Media France, France @domdelport

Dominique Delport

Interviewed by Trista Bridges, Entrepreneur, Co-Founder, Rude Baguette, France @RudeBaguette

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OFFICIAL CONFERENCES & EVENTS MIPTV WORLD PREMIERE TV SCREENING MATCHMAKING

MATCHMAKING: MEET THE 2014 INTERNATIONAL DIGITAL EMMY® AWARD NOMINEES 16.30-17.30 | MIPCube Hub, Palais -1

“POWER” 18.15-19.30 | Grand Auditorium, Palais 1 By

Sponsored by

Presenter Catherine Warren, Founder and President, FanTrust Entertainment Strategies & Member, Board of Directors, Bell Fund, Canada @FanTrust

FROM EXECUTIVE PRODUCER

THE OFFICIAL WORLD PREMIERE SCREENING

MIPTV MEDIA MASTERMIND KEYNOTE

Monday, April 7th at 18:15 The Grand Auditorium With appearances by cast members Omari Hardwick and Curtis “50 Cent” Jackson

16.30-17.10 | Grand Auditorium, Palais 1

www.starzglobal.com

SEASON 1 – 8X60 MINS AT MIPTV: RIVIERA 9.A32 (FORMERLY RSV25)

Jan Frouman Joined on stage by Michael Connelly, Bestselling author of the “Bosch” novels Titus Welliver, Lead Actor “Bosch” Henrik Bastin, CEO Fabrik Entertainment & Executive Producer “Bosch”

Moderator Kate Bulkley, Media Commentator/Journalist, UK

Visit starz.com for airdates/times. Starz and related channels and service marks are the property of Starz Entertainment, LLC. Power © 2014 Starz Entertainment, LLC. EXE4120-14-F

JAN FROUMAN, GROUP MANAGING DIRECTOR, RED ARROW ENTERTAINMENT GROUP

COURTNEY KEMP AGBOH (THE GOOD WIFE)

SUMMITS & SPECIAL EVENTS

MIPTV OPENING PARTY & THE INTERNATIONAL DIGITAL EMMY® AWARDS From 19.30 | Grand Hyatt Cannes Hotel Martinez

MIPTV MEDIA MASTERMIND KEYNOTES

Sponsored by:

17.20-17.50 | Grand Auditorium, Palais 1

COMEDY CENTRAL’S ‘BROAD CITY’ KEYNOTE SHOWCASE: ‘THE POWER OF COMEDY: LAUGHING ITS WAY FROM ONLINE TO LINEAR’ Amy Poehler

Speakers Kent Alterman, President, Content Development & Original Programming, Comedy Central Caroline Beaton, SVP, International Programme Sales, Viacom International Media Networks (VIMN) Ilana Glazer, Abbi Jacobson & Amy Poehler, Broad City Moderator Nancy Tartaglione, International Editor, Deadline Hollywood, USA @DeadlineNancy

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FEATURE DIGITAL CONTENT MARKET

Brave new thinking for a brave new world The age of the new international digital content market is here — and it represents the first significant step towards transforming the TV business as we’ve known and loved it for more than 60 years, Juliana Koranteng reports

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ROADBAND internet and myriad connected devices are changing the rules of the game in TV-content development, production, licensing, delivery and viewing.

By 2012, search-engine giant Google, which owns the video-hosting YouTube platform, had already recognised that traditional TV was no longer dominating viewers’ attention.

From the days when the key players were terrestrial broadcasters, and the upstarts were the cable and satellite services, we are now approaching the nextgeneration of audiovisual content operations.

Some use the internet to deliver live and on-demand TV that mirrors the linear broadcast channels. These over-the-top (OTT) subscription-funded and/or free on-demand streaming services include Netflix, Hulu, Amazon Instant Video, Canal+’s subsidiary Canalplay in France, the UK’s BBC iPlayer and Hong Kongbased GOTV. Netflix has confounded the sector and successfully commissioned original TV series that are giving broadcasters a run for their money. House Of Cards, Orange Is The New Black and Hemlock Grove have turned into more than surprise hits — they are also winning awards and receiving critical acclaim.

International web portals such as Yahoo! and AOL are another set of next-generation services commissioning dedicated online video content. Hollywood stars including Ben Stiller, Tom Hanks and Jack Black for Yahoo! Screen’s shows, and Gwyneth Paltrow and Sarah Jessica Parker for the AOL On Network are creating shows that premiere on those websites.

As hundreds of millions of visitors watch their specially produced content, Yahoo! and AOL are hoping their huge audiences will draw in major advertisers and their big budgets.

YouTube and its counterpart video-sharing platforms, including Orange subsidiary Dailymotion, China’s Youku Tudou and Vimeo, are no longer associated with amateur user-generated content. They host professionally produced multichannel networks (MCN), including the YouTube-distributed Maker Studios, AwesomenessTV, music-video service Vevo, Sony Entertainment Network’s Crackle, the food network Tastemade and StyleHaul, with its online channels for fashion aficionados.

“Technology will address some of the fragmentation we are seeing by curating and serving consumers with content that is relevant to them, thus creating an infinite spectrum of highly personalised channels,” says Erin McPherson, Maker Studios’ chief content officer. “Eventually, we won’t refer to ‘online’ and ‘traditional’ content but, rather, content will be simply storytelling delivered over a number of platforms and devices and in any number of formats to best serve both the story and the consumer.”

Expect the new digital content market to trigger innovative content deals. Netflix has outbid the major TV networks to premiere Disney’s new Marvel superhero TV series following an exclusive multi-season, multi-million dollar deal.

Makers Studios recently announced a groundbreaking partnership with will-i-

Eventually, content will be simply storytelling delivered over a number of platforms and devices and in any number of formats to best serve both the story and the consumer Erin McPherson 85

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FEATURE am, the hip-hop artist and digital-technology entrepreneur. And Crackle is already producing full-length feature films, such as Extraction, for online-only viewers. Multiplatform entertainment is truly here.

Monetising content and the audience

Research company Siemer & Associates predicts that the number of online video viewers will double to 1.5 billion worldwide by 2016. More than 2.4 billion people are online worldwide, while YouTube alone is localised into 61 languages, with more than one million producers earning some income from the video-sharing platform.

Accountancy giant PwC predicts that TV advertising revenue will pass the $200m mark by 2017, while internet advertising — including mobile, social media and online print — will generate $185bn in the same year. The forecasts indicate the gap between TV and digital advertising will have shrunk to about $17bn in 2017, from $62bn in 2012.

Advertisers have good reason to hike the digital portion of their ad budgets. In the US, the Internet Advertising Bureau (IAB) estimates 45 million viewers watch professionally made video shows online every month. Such figures have encouraged the IAB to host Digital Content NewFronts, an annual event that brings together online publishers, advertisers and ad agencies to do business around original, professionally produced web shows.

And the business of placing display ads around online content with real-time bidding among advertisers has turned into a sophisticated art form, as demonstrated by AdWeek’s infographic on the timeline of a digital ad.

Combine growing online advertising budgets with rising revenues from online subscription video-on-demand (VOD) services, and the burgeoning online-video sector has clear long-term commercial prospects.

Branded video entertainment funded by advertisers and ad agencies will also prop up digital revenues. Their production is gaining a more sophisticated sheen. GroupM, the media-buying giant owned by UK advertising conglomerate WPP, is co-producing and co-funding a high-end original documentary series called My Side Of The Sky with OTT platform Hulu. Centred on a group of ambitious student athletes, the show is being produced with advertisers, which can link their brand message with the show’s narrative.

“In future, ad campaigns will be run more efficiently, but quality and impact will remain the key focus of brand advertisers,” says Rhys Noelke, RTL Group’s vice-president of business development, as he explains that advertisers’ priority will always be the use of compelling storytelling.

Noelke and his counterparts can be assured that the number of internet viewers with potential access to their brand messages is increasing. Additionally, they know digital viewers are spoilt for choice in terms of content. The challenge will be to deliver relevant content to the right audiences.

“Over the last few years, we have met our viewers’ demands and wishes with catch-up TV, short-form offers, niche channels and original web content,” Noelke says. “A new perspective could be to link the conversations that people have about TV with social networks. It is true that the standard measurement of TV usage still lags behind actual usage. Mobile live streams, for instance, aren’t properly taken into account, so there is still a lot of work ahead.”

Managing multiplatform and multi-screen

Content-owners and creators have to think multiplatform and multi-screen if they want to reach Generation X, Y and Z digital viewers.

If your videos are captivating enough, a plethora of digital platforms will consider offering them to their customers. As Philip O’Ferrall, senior vice-president at Viacom International Media Networks (VIMN), says: “The digital evolution has massively expanded the reach of our content as the increasing number

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In future, ad campaigns will be run more efficiently, but quality and impact will remain the key focus of brand advertisers Rhys Noelke

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FEATURE The key is to create great content, nurture great talent and develop great properties Philip O’Ferrall of platforms fuel ever-growing distribution opportunities. VIMN remains a worldleading media-owner and content publisher, regardless of the platforms we distribute on. The key is, as it has always been at VIMN, to create great content, nurture great talent and develop great properties.”

Those platforms include the OTT internet services, such as Netflix and Hulu in the US, and Europe-wide Magine. Then there are the IPTV services, which are internet-delivered but controlled by telecommunications companies and have extensive subscriber bases. These include Verizon’s FiOS and AT&T’s U-verse in the US, and the fast-growing BT TV in the UK. In Asia, PCCW operates now TV in Hong Kong, while SingTel’s mio TV is one of Singapore’s most subscribed-to entertainment services.

Content-owners will also want to be on the emerging smart-TV platforms. Google TV is reportedly going to be rebranded Android TV, while Apple TV is expected to be as dominant a force as the Apple iPhone, iPad and iTunes Store. Meanwhile, Boxee, Samsung Smart TV and Roku are gaining traction in this new connectedTV space.

Microsoft has bypassed them to make Xbox video-games consoles TV-friendly for young male gamers, who have stopped watching traditional TV sets. Its new Xbox One even offers original video content to subscribers.

Then there are the thousands of channels on the MCNs discussed earlier. One MCN, Maker Studios, has already started to expand via acquisition. It has bought Blip. tv, the US-based video-sharing platform dedicated to original web series, to boost access to content. The value of MCNs is growing to such an extent that entertainment behemoth Walt Disney Company is said to have offered $500m to buy Maker Studios.

Meanwhile, mobile apps have turned the concept of mobile TV into a reality, as is illustrated by Qualcomm Sparks’ timeline infographic.

International research company comScore advises that content-owners should not feel intimated by the plethora of platforms. “While the multiplatform environment may at times be disruptive, it ultimately represents a significant new opportunity,” it says in its report Marketing To The Multi-Platform Majority. “Armed with new insights, better context and improved understanding, businesses will be able to confidently chart the right course to navigate this brave new digital world.”

Delivery strategy/sales and licensing

The internet has facilitated the development of numerous delivery models, from download-to-own (iTunes) to download-to-rent (catch-up TV services); from ondemand streaming (Netflix; Amazon.com) to video-hosting platforms (YouTube); from social media (Twitter) to peer-to-peer networks (Vudu; BitTorrent); from mobile apps to any major TV network.

Daniel Heaf, BBC Worldwide’s digital chief officer, says it is imperative for contentowners not to discriminate against any platform or viewing device as long as the content is gripping and is delivered efficiently. “I don’t see the platform as a something to differentiate,” he says. “Content for the OTT platform and for TV is one and the same.”

However, the competition to be the delivery platform that resonates most with viewers increases. Aereo, an online startup funded by US media mogul Barry Diller’s IAC, is challenging the current broadcast system. Its miniature digital aerials retransmit the programmes of terrestrial linear-TV networks into subscribers’ homes.

US broadcasters, including ABC, CBS and Fox, have filed a lawsuit alleging that Aereo is infringing their copyright. But Aereo claims the lawsuit, now on its way to the US Supreme Court, will prove its aerials are nothing more that mini-digital

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FEATURE recorders for connected devices. Should Aereo win the legal dispute, it will provide content-owners with yet another delivery platform to viewers.

The internet’s open infrastructure is enabling new players to enter the content-delivery business. This includes the content-owners.

Last December, US media giant Viacom’s CEO Philippe Dauman hinted that his company and Sony Corporation might join forces to launch a national online pay-TV service. While no more has since been said, the ramifications could be drastic should the venture go ahead. Several non-broadcast networks would no longer be totally dependent on physical cable-and-satellite carriages.

Inevitably, the labyrinthine availability of delivery platforms has had an impact on the way TV and video content is being sold and licensed. For Viki co-founder and CEO Razmig Hovaghimian, it has opened up new monetisation opportunities. Viki, the Singaporeheadquartered international on-demand streaming video platform with crowd-sourced subtitles, also offers translated versions of its licensed programmes to third parties.

Hovaghimian says: “If Netflix is expanding into Latin America, for example, it tells us that it will take the best translated shows [to which it has the licence] from Viki. Then we go and find the top-50 shows in the region for Netflix, and it licenses them from us. That means we are bringing the best of global video entertainment to other platforms like Netflix, Hulu and Amazon. We’re scaling up.”

Online production strategy and management

If the internet has deconstructed the way video content is distributed to today’s multiplatform and multi-screen devices, then the web is reconstructing how the entertainment industry produces audiovisual shows.

The internet facilitated the landmark production of Red Bull Stratos: Mission To The Edge Of Space. YouTube, websites, online VOD services and broadcasters enabled more than 195 million viewers to watch Austrian sky-jumper Felix Baumgartner — a MIPTV 2013 keynote speaker — as he leaped from the edge of space. He became the only living human to break the speed of sound in free fall.

The production company, Red Bull Media House, needed more than the few million viewers that traditional TV would have provided to see an historical event that will not be easy to replicate any time soon.

Netflix has said the online medium has enabled it to break free of the scheduling constraints of broadcast TV. It was, therefore, at liberty to commission the award-winning House Of Cards political thriller as a 13-episode show that audiences could binge-view in one go on TV, smartphone, tablet or computer.

Such landmark productions have changed how ‘TV programmes’ are now conceived and created. This newly found creative freedom has prompted established TV-production heavyweights to invest more in original online-video content. For example, international reality-TV giant Endemol has pledged to spend €30m on web-only content.

For its fussy and fickle youth audience, VIMN has made it a policy to produce high-end content, whatever the platform. VIMN’s O’Ferrall strongly believes that the distribution medium and the objective should not influence the content’s quality. “Original digital video is no different from any other content,” he says. “If you have a great concept, format, script and talent and a sprinkling of Viacom magic, you have a winning formula.”

Just as the internet has opened more doors for content producers, it is also making branded entertainment easier for advertisers and

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Content for the OTT platform and for TV is one and the same Daniel Heaf

their agencies to commission. GroupM Entertainment, the brandedcontent division of global media-buying giant GroupM, has clinched deals with Hulu to commission an original documentary series that ties in with brand-owners’ messages.

Meanwhile, Maxus Partnerships, the content-creation division of international media buyer Maxus, is to co-produce a series of shareable short-form videos and a second-screen app with National Geographic Channel UK. It is part of a one-year sponsorship deal between auto client Jeep Grand Cherokee and the TV network.

RTL’s Noelke notes that digital video-content production offers numerous editorial and commercial possibilities. “Creating digital brands from scratch is more difficult, but we believe there is a lot of potential,” he says. “Just look at the French comedy site Golden Moustache [launched by RTL Group subsidiary M6 Web]. That is clearly a brand that people are talking about, and it has attracted the interest of advertisers.”

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miptv BIG DATA

Based on its metrics Pulsar measured that BBC’s political discussion programme Question Time reached some 10.5 million people via TV and Twitter

What to do with the data?

The big question in 2014 is how TV networks and rights-owners are going to target their increasingly digital-centric audiences with the right content and advertising. The big answer, writes Juliana Koranteng, appears to be big data

J

UST as the Big Bang Theory — as in cosmology, not the CBS hit sitcom — tries to explain how our world and the universe began, big data has a more modest but equally vital goal for the TV industry.

Viewers are switching from the TV screen to laptops, desktops, tablets and smartphones to watch the same show. And the traditional People Meter audience-measurement tool on its own is not as

efficient at evaluating the effectiveness of a programme’s reach in today’s increasingly fragmented media landscape. In this bewildering 21st century media environment, the industry needs to quantify how many people are watching what on air, online, on the move, at what time, on which connected device and in which country. The results are crucial for content distributors in order to justify the fees they ask advertisers to pay.

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A programme’s TV ratings, market share and reach as measured by data analytics company TVBeats

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“The digital age has [given] access to vast amounts of lowcost data on TV viewing habits. Compared to People Meter data, it can be less rich in terms of providing detailed profiles and demographic information on TV audiences, but it provides fast insight into which TV programmes people are choosing to watch,” says Andy Brown, CEO of Kantar Media, the global audience-research and digitalanalytics firm that belongs to WPP Group, the world’s biggest diversified advertising conglomerate.

Brown adds: “TV networks cannot afford to rely solely on their own data when determining the programmes to procure, because this is limited to what audiences are watching on their channels. True insight is gained through broader data sets. Netflix, for example, has a wealth of information of its own, but it also buys People Meter data on a global basis to give it further insight into the TV shows that are successful.”

With every click of the mouse and keyboard, every Facebook Like, tweet on Twitter and Pinterest pin, every remote-control flick recorded by TV set-top boxes and every detail recorded when consumers register for digital services, TV operators gain access to a treasure trove of viewer data to be collected, processed and analysed.

Established terrestrial broadcasters are no longer competing against the proliferation of channels on digital terrestrial, satellite and cable networks alone. They also face tough rivalry from the ambitious internet-distributed IPTV and OTT services, plus the multichannel networks (MCNs) being hosted on video-sharing platforms such as YouTube, Dailymotion and China-based Youku Tudou.

YouTube, which features large quantities of TV-originated shows and repurposed TV spots, reports one billion-plus unique visits per month; social-media giant Facebook, which is used by most networks and advertisers to promote their brands, reaches 1.2 billion monthly visitors; and video content on the still underestimated

miptv

Yahoo! boasts more than 800 million monthly users.

Meanwhile, the digital switchover initiatives being rolled out by governments worldwide mean that data linked to terrestrial-broadcast viewing is becoming easier to collect. Streaming-video giant Netflix has stated that consumers watch over a billion hours a day of linear TV worldwide. Online-video audiences are set to double to 1.5 billion globally by 2016, according to research firm Siemer & Associates.

And thanks to the emergence of cloud technology, the affordability of computer-server warehouses and the growing penetration of connected digital devices, it is now possible to gather and store trillions of consumerviewing data.

The big-data theory is still at the early stages, but it is being practised by some more than others. The UK public-broadcast commercial network Channel 4 has openly stated that big data is guiding its future strategy in an aggressively competitive business.

Sanjeevan Bala, Channel 4’s head of data planning and analytics, explains: “We are moving away from a oneto-many to a one-to-one relationship with our viewers.

And we are doing that because we need to understand their viewing behaviour.”

To develop that audience relationship, C4 encourages its viewers to discover its TV content via online and digital services, including the channel4.com website, the 4OD video-on-demand (VOD) service, the digital-satellite platform Freesat, the digital cable-TV network Virgin Media, iTunes, mobile apps and video-games consoles such as Microsoft’s Xbox.

“You need to register on only one of them and the system understands who you are across all the platforms,” Bala says. “And before premiering a programme like Made In Chelsea, we incentivise (traditional) TV viewers to sign up by offering exclusive content before the

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FEATURE show debuts on air, or additional content. We make it clear that these are some of the benefits of registering.”

Additionally, the data-driven marketing campaigns used to promote shows, such as email marketing, enable Channel 4 to identify the genres that audiences prefer, enabling more effective targeting and content recommendations.

“We are able to tailor our outbound emails and that increases the open rate of emails,” Bala says.

“By personalising the entire experience, we are also targeting network viewing.”

Comprehensive promotions to viewers have seen Channel 4’s VOD viewing shoot up six-fold, Bala reports. The company is also testing to see how VOD viewing can influence TV ratings because, in the future, “two-thirds of viewing will be via connected devices”.

Mattias Hjelmstedt believes everything about the next-generation content services will be data-driven. Hjelmstedt is CEO and founder of Swedish subscription-funded cloud-based —no cables or set-top boxes required — OTT live and on-demand service Magine.

“Big data, which has always existed to help us make better decisions, means nothing without context,” he says. “But the world today is about too many choices.

And we also have less time. So data is not only about discovering new things to watch. It is also about the ease with which we find things we already know.”

We are moving away from a one-to-many to a one-to-one relationship with our viewers Sanjeevan Bala

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Channel 4’s Sanjeevan Bala

Data collected by Magine, currently operating in Sweden, Germany and Spain, helps it use the internet to compete against the existing cable and satellite platform operators. But the amount of work involved in

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is impossible to process data live every day.”

Channel 4’s multi-platform series D-Day As It Happens

trawling through billions of bits of information should not be underestimated, Hjelmstedt warns: “If you have hundreds of thousands of users and a large quantity of content, the amount of data generated is enormous.

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London-based TVbeat, a start-up digital-tech firm that recently nabbed $2m in new investment, is positioning itself as the real-time TV-ratings measurement service designed to complement the traditional sample-based People Meter services.

TVbeat’s technology is able to exploit the fact that most of today’s pay-TV set-top boxes for cable, satellite, VOD, IPTV and OTT services are internet-connected.

Every second-by-second content interaction recorded via the remote control and digital devices is captured and analysed to measure the audience’s live and timeshifted viewing habits.

“BARB in the UK, for example, samples 5,100 homes and a lot of weighting is required to make it representative of the whole UK’s viewing. We do the same with a much larger sample. We collect the data anonymously but we interpret them to help the TV platforms understand how people interact with their content,” explains CEO Laurence Miall d’Aout.

Trials in Slovenia, Croatia and Serbia, where TVbeat measures more than 15 million “customer interactions” daily, have been successful enough to impress investors to back the company’s international expansion, she adds.

The networks’ demand for such insights is scaling up.

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miptv

FEATURE ics to develop media-centric technologies.

Netflix, the world’s largest subscription-based film and TV streaming platform, has said the detailed data it collects about its customers has contributed to its understanding of what they want and has helped it to maintain its track record for commissioning hit shows.

Wired magazine recently published an article about Netflix’s experiments with ‘deep learning’, a branch of artificial intelligence based on how the human brain works, to build the ultimate content-recommendation engine. Netflix hopes the resulting technology will offer an enhanced idea of knowing and finding the shows people want to watch.

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‘Data visualisation’ — the picturesque shorthand for illustrating the analytics results — is part of the service provided by analytics agencies. It is preferable to what would otherwise look like the tediously endless streams of zeroes and ones in the sci-fi movie The Matrix, says Francesco D’Orazio, vice-president of product at Pulsar, the UK social-media intelligence service-provider and part of the global strategic-insight agency Face.

Pulsar specialises in visualisation. It recently collaborated with social networks Tumblr and Twitter to see what could be learned about audience interaction with certain UK shows. With Question Time, the nightly live current-affairs show on public-broadcast network BBC One, Pulsar noted that, out of 323,000 followers, 20,000 were identified as interacting with the September 19 programme.

Pulsar calculated that the show’s 2/4/14 5:04 PM

Kantar Media’s Andy Brown

amplification factor, or its reach, was 613 times (the 20,000). Based on its metrics, in all, the programme reached some 10.5 million people via TV and Twitter.

The calculation was based on the audience’s quality which, considering that it included several journalists, politicians, other broadcasters and their followers, was considered to be high. The study looked at not only the

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FEATURE Pulsar’s Francesco D’Orazio

audience’s followers, but also those who were following each other, confirming the social community they formed had some substance to it. Moreover, it examined which followers were tweeting about events on the show (narration) in real time, which were using tweets 298_PARK ENT_N1_TVto pose questions to participants on the show (interac-

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tion), and which had started a dialogue about the topics being discussed without making direct reference to the show (conversation).

Such results help broadcasters get to know the different social communities watching a programme. As a result, the show’s marketing messages and, by extension, those of advertisers can be targeted accordingly.

“Instead of a monolithic message for everyone, they can look at the audience composition in more depth and create more relevant and different targeted messages,” D’Orazio says.

Data analytics also aims to lure new viewers to a programme or TV network, as “acquiring customers these days is very expensive”, says TVbeat’s Miall d’Aout.

Furthermore, there are specialist niche channels with audience sizes so small that they might not register on sample-based TV-measurement systems. The granularity provided via digital-data processing can reveal a more accurate audience reach.

Advertisers are demanding more of that kind of information. Sir Martin Sorrell, CEO of Kantar Media’s parent WPP, has stated emphatically that “big data and technology” form one of the two main drivers for the advertising conglomerate’s future growth. This influenced the global strategic partnership it formed with Twitter last June to boost its share of the data-driven marketing business.

But C4’s Bala wants to emphasise that none of this augurs the end of the programme scheduler. “This year, the question to answer is how to bring together the art

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FEATURE 51 Degrees’ James Rosewell

and the science of scheduling, because the scheduler will always exist.”

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ing platforms have invested in data-gathering startups to augment their appeal to subscribers.

Recently, Sweden-originated Spotify bought analytics firms Echo Nest to improve how its customers discover the music they like. US-based Beats Music snapped up TopSpin, which uses analysed data to help artists to market their content. UK analytics firm Semetric, owner of the Musicmetric platform, uses data from social media, plus the file-sharing platform BitTorrent, to assess an artist’s popularity by social network, by reach and by geography. It collects information that has helped artists, labels and managers to learn where next to focus their sales and touring strategies.

“Our technology is built upon a very flexible architecture designed to be content neutral. That allows us, at massive scale, to track where any given TV show or film is being most downloaded on BitTorrent around the world,” says Marie-Alicia Chang, Semetric’s co-founder. “This delivers powerful insight for use in profiling consumer tastes and understanding whether terrestrial TV should be licensing its content in more markets and, more importantly, to the growing number of on-demand services and digital platforms.”

She adds that, even using music data alone, “we show that TV appearances can drive great Twitter activity for artists. This level of engagement tracking is now a well accepted form of analysis, used for justifying advertising or marketing budgets.”

Still, the TV industry would do well to keep an eye on the struggling music business, which has relied extensively on data to sell music to fans, with some positive results. As rivalry heats up, international music-streamAfter US fugitive Edward Snowden laid open the US’ 116_NOVOVISION_N1_TV 229_DOGTV_N1_TV

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National Security Agency’s (NSA) questionable use of people’s personal data, EU regulators are getting tougher about its usage, says Karen Trickett, CEO of UK integrated-marketing agency Tangible.

The EU General Data Protection Regulation, scheduled to be passed by the European Parliament into law in November, stipulates that it is no longer enough to assume that consumers are giving consent to use their personal data just because they have not opted out of doing so. Digital service-providers must be able to prove that consumers have explicitly chosen to opt in to legitimise their business.

“You are going to have to ask for explicit permission — even from your warmest and most loyal viewers — to use their personal data for every conceivable use. And in light of the recent news about data breaches, theft, scams and the NSA, gaining that permission will not be easy,” Trickett says. “The key is to gain the trust of your customers.”

Magine’s Hjelmstedt adds: “I’m a strong advocate of privacy. Data should be used to help someone, not stalk them. The personal data belongs to the consumer and that should be respected.”

James Rosewell, CEO/founder of UK mobile website analytics company 51 Degrees, suggests that anonymous data can still be refined to offer more exact audience profiling. By adding the remote-control facility to individual’s mobile phones, content distributors could reach audiences better, he argues. “If your mobile becomes your remote control for multi-screen viewing, that can bring in authentication. Because, once the

viewer accepts the terms and conditions of a service with that device, the big data would start to know who’s in front of the screen, because each person in a household would have his or her own mobile.”

But regulatory issues and evolving technology mean the perfect big data scenario is not here yet. As Channel 4’s Bala notes: “There always needs to be an element of risk-taking so that we can continue to learn.”

Semetric’s Marie-Alicia Chang

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FEATURE 4K FOCUS

The Sony F55 4K camera was used to shoot the Super Bowl. Photo: Sony Professional

Future proof MIPTV’s 4K Ultra-HDTV sessions are featuring an unprecedented line-up of expert speakers, stunning footage and four days of spectacular examples of this amazing technology drawn from some of the world’s major broadcasters and programming producers. Chris Forrester reports on the industry’s latest thinking

A

Fox Sports, for example, used six YEAR ago at MIPSony 4K cameras at this year’s TV 2013, the head Super Bowl in freezing Denver. of the BBC’s Natural “It allowed us to do an electronic History Unit Andrew zoom and maintain resolution,” Jackson told delegates says Jerry Steinberg, Fox’s senior that as far as his output was convice-president/operations. He’s not cerned, “any high-end project alone. ESPN, ABC, NBC and CBS will be shot in 4K from now on. have all used similar approaches There are lots of interesting comin sports coverage. But nobody is mercial elements to this too as making any commitment to 4K we’re starting to do theatrical and transmission, just yet. giant-screen presentations. Plus, if you’ve shot in 4K, you’re futureBarney Francis European sports broadcasters are proofing.” making the same investments, and That statement summed up accurately the BBC’s thinking towards 4K — and even testing 4K production and workflows. Portions of the 5K production. The BBC has also tested and trialed Sochi Olympics were captured and transmitted in 4K 4K workflow and transmissions. And so have France — and examples are being shown at MIPTV — while Televisions, all the Sky channels in Europe, as well as Japanese and South Korean broadcasters are readying for this summer’s FIFA World Cup in Brazil, and SkyPerfectTV and NHK in Japan.

Of course, many of the world’s top sports broadcast- scheduled to be captured in 4K. ers have been using 4K image capture during their This past winter BskyB, as well as Sky Italia and Sky live games as ‘super-zoom’ devices for a year or two. Deutschland, have been experimenting with 4K soccer

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We saw enough to know that live sport in Ultra HD has real potential

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We are devoting all budget and energy on higher-quality content towards 4K Reed Hastings Human Life: Our Amazing Cells (NHK)

coverage. Sky Sports managing director Barney Francis says: “We saw enough to know that live sport in Ultra HD has real potential. The broadcast also demonstrated the capability of our satellite platform, which is ideally placed to continue supporting high-bandwidth video.”

Satellite operator SES’ chief commercial officer Ferdinand Kayser, says he expected Europe to be an early adopter of UHD and that sales of 4K displays would, in Europe, top 110 million by 2025. “We at SES love innovation and are already showing demo 4K channels on 4K.” While sports and similar special events are likely to dominate early 4K production, a number of producers are also preparing factual and documentary footage, high-end drama and the other established genres which will help fill 4K channels.

Indeed, by 2020 there are likely to be more than 200 spectacular 4K/Ultra-HD channels on air. Some commentators have called the move as dramatic as the change from black-and-white to colour TV. Online services such as Netflix, YouTube, Amazon and others are able to stream 4K content, and Sony’s latest UHD displays are also pre-equipped with 4K facilities. Netflix’s Reed Hastings summed up his view of this new world: “We are devoting all budget and energy on higher-quality content towards 4K and future colour and frame rate enhancements,” he said.

The larger question, however, is when? Tom Morrod, senior director, consumer electronics, at IHS Electronics & Media will bring MIPTV delegates right up to date as far as 4K projections, adoption and likely broadcasting start dates. Recent data from IHS expects by 2020 “at least 140 million TV homes with at least one UHD display, and more than 50 million UHD set-top boxes installed”.

These details are likely to echo a March study by Strategy Analytics which found that 55% of Europeans want (“very” or “somewhat likely”) to buy Ultra-HD displays over the next two years. Senior analyst David Mercer says that awareness of 4K/UHD is already high and that two-thirds of higher-income groups would be willing to buy into UHD. “This is an important finding in itself, given that there seem to be many observers doubting

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the need for Ultra HD or indeed the future importance of the big screen in the home in general,” Mercer says.

As to probable channel launch dates, the consensus is to expect a slew of services emerging in 2016. That’s the year of the Rio Olympic Games and the UEFA soccer championships — and it being a classic ‘quadrennial’ year (when TV sales are always buoyant) — is likely to springboard a number of channel surprises. By next year UHD’s complex technical standards will be resolved allowing display manufacturers to move forward with high-end products and much lower prices, and thus enabling the mass-adoption cycle to begin.

Meanwhile, producers need to be ready. Joe Nakata, senior producer at Sony’s Visual Entertainment Project Office, says simply: “MIPTV is an excellent opportunity to showcase leading 4K content producers and to share these activities with the content and production community. I encourage all MIP delegates to see with their own eyes the various spectacular 4K screenings at the Sony 4K Theatre, made possible through Sony’s 4K SXRD Home Theatre Projector and well as Sony’s UHD displays.”

Japan’s NHK is already tapping into the technology, shooting flagship programmes with international appeal, such its spectacular Human Life: Our Amazing Cells, as well as footage from a recent shoot on Australia’s Great Barrier Reef. NHK is presenting at two MIPTV screening sessions, and are promising some compelling surprises.

Same with a consortium of other Japanese broadcasters, each part of Japan’s NexTV Forum, who are actively taking part at MIPTV with spectacular footage — and explaining their plans for getting channels on air.

Rome-based DBW Communication will be showcasing its 4K work in covering soccer, and its latest aerial drone, which inexpensively can take viewers beyond the restraints of a SpiderCam. St. Thomas Productions also promises some astonishing footage from a number of active 4K shoots.

Ultra-HD is just around the corner, and MIPTV’s experts are set to give delegates the best technical advice available in all genres.

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