Miptv 2014 news 2 by MIPMarkets

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DAY

Tuesday 8 April 2014

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KIM CATTRALL

www.miptv.com

Yesterday, actor and co-executive producer Kim Cattrall introduced her new series Sensitive Skin during a Fireside Chat

MAURICE LEVY

Today, Publicis Groupe CEO Maurice Levy gives Media Mastermind Keynote, The Future Of Content Is Digital, at 16.30 in the Grand Auditorium

YOUTUBE

YouTube was awarded the Pioneer Prize at the Emmys Awards last night. Alex Carloss accepted the Prize on behalf of the company

TANDEM

Today, Rola Bauer and Olivier Courson give Media Mastermind Keynote, Studiocanal/Tandem: European Sensibility - Global Appeal, in the Grand Auditorium

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FROM EXECUTIVE PRODUCERS

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10 x 1 hour | Factual |

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A CNN, PLAYTONE AND HERZOG & COMPANY PRODUCTION FOR CNN (USA).

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SVT Sales

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ECMO - The Final Chance - A medical clinic working miracles

Avicii on Tour

- Super star DJ in a close-up portrait

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- Are the pollinators vanishing?

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Miss Friman’s War - Strong women in a man’s world

The Molanders

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- A family in crisis forced to reinvent

- Multi-awarded drama about young love in the 80’s

FREE GIFT The first 50 visitors to show this ad at SVT’s stand R7.D19 will receive a free CD with the beautiful soundtrack to our drama series The Molanders.

miptv

CONTENTS IN PICTURES 10 MIPTV Opening Night Party

TODAY’S HIGHLIGHTS Media Mastermind Keynote Series >> Be inspired by the leaders in entertainment.

Tuesday 8 April

NEWS 14 Market news including stars, deals and conferences

Alex Carloss Global Head of Entertainment YouTube

Deb Roy Chief Media Scientist Twitter

Maurice Levy Chairman and Chief Executive Officer Publicis Groupe

Olivier Courson Chairman & CEO STUDIOCANAL

+ hedule

Rola Bauer President / Partner Tandem Communication

rence Confe me program P68–71

AT THE inauguration of MIPTV: the CSA’s Olivier Schrameck (left), Efren Garcia Garcia of the Mexican Embassy in Paris, Reed MIDEM’s Paul Zilk, Mayor of Cannes David Lisnard, ProMexico’s Alejandro Delgado, the CNC’s Frederique Bredin, Reed MIDEM’s Jerome Delhaye and Laurine Garaude

FEATURES 77 Kids still love ‘toons’ 81 A world of entertainment 89 Video on demand: making it pay

MAKE A NOTE IN YOUR DIARY MIPTV 13–16 April 2015 miptv neWs 2 ®

The official MIPTV daily newspaper Tuesday 8 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-ordinator 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. Printed on FSC certified paper

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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

AND

CHARLES

DANCE

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IN PICTURES

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Following the MIPTV World Premiere TV Screening of Starz’ crime series Power, stars walked the red carpet into the MIPTV Opening Night Party at the Martinez hotel

Maggie Gyllenhaal, star of BBC Worldwide’s The Honourable Woman

Omari Hardwick, star of Power, the MIPTV World Premiere TV Screening

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IN PICTURES

Singer China Moses, presenter of the MIPTV World Premiere TV Screening

Ray Wise, star of Chipotle’s Farmed And Dangerous

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Curtis ‘50 Cent’ Jackson, star and executive producer of Power

Kim Cattrall, star and co-executive producer of Sensitive Skin

Bruce Paisner (far right), president and CEO of the International Academy of Television Arts and Sciences, presented medals and certificates to the 2014 International Digital Emmy Awards nominees yesterday. This year’s shortlist includes nominees from 10 countries

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miptv

NEWS

Sharpest Digital Minds seek to bridge creative-cruncher divide

NHK’s Hiromichi Iwasaki

NHK READIES FOR 8K SHOOT AT OLYMPICS HIROMICHI Iwasaki, executive producer of natural history at NHK, discussed the Japanese public broadcaster’s mission to be the pioneer of mass-market 8K TV broadcast at the UHD Factual Content Creators panel. Though not yet available for the mass market, 8K-resolution broadcast pictures are considered the epitome of crystal-clear TV. The technology is successor to the 4K system (Ultra-HD), which is four times the definition of today’s HD, but which has still has not gone mainstream. But in 2016 NHK will test 8K transmission in preparation for the Tokyo 2020 summer Olympic Games. “NHK sees 4K production as a stepping stone towards 8K,” Iwasaki said. He screened Great Barrier Reef during the session, showing extraordinary sea life in great detail. The film was also made to learn how to use 4K cameras underwater, he said. Cosetta Lagani, head of Sky Italia’s 3D network, showed 4K/3D hybrid footage from The Vatican Museums in 4K. That film made history last year for being the first time a production team had been given access to the rare art treasures in the Vatican. Lagani said 4K productions would cost about 15% more than HD ones and added that Sky Italia is examining the possibility of shooting all its high-end documentaries in 4K/3D.

HE DIGITAL Minds Summit yesterday at the Carlton, a closeddoor educational and executive t h i n k-t a n k, gat hered toget her some of the sharpest minds in the media industries. The summit looked at how to create actionable intelligence with data, with speakers Scott Burton of Unruly Media and Eric Scherer of France Televisions. The session was chaired by Altimeter Group analyst Susan Etlinger. “There were several important conclusions from today’s session,” Etlinger said. “It became increasingly clear that we in the US tend to focus a lot on game mechanics. By that I mean who is winning, who is losing, and who just acquired who. But what needs to be taken into consideration are the real human issues, like how to build a company to make the most out of data, while respecting privacy and not losing the trust of the public.” The solution lies, Etlinger said, in more communication between departments. “Ultimately, creatives need to learn more about the kinds of data available, and data

crunchers need to learn more about understanding data in context. There needs to be more interplay between the creative and quantitative sides of the business.”

TVTY’s synchronicity wins Startup THE STARTUP Competition at MIPCube, now in its fourth year, featured five finalists chosen out of 70 entries from 20 countries. “The variety of ideas and the number of countries that submitted them means that this is a truly global competition,” moderator Caroline Pandraud, project director at Fabernovel, said. “The five finalists were selected on the basis of the relevance of the ideas, as well as the quality of the business model and the strength of the underlying technology,” she added.

TVTY CEO Elliott Reilhac, winner of the fourth MIPCube Startup Competition

Each startup only has five minutes to pitch their ideas, with the value proposition a central aspect for the five judges, who had a further five minutes to ask questions after each presentation. This year, the event was won by French company TVTY, a specialist in providing real-time data for online advertising. The TVTY product synchronises online campaigns with TV adverts, and its client list includes McDonald’s, Microsoft and Nespresso.

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miptv

NEWS

Cattrall faces up to the funny side of ageing in Sensitive Skin Hubu Media Group’s Hu Miao (left), Off the Fence’s Gerbrig Blanksma and Hubu Media Group’s Vivian Xu

HUBU MAKES OFF THE FENCE LICENSE DEAL HUBU Media Group, one of China’s largest independent programme buyers, has signed a multiple licensing deal at MIPTV with integrated content company Off the Fence to bring 25 hours of factual programming to China. “I am very happy to sign this deal with Off the Fence,” Vivian Xu, cofounder, Hubu Media Group, said. “I appreciate their team and support over the past year. We are learning a lot from them and continue to be impressed by their professionalism.” The deal covers a range of titles from Off the Fence’s catalogue, including Gift Of The Rains (13 x 30 mins), exploring the rivers of Africa; The Whole Story (13 x 60 mins), a series using the latest scientific knowledge to give an alternative guide to Africa’s diverse wildlife; Icy Killers (1 x 60 mins), a Cine Golden Eagle award-winning documentary on Alaska’s salmon sharks; and Vampire Skeletons (1 x 60 mins), a film unearthing disturbing truths behind the European legend of the vampire. Off the Fence’s Gerbrig Blanksma added: “This deal is an event which is so much about global partnerships and co-operation. It is vital to have thorough and dedicated partners in China and we are very happy that Hubu Media Group has extended our reach into the Chinese television market.”

“T

HIS IS the journey of a woman starting to see the effects of gravity,” said Kim Cattrall of her new show. “And it’s scary.” Cattrall is speaking of Sensitive Skin (6 x 30 mins), the black comedy in which she stars and which she co-executive produced, and which is here with Tricon Films & Television. Adapted from the 2005 British series of the same name, the show tackles mid-life crisis, often from a woman’s point of view, and in the context of a relationship. Cattrall plays Davina, a Toronto woman seeking to refresh her marriage and asking herself some big questions along the way. “I was drawn to the intelligence and the humour of it,” said Cattrall. “It reminded me of Sex And The City, because, after AIDS, sex was a scary thing to speak about and we were there doing it with humour. In a way this does the same thing for ageing.” This is not just a show for women, she said. “The men in the show are important, and they’re addressing this issue in their own way as well. I think it’s a human story.”

Star and co-executive producer of Sensitive Skin Kim Cattrall

Even after her recent stage experiences — which include Moliere, Shakespeare and Tennessee Williams — Cattrall admits to finding the role a challenge. “I’m known for playing women who know what they want and how to get it,” she said. “But to play someone who’s

in a crisis and is not aware of it, that’s a very different area of investigation for me. And that’s why I’m so proud of the end-product.” Sensitive Skin is produced by Rhombus Media, Baby Cow Productions, Bell Media’s The Movie Network and Movie Central.

Networking with top Chinese talent A HOST of Chinese producers, distributors and broadcast industry leaders are in Cannes to promote the opportunities in their domestic market and meet buyers. The delegation is in town as part of the China Beijing Pavilion, which is hosting a networking event at 17.00 this evening at the MIPFormats Lounge, to bring Chinese broadcasters together with the international market. The event will be addressed by Ding Baizhi, deputy director general of the Beijing Municipal Bureau of Radio and Televi-

sion. Speaking to MIPTV News, Baizhi said: “This year’s pavilion attendees will be composed of some of China’s best producers, as well as a number of distributors, in both the drama and factual fields. “Through the attendance of the pavilion and its activities this year we aim to promote a better understanding of Chinese culture and the role that China’s film and TV companies can have in helping to promote this vision around the world.” Companies attending the net-

working event include Beijing International Advertising and Communication Group, HaiRun Movies and TV, Beijing Jingdu Century Culture Development, Beijing Zhongbei TV Art Centre, Propeller TV, Rare Media, Beijing Thought Dance Media Technology, Cathay Media Group, United Dragons Investment, Beijing Continental Bridge TV and Film, Global Raytur, Public Communication and Capital Radio and TV Program Producers’ Association.

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GLOBAL SCREEN PRESENTS

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VISIT US AT MIPTV 2014 Booth: P-1.K1, Hall: Palais -1 | info@globalscreen.de | www.globalscreen.de

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NEWS

Tales from two masters of the co-production universe

Rob Molloy (left), Diana Buddingh and George Levendis

GOT TALENT GETS PRIZE THE BLOCKBUSTER Got Talent format is officially a record breaker. With commissions in 58 territories it is now the Most Successful Reality Format according to Guinness World Records, having taken the title from another shiny-floor Saturday night favourite, the Dancing With The Stars franchise. Rob Molloy, Guinness World Records’ director of global TV content and sales, presented FremantleMedia, which distributes the show, and Syco Entertainment, which is an associate producer, with the certificate at MIPTV yesterday. “It is the most resilient format,” George Levendis, head of international at Syco said. “We’ve seen it go into markets, go out of markets, go back into markets. It has that unique appeal.” He pinned the show’s success on its unique, simple execution and ability to incorporate diverse national characters. “This format is a celebration of all the fabrics of your society, and it does it in a very positive way, with great humour,” he said. Diana Buddingh, FremantleMedia’s director of global entertainment production added: “It’s popping up where you least expect. It appeals to such a broad audience, there’s always something you like.” The pair reported increasing interest in Africa, outside the big territories of South Africa, Nigeria and Ghana where it already exists.

IPTV’s first Media Mastermind keynote of 2014 was a fireside chat between Starz CEO Chris Albrecht and his long-time business associate Playground CEO Colin Callender. Speaking to a packed audience in the Grand Auditorium, the industry veterans swapped war stories about how difficult it is to make international drama co-productions work. For Albrecht, whose recent projects at Starz have included Black Sails, The White Queen, The Missing and Power, successful

Playground’s Colin Callender (left) and Starz’ Chris Albrecht talk co-production

projects usually have “a central vision agreed on at the outset, trust between partners and a producer you can rely on.” He added: “They need time to get right, be-

Cecile Bois, star of French drama Candice Renoir, came to Cannes with Newen Distribution to promote the series in which she plays a police officer and mother

cause there are so many stages of the process where there is potential for disagreement.” Which is where experienced executives like Callender come in. Occupying a role that is broadly analogous to an executive producer, his job is to manage expectations and anticipate problems before they happen. “Even when partners think they have a shared vision, issues can emerge during the production process,” he said. “Casting can be a provocative issue, of course, but even something as simple as whether you start each episode with an action or character moment can lead to a difference of opinion. Then there’s the issue of how you edit the drama so it fits the commercial breaks in each market.”

Titus tackles crime fiction icon LUCKILY, Titus Welliver is good under pressure. With some 55 million fans of Michael Connelly’s Bosch crime novels likely to be watching — and judging — his every on-screen move, he needs to be. “It is daunting any time you’re going to play an iconic character from literature, because people have very strong imagery in their minds,” said the lead actor of Red Arrow Entertainment’s original series Bosch, speaking before yesterday’s Media Mastermind Keynote. “But we’ve remained very true to the books. In the end,

I had to just jump in and make Harry Bosch my own.” It also helps that Welliver, who joined Red Arrow chief Jan Frouman on the MIPTV conference stage alongside Michael Connelly and Bosch executive producer Henrik Bastin, is himself a Harry Bosch fan: “He’s my favourite

character I’ve ever played. Very often, these characters are very one-dimensional, but Harry Bosch is deeply nuanced. He’s the quintessential anti-hero. He’s flawed, but he has a very strong moral compass. And I really like the way he tries to right the wrongs for the victims.” Red Arrow Entertainment Group’s Jan Frouman

Titus Welliver

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FROM EXECUTIVE PRODUCER

Reed MIDEM Daily News Ad_3.indd 2

CURTIS “50 CENT” JACKSON

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

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miptv

NEWS MADE IN FRANCE SCORES BIG ON CANAL + THE BIG idea behind new documentary Made In France, produced by Camera Subjective and aired on Canal + in March, was inspired by the political debate during the 2012 presidential election, when Arnaud Montebourg, the Socialist minister for industrial renewal, called for the public to buy French to save the country’s industrial production sector. A Parisian journalist, Benjamin Carle, decided to answer this “political injunction” by conducting an experiment for one year in which he would only allow himself to use and consume products made in France. Out went anything foreign-made including the fridge, most of his wardrobe and his British-made bicycle, leaving Carle, 25, with an old table, a chair and a second-hand wardrobe — and Loon his cat. The documentary was a hit in France, with the best ratings for a primetime documentary on Canal + in 10 years. Camera Subjective’s Alexandre Amiel described it as “a universal idea”. “In all the other countries politics is the same — so, if you want to help jobs in your country you have to consume your country’s products. We think that this documentary works as a format for similar stories around the world as it tackles issues of globalisation,” he said.

Fargo as good as anything on TV now, Ottinger says

GM PRESIDENT, international TV distribution and acquisitions Chris Ottinger is in Cannes this week to present new 10-part series Fargo to buyers. The show is loosely based on the classic Coen Brothers movie of the same name and is expected to air later this year on cable network FX. Speaking to MIPTV News, Ottinger said: “We have the first four or five episodes and it looks as good as anything on TV right now. I think it’s really going to build as a franchise so I’d advise buyers to strike now before the price goes up. We’ve already done deals with Channel 4 UK, Netflix Netherlands and Soho New Zealand.” The show doesn’t include any of the same characters as the film but will have the same “Minnesota Nice” feel as the original. “It also has the Coen Brothers

involved in a meaningful, handson way,” Ottinger said. “So the quality is, as you’d expect, high.” Ottinger said that MIPTV is proving to be a good market “for US cable shows that have been launched in the previous Winter. With Fargo, we did an initial burst of marketing in February, which is what we did with Vikings last year. That set us up for our MIP activity.” In addition to Fargo, MGM has a strong slate of films to present, including Hercules and Robocop: “What we really like is franchises because they can do a great job for buyers. The real value for us comes with movies that have sequels or which have the potential to be transformed into TV series. We’ve had a lot of success with the Bond franchise and have The Hobbit 3 coming soon. There’s also our sequel to Hot Tub Time Machine.”

MGM’s Chris Ottinger

Fuji finds partners on new TV format

Satishi Akutsu (left) of Taiyo Kikaku, Phil Gurin of The Gurin Company with Fuji TV’s So Fujinuma and Fumi Nishibashi

FUJI TV has entered into a codevelopment partnership with The Gurin Company, an independent producer of non-scripted television in the US, and Taiyo

Kikaku Co, one of the largest producers of TV commercials in Japan, on the new television format, Whose Side Are You On? The project will combine the collec-

tive expertise of the three partners, in content development and production, in both the US and Japan, in order to develop the TV format for audiences around the world.

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FORMATS

Celebrating 25 years

25 years on the box. New kid on the couch. Already a winner at the RTS, TRIC, C21 FRAPA, and Broadcast Awards

Congratulations to Lingo / Motus for 25 on-screen years of word play Welcome to the new-screen phenomenon that is Gogglebox

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ZDF Enterprises off to a great start of MIPTV with a crowded «Sundowner» Always a not-to-be missed event on the Croisette is ZDF Enterprises’ Sundowner, in which its President and CEO, Alexander Coridass, and COO Fred Burcksen, welcomed almost 400 guests with a preview of some of the firm’s MIPTV highlights. Leaping off the screen were the animated RUSTY KNIGHT and some fearsome creatures from NATURE NOW! Another stand-out hit is the rejuvenated quiz format DALLI DALLI - good-natured fun for all. And since the ZDF Enterprises line-up just doesn’t feel right without a new Scandinavian series, the Sundowner guests got a first look at THICKER THAN WATER, Sweden’s latest TV-drama-hit and brand new addition to the distributor’s catalogue.

ZDF Enterprises’ President and CEO Alexander Coridass (left) and Executive VP and COO Fred Burcksen (right) with Danish Miso Film’s Peter Bose and Jonas Allen.

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Tasja Abel, ZDF Enterprises’ VP ZDFE.drama (second from left), with KLB’s President Karen Levy Bencheton and TF1 Video’s Rachel Siegenthaler and Delphine Bazot.

Sebastian Debertin (Head of Fiction, Acquisitions and Co-productions, KI.KA), Bill Sondheim (President of Cinedigm’s Entertainment Group) and Neil Court (Advisor Brown Bag Films).

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Stefanie Ebert (Producer, Doorfilm), Ralf Rueckauer (ZDF Enterprises’ VP ZDFE.factual), Margarita Garcia (Executive ZDFE.factual) and Daniel Petry (Producer, timtam media).

Oliver Grundel (ZDF Enterprises’ Director ZDFE.junior, right) with Watchever’s Anne-Carole Nourisson (Chief Content Officer), Moritz Hirchenhain (Licensing Manager) and Philip Pratt (Head of Content).

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Sylvia Brucker (ZDF Enterprises’ VP ZDFE.entertainment, right) with Simone Emmelius (Head of ZDFneo), Christoph Stoll (Editor Entertainment Department, ZDF), Uwe Cornelissen (Creative Producer, UME) and Thorsten Haas (Strategic Development and Entertainment, ZDF).

Jan-Frederik Maul (ZDF Enterprises’ Manager ZDFE.junior, right) with Klaus Forch (Executive Vice President Legal & Sales, Your Family Entertainment), Nicole Keeb (Head of International Coproductions and Acquisitions Children and Youth, ZDF) and Vicky Schroderus (Acquisitions Executive, YLE).

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Nikolas Huelbusch (ZDF Enterprises’ Director ZDFE.factual) with Andreas Gutzeit (Chief Creative Officer, Story House Productions), Reinhardt Beetz (Executive Producer, Gebrueder Beetz Film) and Uwe Kersken (General Manager Gruppe 5 Filmproduktion).

Sebastian Krekeler (ZDF Enterprises’ Director ZDFE.drama, second from left) with Britta Meyermann (Head of International Coproductions, Odeon Film), Stefanie Fischer (Sales Manager, ProSiebenSat.1 TV), ZDF‘s Claus Wunn (Editor Series ZDFneo) and Gregor Hassemer (Editor Program Planning, ZDF).

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Arne Lohmann (ZDF Enterprises’ VP ZDFE.junior) with Ralf Gabor (Director Business Development and Distribution, Turner Broadcasting) and Fred Burcksen (Executive VP and COO of ZDF Enterprises).

Tim Werner (Mainstream Networks’ COO), Sylvia Brucker (ZDF Enterprises’ VP ZDFE.entertainment) and Norbert Blecha (CEO/Producer, Terra Filmgroup).

miptv

NEWS ISRAEL’S POWER COUPLE MOVES TO PORTUGAL ISRAEL’s Dori Media Group (DMG) has sold its reality format, Power Couple, to SIC in Portugal. The new version will be produced by FremantleMedia Portugal. Power Couple is an Israeli format in which eight couples face extreme challenges that test how well they really know each other. The format has already proved to be a huge hit in its domestic market, where it is now Channel 10’s leading show in the 35-44 demographic. Dori’s CEO and president, Nadav Palti, said: “The format was only launched in Israel in February and has already established itself as a proven hit. We are attracting interest from other international networks and are confident that Power Couple will replicate the international success of other recent DMG formats, such as Smart Face and New York.” Palti said Dori is in advanced talks to sell the show to networks from the US, France, Netherlands, Italy and Spain.

OCTAPIXX NETS SPORTFISHING Canadian Sportfishing (Octapixx Worldwide)

NHK offers known Unknowns to test out international tastes NHK’s Junko Ogawa

UNKO Ogawa, head of NHK’s content marketing division, has a crucial role. It is her department’s job to liaise between NHK’s domestic production business and its international sales arm, NHK Enterprises (NEP). “There is more pressure these days for Japanese content to be deployed internationally. So my department works with both divisions to make sure we are meeting the needs of the domestic and international audience.” A simple example of this would be checking domestic shows to see if there are any rights conflicts that might prevent a show from being exported: “A producer might have used music in a show that can’t be cleared internationally. So we would ask them to use other music instead.” Another part of Ogawa’s role is to feedback market intelligence to NHK’s domestic pro-

ducers on trends and tastes. “One interesting development for us was the launch of a pitching session where we invited producers from abroad to come to Japan to listen to ideas. That resulted in the production of some shows, including a documentary, Sumo Spirit.” As part of NHK, Ogawa’s division cannot sell content (that is NEP’s job). But it does have a role to play in identifying potential areas of opportunity. Right now, she sees three. “One is shows that focus on the essence of Japanese taste. An example would be Cook The Unknown, a format that uses food as a way to explore Japanese culture. Another is 4K. We have projects like The Great Barrier Reef, Human Life: Our Amazing Cells and Sakura Housara, which are our attempt to find out what level of demand there is for 4K. “And finally, we have put more emphasis on human-interest documentaries. This is a new direction for us after a couple of years where we focused mainly on productions related to the tsunami.” On top of all this, Ogawa’s division also has a role to play in shaping NHK’s acquisition policy. “We are looking at our options in terms of drama. Historically, we have always focused on US and Korean drama, but we are looking at alternatives such as Turkish drama.”

Russia engineers technical solutions

OCTAPIXX Worldwide has signed a MIPTV deal with CS Productions, the leading Canadian producer of outdoor and nature programming, for Canadian Sportfishing, the longest-running television series on The Sport Network. The deal also includes Lumberjacks, a reality TV series which documents the world of lumberjack competitions.

IN A MEDIA world relying increasingly on IT, Russia has a lot to offer, according to Alexander Shulgin, founder of the Russian Innovation Pavilion. “If I want good wine, I come to France. If I want coders, engineers or technicians, I go to Russia,” he said. Innovation is, he said, boosting Russian participation across the media. “I’ve talked to a lot of media companies looking for innovative technical solutions. The idea for the Innovation Pavilion came from that — bringing startups and offering our technology to the global media industry.” Shulgin is a veteran of MIDEM and the MIPTV markets. At his first MIPTV, there was only one Russian company in the whole show; now, he is hosting eight at the Pavilion, which is at MIPCube for the first time. One company is CDN Video. “We have a platform in place to make sure people enjoy the best possible quality viewing on any device,” said Ilya Ustinov, director of global sales. CDN Video streamed the Sochi Winter Olympics for Rossiya TV, handling 300,000 simulta-

neous users and operating at 200 gigabits a second. It is opening an office in Singapore, to add to its US and European presence — the idea is its network will spread into India and eventually to Myanmar. Also at the Pavilion is Sverdlovsk Film Studio. After 70 years in film production it is now also moving into digital creation. “The main direction for us is Asia,” said CEO Mikhail Churbanov. “But viewers can be anywhere, and we also want to connect with brands.”

Ilya Ustinov, Alexander Shulgin and Mikhail Churbanov

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NEWS SHINE SECURES SALES FLURRY SHINE International announces a raft of sales this MIPTV for key titles The School (UK title Educating Yorkshire) and comedy entertainment format, Anything Goes. The company also launches 300 hours of new factual content. Nominated for two BAFTA television awards on Monday, Educating Yorkshire is the second acclaimed documentary series produced by the UK’s Twofour. The fly-onthe-wall programme follows English teacher Matthew Burton’s inspiring success with disadvantaged students and has been sold to New Zealand (TVNZ), Poland (TVN), Sweden (SVT), Belgium (VMMA), Denmark (TV2) and Australia (ABC). These deals follow an initial format deal with BNN (Netherlands), airing as De School. With Channel 4 commissions for the third and fourth series, Twofour’s head of documentary, David Clews, said the programme opens up “a world of opportunity for students”. Matthew Burton and David Clews held an exclusive master class at MIPTV on Monday. New format deals at MIPTV for Anything Goes, from France’s Satisfaction, makes 20 territories in 20 months since the launch. New deals include Netherlands (Talpa), Thailand (Kanatana Group), Norway (TV2), Turkey (ATV) and Mexico (Televisa). Previous local versions include Brazil (Globo), Ukraine (1+1), Spain (Antena 3), Portugal (SIC) and Denmark (TV2). A US adaptation, titled Riot, produced by Shine America and Steve Carell’s Carousel Productions, launches on Fox in May.

Drama uncovers spies of the war of independence

SPY thriller set in the American Revolutionary War is being showcased at MIPTV following its US debut and sales to multiple international broadcasters. The show, Turn, follows the fictional lives of America’s first spy ring as they play a dangerous and underhand game of deception behind enemy lines in Britishoccupied Long Island. Buyers are being invited to meet key members of the cast and its producer, who are all in Cannes to help promote the show and explain the vision behind its production. Executive producer Craig Silverstein said: “This was a really rare and exciting opportunity for everybody involved, not just the writers. It gave everyone a chance to do things they never get to do. All the departments were so enthusiastic.” Produced by AMC Studios and distributed by Entertainment One, Turn premiered on AMC in the US this week, and has already been sold to French broadcaster

Actors Seth Numrich (left), and Heather Lind with Turn’s executive producer Craig Silverstein

OCS and was licensed to C More for broadcast throughout Scandinavia. Heather Lind, who plays Anna Strong in the drama, said: “The really beautiful thing about this show is that the history of the era is crucial to it but the real

story is the brave people in it.” Entertainment One is in town to showcase a range of titles produced by AMC and Sundance TV, including Sundance’s The Red Road and AMC’s zombie drama The Walking Dead.

PC drama set to click with Canal+

DRAMA charting the early days of the personal computer revolution and the commercial battles that plagued it is being showcased at MIPTV. The show, Halt And Catch Fire, follows an eccentric group of upstart engineers who are making up the rules in a ruthlessly competitive world where technology and business collide. Kerry Bishe, who plays the wife of a famous computer engineer, is in Cannes to help unveil it to the market. Produced by AMC Studios and set predominantly in the 1980s, Halt And Catch Fire is due to

Kerry Bishe, who plays the wife of a computer engineer in Halt And Catch Fire

make its US debut in June and has also been sold by distributor Entertainment One to France’s Canal+. Bishe, told MIPTV News: “This is one of the most challenging roles I’ve ever taken on. I have never played such a complete character with so many sides to her. These people believed they were changing the world. They had really egalitarian, progressive ideas, and they all believed that personal computers were going to be mechanisms for good.” Entertainment One is keen to talk to international buyers about opportunities for further rollouts of the show.

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NEWS Brands learn value of keeping it real

UTHENTICITY and minimal branding on video content were the two standout messages from the Factual Meets The Brands MIPDoc session. Alana Hutton-Shaw of HareMeetsTortoise Productions presented her company’s work for Nokia Music. Its mobile music service was up against fierce competition and had to create a brand and consumer proposition to distinguish itself from Apple’s iTunes. New American Noise was a series of films, made in collaboration with Sundance Channel, exploring the unique music scene in different US cities, using knowledgeable local directors. The website was very minimally branded and, Hutton-Shaw said, the client gave the filmmakers creative freedom. “Nokia were really hands-off,” she said. “They were aware that if it was too branded it wouldn’t be authentic for their audience. They were

more worried about the metrics, the conversions.” Jonny Watson of Mystery Dice, meanwhile, made a series of TV idents for UK motor and bike superstore Halfords, also available as a 15-minute online film. Tour de Francis sent an everyday cyclist, a member of the public called Dan Francis, to ride four stages of the Tour de France on a Halfords bicycle. “It’s a value exchange,” he said. “If you want people to spend time with your brand, you have to give them something — either something useful or entertainment, as in our case.” The series built credibility. “The films showed Halfords understood why cyclists do what they do,” he added. Watson warned that without a TV presence any online film would need a seeding budget to succeed, while Hutton-Shaw said it was key for editorial success to focus on the right people. “We didn’t care about anybody who wasn’t the target audience,” she said.

RENOWNED Mexican director and screenwriter Juan Carlos

Rulfo introduced a selection of new Mexican documentaries in Sunday’s Snack & Screen at MIPDoc. The event was sponsored by ProMexico, who then treated delegates to an informal lunch at the Martinez hotel.

And the winners were... NATIONAL Geographic Channel’s Cosmos: A Spacetime Odyssey was the most requested title at MIPDoc this year. Unsurprisingly, in the year of the 100th anniversary of the outbreak of World War One, war docs were also popular with Warsaw 1935 3D (Newborn) and 14 - Diaries Of The Great War (Looks Distribution) coming second and third. At MIPFormats, the mostrequested programme was game-show for mat A re You For Real? from Israeli producer Gil ProducAlana Hutton-Shaw and Jonny Watson

tions. Gil did the double this year, as another of its shows — While You Were Getting Married — came in sixth. Some 1,535 delegates attended MIPDoc and MIPFormats this year, screening a total of 22,720 factual programmes and 1,674 formats. Zombie Bootcamp from Sydney-based production company The Feds won the 2014 MIPFormats International Pitch competition, scooping up to $25,000 from Warner Bros. International Television Production.

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NEWS WELLING GIVES XTRA PAUL Welling, head of channels for Discovery Networks, Central & Eastern Europe, Middle East and Africa (CEEMEA), answered questions at a MIPDoc panel about the launch of ID Xtra, the new female-skewing mystery and suspense channel from Discovery Networks CEEMA. He was joined onstage by Jerry Springer whose new show Tabloid premieres on the channel this month.

Discovery Networks’ Paul Welling

INSIDE TRACK CHRIS Long at the world premiere of A Tale Of Two Thieves, his new documentary about the inside story of the Great Train Robbery of 1963. The film centres around train robber Gordon Goody who reveals the identity of the mysterious ‘Ulsterman’. This is the criminal mastermind alleged to have planned the robbery… and then disappeared without a trace. Long is the executive producer of The Mentalist. This new film was produced by Kowalski TV and Scalie Filmworks, and is distributed by Balanga (France).

Chris Long, director of A Tale Of Two Thieves

A+E celebrates birthday with new launches, expansion plans

S A+E Networks marks its 30th birthday, managing director EMEA Dean Possenniskie says the group is in rude health and ready to take on new challenges. “In my four years at A+E, we’ve been focusing on international markets to drive growth,” said Possenniskie. A+E’s recent takeover of the joint venture channels it runs in Italy and Asia is part of its plan to wholly-own its assets, and launch more channels fast. It’s not a strategy for the UK market, he says. But in many of the European and Asian markets, “where the option arises to take ownership, we will.” The line-up of channels is also changing. In July, the US channel Bio will be rebranded as the younger, savvier and more social FYI. And 2013 saw the launch of A&E and Crime + Investigation in France, Lifetime and H2 in the UK, and Crime + Investigation in Italy. Possenniskie plans another European launch this year. “There’s room for more channels and we aim to have between three and six in each market.” Original content is key to the group’s success, with a pipeline producing 1,200-1,500 hours of new content a year. The majority comes

A+E’s managing director EMEA, Dean Possenniskie

from the US, and some from Europe, with History Channel’s scripted history series such as Vikings (with MGM Studios), Houdini (with Lionsgate) and the forthcoming Sons Of Liberty (A+E Studios) making waves. “In future, we’re looking at ways to do these out of A+E Studios so we wholly own them.” The big character-led formats such as Duck Dynasty, Storage Wars and Pawn Stars continue to have global appeal, both as finished programmes and local versions. Local producers are making a big contribution to World Wars, A+E’s landmark series marking the anniversary of World War One. Originated in the US, it draws on content — and funding — from the international History Channels so it ‘feels local’ in all territories.

Vimeo proves audience is key “VIMEO is the Bloomingdales of VOD to YouTube’s Walmart,” said Sam Toles, Vimeo’s newly-appointed vice-president, content acquisitions in Sunday’s session, VOD For Success. “We have the best-inindustry VOD player. We had 168 million unique visitors in January alone. And while YouTube has 100 million free plays to 10,000 purchases on Vimeo, the revenue share works out the same: $55,000 for their producers and $54,000 for ours,” said Toles whose role is to help producers maximise their audience by customising and marketing their Vimeo sites. And he has $10 million-worth of marketing help to give those who have raised $10,000 through crowdfunding. “A successful crowdfunding campaign for a project demonstrates that it already has a committed audience, and these are the ones we can help,” said Toles, pointing to the success of niche content such as action sports. “In the digital age, the key

question is not who is the channel, the retailer, or the distributor, but who is the audience,” said Toles. “It’s about creating islands of fandom for your content, not a long tail. And the stats show you can make the money on Vimeo with a fraction of the audience you need on YouTube.” Toles is not telling producers to dump distributors and close their YouTube channels. “But don’t give up control to a distributor either. Work with them. Build your value chain so you start with Vimeo and can extract the maximum value before you go to free platforms.”

Vimeo’s Sam Toles talking at the VOD For Success session

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NEWS

Piro co-founders building a bridge between branded and mainstream

“I Andrew Eborn

NEW RECRUIT TO BOOST FESTIVAL’S GLOBAL AMBITIONS THE MONTREUX Comedy Festival celebrates its 25th anniversary this year and has appointed Andrew Eborn, president of Octopus TV/ Media, as international chairman to assist with global development. The Festival has also entered into a long-term agreement with Octopus, a cloud-based video management and delivery company, to help with worldwide development. Gregoire Furrer, CEO and founder of the Montreux Comedy Festival, said: “After 25 years of producing a festival which is the largest comedy event in the French-speaking territories, I predict Montreux Comedy will become one of the biggest brands in comedy worldwide within five years. To reach that goal we will focus on digital technology and social media so I am glad to have joined forces with Octopus TV as our technology partner.” Eborn is a former lawyer who specialised in international licensing and global rights management for several years and was actively involved with the negotiation, acquisition and international exploitation of various major licences. “I am honoured to have been asked to be chairman of the prestigious Montreux Comedy Festival,” he said. “I very much look forward to working to build on the rich 25 years of the Festival and to assist with the strategic international development,” he added.

DON’T agree with marketing passing itself off as news, but I agree with marketing passing itself off as entertainment,” said Tim Piper, founding partner at international brand-entertainment production firm Piro at the MIP Digital Fronts event at Cannes. And although content marketing has been branded as sometimes distorting the difference between creative editorial and commercial messages, Piper reminds us that the distinction has historically never been clear-cut. “The best TV ads have always entertained audiences and the (series) World’s Greatest Commercials has historically rated well as a TV programme.” Piper and Piro’s co-founding partner Daniel Rosenberg are at Digital Fronts to buy and sell content, as well as present Farmed And Dangerous, the much-praised original online series funded by US fast-food chain

Tim Piper

Daniel Rosenberg

Chipotle Mexican Grill. It aired on Hulu, the over-the-top streaming platform, in the US earlier this year. “It’s important that audiences are able to distinguish between what is directly commercially financed and what is editorial. However, let’s keep in mind almost all entertainment is designed to be brandfriendly,” Rosenberg added. Piper and Rosenberg join Mark Crumpacker, Chipotle’s chief marketing and development officer, during a Digital Fronts debate panel called Farmed And Dangerous by Chipotle & Piro tomorrow.

The two see MIPTV’s new marketplace as an ideal opportunity to sell content, including Farmed And Dangerous, in other ancillary markets and finding strategic partners to produce more episodes. “We hope to demonstrate that branded entertainment can be as good as mainstream entertainment,” Rosenberg said. “The monetisation is a bit immature for businesses to be able to focus solely on video, but it is showing clear and exponential growth as advertisers allocate more media toward digital video and content.”

THE HONOURABLE WOMAN

WRITER and director Hugo Blick (left) with Maggie Gyllenhaal and Andrew Buchan, stars of the new eight-part political thriller The Honourable Woman. They joined producer Greg Brenman on stage yesterday to discuss the series after a screening of the first episode, which won thunder-

ous applause from the packed auditorium. During the session Gyllenhaal told the audience that the series was “by far the best thing I have ever worked on”. Distributor BBC Worldwide announced after the screening that the series had been picked up by Canal+ in France and HBO Nordic.

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NEWS

ITV takes to the stage with Star China’s Sing My Song Zodiak Rights’ Janet Robinson (left) with Ovation’s Michelle Zajic

OVATION FOR BOYLE WITH ZODIAK DEAL OVATION, America’s only arts network, has struck three licensing deals with Zodiak Rights for US premiere rights to Susan Boyle: Her Secret Struggle (1 x 60 mins), Big Ballet (3 x 60 mins) and Show Me The Monet (10 x 60 mins). The deals highlight Ovation’s interest in arts-focused content with an “aspirational message”, featuring the ordinary person struggling against insurmountable odds to artistic success. “This is the first series of deals we have signed with Zodiak Rights and we are delighted to bring more mainstream arts-based programming to the US market,” Ovation’s vice-president, acquisitions Michelle Zajic said. Susan Boyle: Her Secret Struggle, produced by Firecracker Films for ITV1, profiles the Scottish singer’s battle to overcome private challenges during her first concert tour. Big Ballet, produced by Rare Day and a ratings hit on Channel 4 in the UK, follows two maestros as they mentor a group of plus-sized dancers to make their dreams of performing in a professional ballet production come true. Show Me The Monet, produced by Lucky Day Productions, is a competition series where three art experts pick the best in undiscovered talent for a competition where the buying public comes forward to make them an offer.

TV STUDIOS Global Entertainment (ITVS GE) has signed a global distribution deal for Star China’s hit primetime entertainment series, Sing My Song. This marks the first time that an original Chinese talent show format has been exported internationally. Sing My Song is a studio-based music contest that searches for the best original songs. Four singer-songwriters share their experience and expertise as producer-judges. Each judge is also

scouting for songs to be part of their own original music album. The series aired on China’s national TV channel CCTV-3 earlier this year, reaching 480 million viewers over the series, with a total audience share of 37% in China (CSM) and CCTV-3’s slot ratings up 59% year-on-year. Commenting on the deal, ITV Studios director of international formats Mike Beale said: “This is a great opportunity for us to build relationships with Star Media and the Chinese crea-

tive community. Countries like China, Israel and Ireland are starting to develop formats that would not necessarily break through in the UK or US because the schedules are full of established franchises.” Vivian Yin, chief representative of Star China and vice-president of Starry Production, added: “We have had a lot of success producing formats like The Voice in China. But we have accumulated so much experience that now is the right time for China to start developing its own formats. We came up with 15 different versions of this show before we were happy that we had got it right.” ITVS GE is also set to distribute major new scripted series Texas Rising, Aquarius, The Good Witch and Schitt’s Creek. “Quality, scripted programming is a key genre for us,” said Maria Kyriacou, managing director, ITV Studios Global Entertainment.

Star Media’s Vivian Yin (left) with ITVS GE’s Mike Beale and Maria Kyriacou

Salon Wars looking good for All3Media ALL3MEDIA International has confirmed the acquisition of the Salon Wars format from Studio Lambert, which is being launched this week at MIPTV. The new show, to be marketed under the English-language title of Salon Wars, has been developed by Studio Lambert, creator of Undercover Boss, with French production house Coyote. TF1 Group has acquired the French rights for the format from Coyote — and the series in France will be titled Bienvenue A L’Institut De Beaute. Salon Wars ventures into the intimate world of the beauty

industry, meeting local experts and salon owners, and setting them the task of scrutinising each other’s methods, businesses and tastes. “Everybody cares about how they look, it’s the same for men and women, and on top of that there are questions of good taste, fashion and technique, all of which are under the microscope in the series,” Laetitia Lamic, development and acquisitions director at Coyote, said. “And there’s plenty of humour. Especially in the comments the contestants make about each other, which are of course often

critical, but funny and perceptive as well.”

Coyote’s Stephanie Madubost (left) and Laetitia Lamic with All3Media’s Sabrina Duguet and Coyote’s Julien Degroote

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NEWS BETA ROLLS OUT VELVET DEALS BETA Film has kicked-off MIPTV with two major sales of new show Velvet, which has just had the green light for a second season. Italy’s RAI Uno and France’s M6 acquired the rights for the series, which is set in the 50s and 60s in a Madrid fashion house. RAI will also make its own version. Produced by Bambu Producciones, the maker of Grand Hotel, Velvet made a strong debut on Spanish broadcaster Antena 3 in March with five million viewers and a 25% market share. The company’s previous series Grand Hotel, widely referred to as the ‘Spanish Downton Abbey’, was sold by Beta to more than 60 territories, among them Germany, the UK, US and France. RAI Uno and Cattleya are currently producing a remake for Italy.

BEAST BOUGHT JAPANESE company d-rights has announced that Turner Broadcasting System Asia Pacific has bought the animation series Beast Saga (26 x 30 mins) at MIPTV for the South and Southeast Asia markets. The series will air on Turner’s superherocharged channel Toonami next year. Masataka Katagiri, head of Asia operations international division/d-rights, said: “Beast Saga was first launched in Japan in January 2013, and has proved to be a huge success. Our plan is to expand the anime property in Asia including South Korea and China during 2014 and into 2015.”

Online farm satire cultivates Chipotle’s brand awareness

ARMED And Dangerous, a branded-content series of webisodes commissioned by US fast-food brand Chipotle Mexican Grill and starring Hollywood actor Ray Wise, is a hot viral online phenomenon. Created by New York-based Piro, the series is hailed as branded entertainment that successfully finds the balance between entertaining its audience while establishing the brand’s credibility and credentials. While content marketing is said to be in danger of blurring the line between editorial and commercial, Chipotle’s Mark Crumpacker, who is debating the topic at MIPTV’s MIP Digital Fronts, said the popularity proved it had got the formula right. “We always put the entertainment value ahead of messaging priorities,” said Crumpacker, Chipotle’s chief marketing and development officer. The show debuted on Hulu, the OTT subscription-funded video-on-demand service, early this year. “We’d love to find production and distribution partners that could help allow the show go beyond these first few episodes.” Crumpacker said Chipotle had also paid for FRANCE O, a channel operated by France TV and dedicated to content from French overseas departments, has signed a deal with UK-based Scorpion TV for investigative documentary To The Bone. Scorpion TV’s Juan Solera, said that the documentary sheds light on the reality of life in Brazil ahead of the imminent Olympic Games and World Cup. “To The Bone exposes the horrific consequences of globalisation on developing nations. Brazil is the number-one exporter of meat in the world and workers endure hazardous and life-threatening conditions to keep up with demand,” Solera said.

Chipotle’s Mark Crumpacker

Scarecrow, the transmedia show that included a film short, a game app, a song and a mission to “cultivate a better world”. And with the film short Back To The Start Chipotle had pressed home its message of embracing quality food. “Television has never been part of our mix. And the way we’ve used online content is not without risk. There’s no guarantee we’re going to get the audience we want. To lessen that risk requires content that puts entertainment and storytelling first.”

France O’s head of acquisitions, Benedicte Marchand, said the channel avoids Eurocentric programming: “We are looking for every type of programme that opens up the world to our viewers.”

Day one deals put Prime on target

Beast Saga (d-rights)

PRIME Entertainment Group has had a successful start to MIPTV with several deals closed on the first day, including a package deal with Chello Central Europe for the channels Film Mania, Film Cafe and MGM. The network has signed up for Prime’s cinema and entertainment series Hollywood’s Best Film Directors (78 x 26 mins), Directors Short Cut (150 x 4 mins), Stars (91 x 4 mins) and Hollywood Singing And Dancing (13 x 60 mins). In addition Prime has signed a deal with My Sport Channel for more than 550 hours

of sports, and health and wellness programming. Celebrating its 10th anniversary as a producer/distributor of programming relating to cinema, celebrities and Hollywood, Prime has more than quadrupled its catalogue in the past 12 months. David Freydt, managing director of Prime Entertainment Group, said: “Ma Chaine Sport is the number-one channel for health/ wellness and combat sports in France, and is currently airing to more than 22 million homes around the world.”

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NEWS GRB SEALS DEALS ACROSS REGIONS GRB ENTERTAINMENT has signed deals at MIPTV covering territories in Asia, Africa and Europe. “Crime programming as well as food competition shows are still in high demand,” said Gary R Benz, the company’s president and CEO. “And the continued sales success of our crime shows including On The Case, Cellblock: 6 and Wicked Attraction, as well as our food programmes, such as Deep Fried Masters and BBQ Pitmasters, proves that our partners and buyers trust GRB, and have done so for over 20 years, to showcase unique, character-driven programmes that deliver high ratings around the globe.” The deals include Deep Fried Masters to Discovery Networks Asia-Pacific, Wicked Attraction (Season 5) to Prosieben, and Hurricane Hunters to UKTV.

Smokebomb explodes on to digital-video marketplace

AY BENNETT attends MIP Digital Fronts, the new digital-video marketplace launching at MIPTV, confident he has found a spiritual home for the explosive business being done at digital studio Smokebomb Entertainment. As vice-president/creative director of Canada-based Smokebomb, a subsidiary of TV production /dist r ibution g roup Shaftesbury, Bennett is attending his third MIPTV. He is also participating in his third Digital Minds Summit. However, he said the launch of the Digital Fronts marketplace represents a milestone in international digital video. “The landscape has started to shift. Only a few months ago, digital was all about shorts; now people are talking about halfhour shows. This conversation is now becoming real and the fact that Digital Fronts has been

launched proves it,” he said. Smokebomb shows are specifically made with multiplatform distribution in mind. “We’ve digital projects that have played on TV and vice versa. And we’ve seen digital [video] models that say there’s a real value to them.” At MIPTV is State Of Syn, an 8 x 5 mins “3D-enabled sci-fi novel” available for TV, online, mobile and Google Glass. Those who want to play State Of Syn’s interactive game use the device’s voice-activation to say: “Glass! time to syn” and control the game using their heads. “This is really a true transmedia experience,” Bennett said. Other digital-originated shows by Smokebomb and sold by Shaftesbury, include Backpackers, an 8 x 6 mins digital show and a 10 x 30 mins TV series. For branded digital content, he advised marketers to ensure they are “real”. “If you’re not authentic, you’re dead.”

Smokebomb Entertainment’s Jay Bennett

BGM BAGS FORMAT BRISTOW Global Media (BGM) has acquired the format rights for Canada to the factual series You, Me And My Ex, created by Buzz Productions and distributed by Armoza Formats. “Avi Armoza has always had his eye on the most popular format ideas. This show is the unscripted version of Modern Family and we are thrilled to be bringing it to Canada,” said Julie Bristow, president and CEO, Bristow Global Media. “You, Me And My Ex addresses current, complicated family reality in a productive way that builds bridges. This is a perfect show for the Canadian market and we’re honoured that BGM has picked it up,” said Avi Armoza, founder and CEO of Armoza Formats.

Gusto TV seeks the right ingredients CHRIS Knight, president and several shows covering global CEO of Gusto TV, is attend- cuisine, and I’m very keen to ining MIPTV to both acquire clude more.” programming and look for co- Gusto’s multiplatform HD serproduction opportunities for the vice offers viewers prime-time new Canadian food channel. “We cooking shows every evening launched in December last year and it’s Gusto TV’s Chris Knight going very well,” Knight said. “And one of the reasons that we are doing well is that 85% of the programming is new to Canadian audiences. And of course, there’s still so much more great material out there that Canadians have not seen which we know we’ll be able to source in Cannes. Currently we have

— including some of the highest-rated series from around the world featuring top TV chefs such as Rick Stein, Nigel Slater and Canadian food writer and now TV chef Donna Hay. During the day, Gusto TV airs fun and exciting lifestyle, home, fa sh ion , health and wellness shows. “Currently our highest rating primetime series is the Australian show My Kitchen Ru les,” K n ig ht said. “And one of the reasons that it’s doing so well is the feel-good factor, plus the fact that it’s beautifully put together.”

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NEWS DOGWOOF LOOKS FOR HOT DOCS DOGWOOF Global, the international sales arm of UK-based Dogwoof, is at MIPTV to offer filmmakers worldwide sales representation. Vesna Cudic, head of TV sales and acquisitions, said: “We are looking for compelling, narrative-driven documentaries with strong international theatrical potential. Dogwoof looks upon films as global releases and we work with fellow distributors, broadcasters and digital partners to achieve a cohesive universal release.” Dogwoof’s MIPTV programming highlights include 112 Weddings, Supermensch: The Legend Of Shep Gordon, Advanced Style, The Case Against 8, The Last Impresario, Web Junkie and Dangerous Acts. Cudic added: “We provide a whole team of documentary distribution experts who know how to build audiences from the early stages of a project through to the actual release.”

CANIMALS DEBUTS ON HULU KIDS BRB INTERNACIONAL has launched Canimals on Hulu Kids, the US netcaster’s commercial-free environment featuring premium currentseason and library kids programming. The series will be available on the free, ad-supported Hulu and Hulu Plus subscription service, where viewers can also see episodes of other titles from the BRB factory, including Bernard, Suckers and Angus & Cheryl. Co-produced with Aardman, VoozClub and Screen 21, Canimals combines animation and real-life images. “We fully intend to increase the presence of our productions on this prestigious platform,” said Marijo Arnaiz, BRB’s digital media director.

Newcomers reveal scope of Taiwan’s creative ambition

HREE Taiwanese firsttime visitors to MIPTV illustrate the ambition of the country’s film and TV industry. Ruby Chen is co-founder and ch ief operating off icer of CNEX Foundation, a non-profit organisation devoted to the production and promotion of documentaries about the Chinese people. “We have our own documentary productions, as well as an annual CNEX film festival. We also organise the CNEX Chinese Documentary Forum, which is a professional platform created to support documentary filmmaking.” At MIPTV, Chen is looking to meet distributors and potential co-production partners, and shopping for documentaries to distribute in the Greater China area. She also hopes to meet “face to face with participants who have extensive experience in the film market that could help me broaden my vision”. Recent documenta r y films produced by CNEX include A Clear Sky, about the trials of life in the highlands of Mongolia; The Other Side, about relations between Taiwan and China; and Mothers, about the experience of women coping with China’s one-child policy. Chen added: “Documentary is

CNEX Foundation’s Ruby Chen: “broaden my vision”

Next Media Animation’s Vincent Lee: “coming-out party”

an increasingly important global art form.” Also among the growing number of producers in Cannes from Taiwan is Cosmos Creativity, whose MIPTV slate includes Joy Africa, Rouge Dreamers and Sisters. The company works across film, television, commercials and music video. “At MIPTV, we hope to establish relationships with worldwide TV stations and co-production partners,” said Huinan Lin, Cosmos Creativity’s chief creative supervisor and director. Animation is another vibrant sector of Taiwan’s TV industry. Vincent Lee, director of brand and licensing at Next Media Animation, said his company’s participation at MIPTV marks its “coming-out party to this great worldwide marketplace”.

Next Media bills itself as a fullservice digital animation studio. It has more than 500 creators and animators based in Taipei, covering every phase of the animation process, from storyboard and modelling to real-time 3D production and CG animation. “And we do this all in a fraction of the time it would take a traditional studio to do,” Lee said. Known for its animated news at NMA.tv, Next Media is now moving into original content produced for multi-screen exploitation. “Our studio management team is headed by Richard Chuang, who founded PDI-DreamWorks Animation studio. CNN recently profiled Next Media and reported that we are one of the top-10 best things about Taiwan,” Lee said.

CANADIAN producer and developer Peace Point Rights is in Cannes to find exciting new content and offer a range of its own shows to the market. The content it has brought includes scripted and non-scripted formats, with a heavy focus on documentary and lifestyle entertainment. Among the shows on its slate are The DNA Of GSP, a feature-length documentary covering Ultimate Fighting Champion legend George St-Pierre, and real-life drama

Bulloch Family Ranch, a powerful 14-part series covering the lives of a couple who have taken on 23 children from troubled backgrounds and tried to give them a new start in life. Peace Point Rights has its largest ever team at MIPTV to showcase the 800 shows in its catalogue and hunt for new content. Pictured are Peace Point Rights president Les Tomlin with vice-president for acquisitions and business affairs Julie Chang.

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NEWS TIMING RIGHT FOR SOCCER SERIES WITH THE World Cup just around corner, the timing is right for Victory Kickoff!!, the Japanese kids soccer anime series produced by NHK, NHK Enterprise and Nihon AD Systems (NAS). The series (39 x 25 mins) was aired on NHK in Japan and subsequently on Rai (Italy), Disney XD (France), RTBF/Ouf tivi (Belgium), SIC K (Portugal), Minika Go (Turkey), Arab-speaking territories (MBC3), and also in Hong Kong, Korea and Thailand.

Diagonal View is angling for a cut of the online video market

F YOU love watching “mind-blowing facts, crazy stories and remarkable events in visually compelling, fast-paced” brandsponsored content, head to MIPTV’s new marketplace, MIP Digital Fronts, and meet production company Diagonal View and its founder Matt Heiman. Each of the UK outfit’s Alltime10s videos feature 10 entertaining extraordinary facts, figures and trivia. And the format has been brought to Digital Fronts, which aims to highlight the growing importance of online-only video in the international entertainment business. Alltime10s has its own YouTube community, with 2.9 million subscribers; the show has had 541 million views in total and 1 millionplus views daily, with each video guaranteed to have at least 500,000 views. Now Diagonal View is in search of a sponsor to take the format to the next level. “Digital Fronts is pitched as an opportunity to show sponsors great content and for them to buy it. That is what we will do,” Heiman said. “Good marketing engages the viewer in a narrative. We work with brands to build that narrative and engagement with a mass audience. We also build direct call-to-action to purchase product in video. It’s very powerful.” While the company’s productions are dedicated to digital distribution, in today’s climate, original digital content

works nicely alongside original TV content, Heiman added. “There is room for both. TV production gets excited when the budget starts the cameras at £200,000 per hour. Online gets excited when daily revenue is £100 per clip. It is a different risk profile and creative model.”

Diagonal View’s Matt Heimann

Sales for period drama Anzac Girls Victory Kickoff!! (NAS)

Victory Kickoff!! is also scheduled to air in Indonesia. Kaz Soeda, manager of NAS’ international licensing team, acknowledged the timely nature of the series and said he expects its success to continue at MIPTV for that reason. Pascal J Bonnet, director, TV sales & licensing, VIZ Media Europe, which distributes the series in the EMEA, added: “We will keep placing the show in key EMEA countries ramping up to the 2014 soccer World Cup.”

ON THE eve of MIPTV, All3media International sold its period drama serial, Anzac Girls, to Globo/GNT Brazil and TV2 Denmark. The 6 x 60 mins drama centres on real incidents in the lives of five young women from Australia and New Zealand during their time as nurses in World War One. Based on the book The Other Anzacs by Peter Rees, this harrowing but ultimately life-affirming story was originally produced by Screentime for ABC Australia, with Screen Australia and the South Australian Film Corporation. Globo-owned GNT has also acquired All3media’s other new Australian drama, Playmaker Media’s Love Child (8 x 60 mins). Commissioned by Channel Nine, this series focuses on the clash of cultures in 1960s Sydney. Explaining why she bought them, GNT programming manager Ana Carolina Lima said: “Anzac Girls and Love Child are aligned with

GNT’s strategy of bringing to the audience high-quality fiction. “In addition to the channel’s original productions, both Australian series will enhance the image GNT has been building since 2012 as a female-orientated channel that has fiction as one of its programming pillars. We’ll air Anzac Girls around the 100th anniversary of the World War One. And Love Child has a subject that interests GNT’s audience.”

Anzac Girls secures Cannes deals

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NEWS PGS BRINGS PLAYMOBIL WORLD TO LIFE FRENCH distributor and brand management company PGS Entertainment has licensed its new animated series Super 4 (52 x 11 mins) to Cartoon Network in Italy and Latin America. Inspired by the universe of Playmobil, Super 4 is a comedy-adventure series for five- to nine-year-olds in which Alex the Knight, Ruby the Pirate, Agent Gene and Twinkle the Fairy, journey through five extraordinary worlds in their transforming vehicle Chameleon.

Expanding Taya has sights set on European investment

NE OF Israel’s top media groups is seeking a European company to invest in as part of a strategic move to expand its production arm beyond the Middle East. United Studios owner Taya Media Group is keen to extend its presence within the European markets where it aims to roll out a range of content. Taya chairman Ami Giniger said that his company was particularly keen on taking a stake in a British company. He explained that opportunities in the Israeli market, which has some four million viewers, were limited, and that Taya was looking to reach a wider audience overseas. “It’s all about branding,” he said. “We want to bring the type of content that European and American audiences will watch.” United Studios has produced content across a number of genres, including kids TV where

Taya chairman Ami Giniger (left) and United Studios CEO Yoav Peretz

it has achieved notable success with hit series Zack & Quack, as well as real life dramas and documentaries, food, dating and game-show formats.

Cartoon Network’s Cecilia Padula with Philippe Soutter of PGS

The show is produced by Method Animation and morgen studios for France Televisions, and represents the first time in Playmobil’s 40-year history that the brand has appeared on television. “Playmobil is a kid-friendly, parent-approved brand that’s been around for three generations,” said Cecilia Padula, content director of Cartoon Network, Italy. “Our viewers will be thrilled to see Playmobil’s world set in motion.”

TV PRODUCER and formats expert Justin Scroggie of the Format People — pictured on the right — was commissioned by Northern Ireland Screen to advise a group of Irish MIPTV first-timers on how to work the market. “The majority of the newcomers are from the digital and app-development sectors, and that’s an exciting development for MIPTV,” he said.

BBC and DCD broker Code deal THE UK’s BBC Four has acquired The Code, the new six-part returnable thriller produced by Playmaker. The deal was confirmed in Cannes yesterday by Sue Deeks, BBC head of programme acquisition and Nicky Davies Williams, CEO of DCD Rights. Pre-sales of The Code have also been agreed with DirecTV for Audience Network in the US and Sundance Channel Latin America as well as with DR in Denmark. DCD Rights has

worldwide distribution rights to the drama, which is due to premiere on ABC1 Australia. “The Code is yet another example of brilliant international drama. It’s an intelligent and compelling thriller with a top-notch cast in a spectacular landscape,” Deeks said. “It has all of the ingredients that BBC Four viewers love.” “Knowing that the show will be airing on BBC Four could not be better for us,” Davies Williams added.

BBC’s Sue Deeks (left) and DCD Rights’ Nicky Davies Williams

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NEWS FREMANTLEMEDIA PICKS PUNK’D AS GLOBAL WINNER FREMANTLEMEDIA (FM) has completed a format acquisition deal with Katalyst Network, co-founded by Ashton Kutcher and Jason Goldberg, and MTV for the international rights (excluding North America) to the hidden-camera comedy show, Punk’d. FM is launching the title at MIPTV. Launched in 2003 on Viacom-owned channel MTV, Punk’d features pranks being played on unwitting celebrities. Previous victims include Justin Timberlake, Jessica Alba, Kate Beckinsale, Katie Holmes, Zac Efron and John Cena. Commenting on the deal, Vasha Wallace, senior vice-president, global acquisitions and development at FM said: “The timing is perfect to launch the Punk’d format globally. With all of the advances in technology, there is a huge amount we can do with this show.” Caroline Beaton, senior vice-president, international programme sales, Viacom International Media Networks, said FM was the ideal partner for the show: “They have a reputation for creating and acquiring high-quality formats as well as the capacity to produce them in many territories around the world.”

Nordic broadcasters make a killing as YLE joins the club

HIS YEAR Nordic commercial broadcasters DRTV, STV and YLE unite in the Riviera, offering international buyers a one-stop-shop for Scandinavian programming. This is the first time the Finnish broadcaster, YLE, has joined Sweden’s STV and Denmark’s DRTV, further extending Nordic collaboration at MIPTV. “In terms of the global TV landscape, we are relatively small players — but if we join forces, promote Nordic culture and align our unique perspectives, we are much stronger,” DRTV’s deputy managing director Helene Auro said. The international success of DRTV’s police procedural drama series The Killing and political drama Borgen opened the door to strong interest in Scandina-

Nordic collaboration: DRTV’s Helene Auro, YLE’s Jonna Kalvia and Maria Kivinen, SVT’s Paulette Rosas Hott and YLE’s Tuija Snellman

vian programming. DRTV’s priority title for its growing slate is the second series of The Legacy. Auro hopes to announce a slate of international deals after the popularity of series one. STV and YLE offer programming across a broad range of genres, including new drama series revolving around strong female leads. YLE highlights a three-part drama series The

Limit, based on a best-selling novel written by Riikka Pulkkinen about different women’s roles in society. STV brings to market new comedy-drama Miss Friman’s War, based on a true story about a courageous group of women in the early twentieth century who are brave enough to take on both the male ruling classes of the day and a corrupt industry.

BOXATRICKS — the UK format company set up by the team behind Who Wants To Be A Millionaire? — has forged a collaboration with two of the Nordic region’s key broadcasters. Under the deal, Boxatricks will produce a minimum of one pilot a year to be aired on TV4 Sweden and TV2 Norway. The first project out of the gate is a major primetime game show, which will be distributed internationally by Nordic World, with whom Boxatricks struck a first-look deal in January. “Collaborating with broadcasters of this calibre marks a real step-change for Boxatricks,” said managing director Steve Springford (left), pictured here with colleagues Colman Hutchinson and John Gough. Hutchinson added: “We see this as the start of a new and exciting era.”

Royal Me Up cooks up first format ROYAL ME UP Productions, the result of a new partnership between Telfrance’s chairman Christophe Nobileau and Emanuele Filiberto of Savoy, has launched its first original format at MIPTV, Pizzalicious. The daily cooking contest features a panel of three professional judges led by Emanuele Filiberto of Savoy, who are on the search

for the best pizza in France. After a series of judged blind tastings, the final winner crowned “Pizza King or Queen” is determined by an audience vote. Emanuele Filiberto of Savoy is no stranger to television after eight years of hosting, producing and participating in reality television shows across France and Italy. According to the royal judge,

the Margherita pizza was even created in the late nineteenth century in honour of his greatgrandmother, Queen Margaret. Royal Me Up also brings to market Gotha, focusing on the younger generations of aristocratic families and Death Becomes Her, a reality show where celebrities organise their own funeral ceremonies.

Royal Me Up Production’s Emanuele Filiberto of Savoy

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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.

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NEWS ULTRA-HD TV CAN BE CREATIVE FORCE ULTRA-HD television has the potential to be a real creative force, said Keiya Motohashi, senior strategist of 4K, 8K and Hybridcast TV services at Japan’s NexTV Forum, ahead of his appearance on a 4K/Ultra-HD panel yesterday. With much of the Ultra-HD TV technology push coming from Japanese manufacturers, NextTV Forum is well placed to understand the technical requirements. Originally a consortium of 21 Japanese companies involved in the creation of 4K and 8K Ultra-HD

NexTV’s Keiya Motohashi

technology and standards, it has now expanded to include consumer electronics companies from Korea, technology companies from the US and content creators such as Agence France Presse. Motohashi’s mission at the market was to update international companies on what was happening in Japan. He also believed the global Ultra-HD TV outlook was rosy. “It’s very positive. Not only in terms of the technology and the take-up, but also that we are progressing towards 4K and 8K creatively,” he said. “I want to encourage production companies to use the new technologies for more creative programming.”

BBC Three makes a date with Lion Television’s Sexy Beasts

BLIND-date show with a twist is being showcased at MIPTV after a deal with BBC Three in the UK which will see it make its debut later in the year. Sexy Beasts matches two people who go on a date wearing masks to hide their faces. They spend the date with their faces obscured, often by grim or fantastical masks, to allow them to get to know each other’s personalities before a final unveiling at the end. Produced by Lion Television, with All3Media distributing, Sexy Beasts has been bought by BBC Three for an eight-part series, which includes two half-hour pilots already aired, to be broadcast later in 2014. Lion Television entertainment executive Simon Welton said: “It’s got lots of comedy as well. It has that Buffy thing, where people are having a normal conversation with these hyper-real masks on. It’s a great hook because it keeps you watching to the end to see what they look like.” Welton is at MIPTV with All3Media to showcase the concept and find buyers in the international market. Lion Television pro-

Lion Television’s Simon Welton with two sexy beasts

duced the game show Scream If You Know The Answer, in which celebrities and members of the public answer quiz questions as they sit on white-knuckle rollercoaster rides.

FILMEDIA, an Italian content and service provider, and Rooftop Content Group, an international group of experienced TV and media business specialists, have signed a MIPTV distribution agreement for the Italian market and Italian-speaking territories. The deal will include a broad selection of TV movies, fiction series and animation. Filmedia CEO Filippo Mori Ubaldini (pictured) said: “I am sure this offer will add value to our Italian customers whether free or pay TV.” Marcel van Berkel of Rooftop Content Group added: “Filmedia is one of the strongest players in the Italian TV market so we are confident that the company will contribute a great deal to our success in the years to come.”

Entertainment One drama sales catch fire ENTERTAINMENT One has secured international deals for several new dramas, including AMC’s Turn, and Halt And Catch Fire, SundanceTV’s The Red Road, as well as some of AMC Network’s series, such as Hell On Wheels and the zombie ratings winner, The Walking Dead. Just months after signing its exclusive

output deal with AMC, eOne sold Halt And Catch Fire to Canal Plus, and Turn to OCS, in France. Both series, as well as The Red Road, have been licensed by C More in Denmark, Norway, Sweden and Finland; and by HBO Nordic for Scandinavia (subscription video-on-demand); and TV2 in Norway.

EOne also closed a deal with Sundance Channel Global for The Red Road in territories across Europe, North America and Latin Amer ica. Under the ter ms of the output deal, eOne handles international distribution for all original scripted series from US-based AMC and SundanceTV.

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PRODUCT NEWS MULTICOM ENTERTAINMENT GROUP

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TRICON FILMS & TELEVISION

REALITY soap Gold Diggers (12 x 30 mins/HD) follows the luxurious, sexy and often corrupt lives of five young women living an addictive lifestyle where their wishes really do come true, though drama and jealousy are always present. The series is brought to MIPTV by Los Angeles-based Multicom Entertainment Group.

NEW ANIMATION series Shutterbugs is in production and scheduled for Canadian broadcasters TVO, Knowledge Kids and Radio-Canada in French Canada. The series mixes science and math with stories for children to encourage early learners’ skills, and is produced by Canadian companies Amberwood Entertainment and Big Jump Productions, and Canada’s Tricon is international distributor and executive producer.

Gold Diggers (Multicom Entertainment Group)

Shutterbugs (Tricon Films & Television)

ZODIAK RIGHTS

NEW GAME show Versus (10 x 60 mins) is currently in production with Zodiak Media’s Mastiff Denmark for Danish national broadcaster DR1. Produced by Zodiak Media’s own production company, Kanaka, for Belgium’s RTBF, where the programme launched in October 2013, the show challenges audience members to guess what will happen in a number of contests — whether between a celebrity versus an amateur, man against machine, or a cross-discipline face-off between famous sportsmen. The audience decides who they think will triumph using individual keypads.

PBS INTERNATIONAL

WITH the rapid emergence of digital devices, an unstoppable, invisible force is changing human lives in incredible ways. Every two days the human race is now generating as much data as was generated from the dawn of humanity through the year 2003. The massive gathering and analysing of data in real time is allowing us to address some of humanity’s biggest challenges, but as Edward Snowden and the release of National Security Administration documents have shown, the accessibility of all this data comes at a steep price. The Human Face Of Big Data, a documentary brought to MIPTV by the US’ PBS, explores the promise and peril of this extraordinary The Human Face Of Big Data (PBS International) knowledge revolution. ELECTRIC SKY

UK- AND Hong Kong-based factual distributor Electric Sky brings football freestyler series F2 Kicks Off (16 x 30 mins) to MIPTV. The series from Renowned Films was the first primetime commission for new UK channel London Live, and features football freestyling duo Billy Wingrove and Jeremy Lynch. The duo’s global following includes Lionel Messi, Cristiano Ronaldo and David Beckham, and a YouTube channel with nearly 200,000 subscribers. Also on the slate of over 250 new hours are: Ariana’s Persian Kitchen (7 x 30 mins) fronted by Iranian-American chef Ariana Bundy; The Human Tissue Team (2 x 60 mins), which follows a British medical team; The Munch Box (12 x 45 mins), a cooking competition for children; and tech show Planet Of The Apps (26 x30). Versus (Zodiak Rights)

F2 Kicks Off (Electric Sky)

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WILD VENICE

52 min. | 4K ULTRA HIGH DEFINITION

ORF-Enterprise GmbH & Co KG, Content Sales International Wuerzburggasse 30, 1136 Vienna, Austria E-Mail: contentsales@orf.at, contentsales.orf.at A Subsidiary of the Austrian Broadcasting Corporation, ORF

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PRODUCT NEWS MONTEROSA

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TRACE

MONTEROSA, a company that has worked on Million Pound Drop and Grand National Horse Tracker, has launched the first suite of LViS apps for producers of TV and live events who want to engage audiences and feed back results to TV or big screens. The mobile-ready HTML5 apps can be quickly skinned, then embedded in existing iPhone or Android apps, or they can live on the web accessed through the mobile browser. Social integration with Twitter and Facebook comes as standard, with a range of monetisation options from advertising to SMS competitions. In 2013 LViS was adopted by BBC Worldwide, NBC, MediaCom, Sky Sports, TV2 (Norway), NBC (USA) and CBC (Canada).

BRANDING and media group Trace has launched a free on-demand TV service app providing music, music videos and sports celebrity programming. First available on Apple devices, the app is now also available on Android. The app combines all three of Trace’s music channels — Trace Urban, Trace Tropical and Trace Africa — as well as Trace Sport Stars, an entertainment channel dedicated to sports celebrities. Over 50,000 subscribers have already downloaded the Trace app, which is available free via the App Store and Google Play and requires a 3G/3G+ or wi-fi connection.

LViS apps (Monterosa) Beyonce on screen via the Trace app

MEGA MEDIA

MEGA Media is a Chinese film and TV series online market offering a service for buyers around the world to watch the trailers and get access to sellers 24/7. Users can transmit films and TV shows via the Mega optic cable (20Mbit/s). Mega Media also offers a dubbing service using native speakers.

GAMIFIC.TV

GLOBECAST

INTERACTIVE TV specialist Gamific.tv is showcasing its management tool for in-show conversations at MIPTV. It is available as an online service that includes a single timeline divided in public and official posts, different social networks, such as Twitter, Facebook, Vine, Instagram or Pinterest, as well as interactive posts for the viewer to vote or play games.

GLOBECAST is highlighting the latest advances to its content aggregation and distribution services (CAD) at MIPTV. Globecast is showcasing services including: market intelligence, regulatory clearance in various markets, negotiation and distribution to various platforms and promotion of packages to end-users.

Social TV from Gamific.tv

Globecast at work

IONOCO

UK-BASED ionoco has developed a new augmented reality platform that takes elements of virtualreality sets and places them in the real world. Using encoded cameras, pedestals, jibs and cranes, live-camera data is fed directly into the stagecontrol platform. The output is live graphics that are locked to the real world. The system is currently being considered for a new game show where game material and data floats on stage removing the need to be restricted by a large rearprojection screen or LED wall. The system is not however restricted to game shows and can be used for any graphic representation such as interactive content and social media.

DOGTV

DOGTV Anywhere is a new multiplatform app allowing dogs and their owners to access DogTV, the channel dedicated to a canine audience. DogTV Anywhere subscribers get access to DogTV on their computer and iOS or Android device, plus one other device — either their Samsung Smart TV, LG Smart TV or Roku. Users sign-up online to download the app. Augmented reality from ionoco

DogTV Anywhere

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PRODUCT NEWS BOOMERANG TV

MUM Detective, the TVE (Television Espanola) series produced by Boomerang TV, is consolidating its international spread at MIPTV. Adaptation rights have been acquired in Holland, Italy, the US and Russia, making it one of the most widely adopted Spanish franchises in recent years. In Europe Italy’s Mediaset Italia Group and Holland’s SBS6 and Joco Media will carry out the proposed adaptation of the detective series. The Dutch version is currently in production under the title Rechercheur Ria (Detective Ria). The US version of the show, produced by NBCUniversal and Warner Bros. Television, is still in development stage with a pilot currently being completed. Mum Detective will premiere on Russia’s public TV network Channel One later this year.

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RAINBOW

ORIGINALLY launched in 2004 — and brought to MIPTV by Rainbow — the Winx Club TV show is now broadcast in over 130 countries, while its website has been translated into 10 languages and attracts over 25 million page views every month. The Winx Club brand, which is supported by 104 half-hour TV episodes, two big-budget theatrical features and a varied range of merchandise, continues to strengthen with the launch of the Winx Club Trade Show in Kuala Lumpur, Malaysia, this month.

JANSON MEDIA

Mum Detective (TVE)

PASSION DISTRIBUTION

PASSION Distribution is working with US-based The Paley Centre for Media in the production of a six-episode series highlighting some of the greatest sessions of PaleyFest which has been described as “the ultimate TV fan festival”. The stand-alone episodes will delve into details about what it takes to make great television – the inner dynamics, on-set antics, camaraderie, struggles and behindthe-scenes stories. The inaugural series will include The Big Bang Theory, Mad Men and The Walking Dead.

PORTFOLIO ENTERTAINMENT

PORTFOLIO Entertainment, the factual and kids distribution and production specialists, is at MIPTV with a new travel series, Third Class Traveller (7 x 60 mins), which explores the possibility of roving the world on a shoestring. Portfolio has acquired the series from UK production company Media Ark and is at MIPTV to place the offbeat show on networks in North and South America. The series currently airs on Scripps’ Travel Channel worldwide and is hosted by Julian Hanton, who is surviving on a budget of just $100 a week.

JANSON Media is launching several new titles at MIPTV including The Best New Architecture (4 x 60 mins) in which host and architect Stephen Chung profiles the most provocative and innovative public spaces in North America. Also new from Janson are documentaries Sriracha (1 x 34 mins), a fun and fast-paced look at the world’s best-selling and most iconic hit sauce, and Greater Goof (1 x 74 mins) exploring the fear, hype and politics that have polarised the vaccine debate in the US today. Completing the MIPTV package from Janson is The Four Horsemen (1 x 97 mins) in which 23 international thinkers, in the aftermath of the economic crisis, come together and break their silence about how the world really works.

The Best New Architecture (Janson Media)

TELESPAZIO

January Jones and Jon Hamm in PaleyFest (Passion Distribution)

TELESPAZIO France is making its debut at MIPTV to launch Channel Lab, a media laboratory ‘test tube’ for developing products and services for the second-screen market. Conceived as a collaborative partnership project, Channel Lab leverages the expertise of a unique network of partners specialising in animation, video gaming and motion pictures. Third Class Traveller (Portfolio Entertainment)

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PRODUCT NEWS WARNER BROS. INTERNATIONAL TELEVISION PRODUCTION

WARNER Bros. International Television Production has acquired the format rights to the new reality game show Rent A Brain from Italy’s Blue Box Entertainment. The format asks the question, what would happen if you had the ability to control the brain of someone you love? The control chair is occupied by a variety of people from worried parents to concerned best friends, all of whom hope to prove to their loved ones that their lives could be so much better if only they behaved in a different way.

Rent A Brain (Blue Box Entertainment)

miptv

DEUTSCHE WELLE/DW TRANSTEL

DEUTSCHE Welle/DW Transtel is launching a 7 x 30 mins documentary series TeleMed at MIPTV. Available in English, Arabic and Spanish, the series puts the latest technology and research under the microscope and is packed with information on cutting-edge advancements in medicine and healthcare in people’s daily lives.

TeleMed (Deutsche Welle/DW Transtel)

FRANCETV DISTRIBUTION

A BRAND licensing agreement covering France, Luxembourg and French-speaking Belgium has been signed by Francetv Distribution and co-producers Morgen Studios and Method Animation for Super 4 — the first series based on the Playmobil characters. Super 4 (52 x 11 mins) features four heroes who take part in adventures through the different Playmobil worlds, with plenty of humour along the way, and the series is due to broadcast on France 3 this year.

TCB MEDIA RIGHTS

TCB MEDIA Rights is at MIPTV launching the sixth series of Border Patrol, which follows the work of the Customs Service in New Zealand, at the frontline of protecting land and sea borders. The 11 x 30 mins season brings the total hours available to 66 x 30 mins, with more series scheduled for production. Border Patrol focuses on the fight against drug smuggling at airports, air cargo inspection facilities and international mail centres where drugs continue to be disguised in novel ways.

UNITED MEDIA

FOOD is a popular lifestyle interest these days but in the past there were great people who did not necessarily eat in order to satisfy their appetite. Mahatma Gandhi and Leonardo da Vinci both considered a person’s appetite to be connected to greed and desire, and Diet For Greatness (2 x 52 mins) — brought to MIPTV by Korea’s United Media — reveals the diets and eating habits that were claimed by Gandhi and da Vinci to bring them fulfilling and enlightened lives.

UNITED STUDIOS OF ISRAEL (USI)

UNITED Studios of Israel is launching several new formats this MIPTV, including Taste Of Love, which is a hybrid cookingdating format distributed by Dori Media. Also new from USI is Who’s Asking?, a game-show format distributed by Armoza Formats, in which the ordinary man in the street poses questions to three contestants going head-to-head in a studio in order to win a cash prize, and So Where Were We?, a sitcom that features a husband and wife and their recently divorced roguish best friend, which is also distributed by Dori Media. Border Patrol (TCB Media Rights)

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AT YOUR SERVICE

Make the most of the show through the wide range of services and clubs available. 7-10 April 2014, Cannes - France

miptv.com

Participants’ Club

Buyers’ Club

PALAIS -1, AISLE E

PALAIS -1, AISLE C

Open to all participants attending MIPTV without a stand.

Concierge Services PALAIS 0 Providing free service to help with restaurant and taxi bookings, flights and helicopter tours, shuttles, spa reservations, tourist information, and more.

Free WIFI is available throughout the MIPTV Network: Palais des Festivals Wifi This service, designed for light usage, is for one device at a time, per person. If you require a customised Wi-Fi service, contact our supplier via miptv.viapass.com or at the desk at PALAIS -1.

• Meeting area • Free coffee service • Telephone charging stations • Message system Meet the MIPTV team and have all your questions answered. If it’s your first MIPTV, why not join them for morning coffee?

In association with Technicolor Digital Productions Reserved for programme purchasing executives • Lounge • Complimentary bar • Message system

Gold Business Lounge

Business Centre

PALAIS 1

PALAIS -1, AISLE H

Complimentary and personalised business services for members of the Customer Recognition Programme.

A complete range of secretarial and administrative services including photocopying, word processing, printing and faxing at competitive rates

• Private lounge • International press • PC & Internet access • Refreshments • Specialised staff

PRODUCT NEWS 225_EXTRA_N2_TV

S4C

WELSH crime drama Y Gwyll/Hinterland (4 x 120 mins) is set in Aberystwyth in Wales, UK, against the backdrop of isolated farms and close-knit villages. DCI Tom Mathias is a brilliant but troubled man on the run from his past. His detective partner is hometown girl DI Mared Rhys. Filmed in Welsh and English, Y Gwyll/Hinterland is produced by Fiction Factory in association with S4C, All3Media International, Tinopolis, BBC Cymru Wales and the S4C CoProduction Fund.

ZDF ENTERPRISES (ZDFE)

ZDFE is introducing the Swedish dark family drama Thicker Than Water (10 x 60 mins/HD) at MIPTV, about a mother who tries to restore peace among her conflicted children after her death in an unusual manner. ZDFE also brings Cecelia Ahern stories Between Heaven And Here and My Whole Half Of A Life (2 x 90 mins/HD), The Girl With The Indian Emerald (2 x 90 mins/HD) and The Ingredients Of Love (1 x 90 mins/HD). New crime shows include Sebastian Bergman, Clan, A Case Of Murder, Jack Taylor and Jack Irish. From ZDFE’s factual catalogue comes: Nature’s Greatest Secret – The Coral Triangle; Wild Berlin; From Hell To Heaven – Lusatia; and Infestation. History shows include Women Who Made History (6 x 50 mins/HD) and Secret Societies – Myths and Realities Of A Parallel World (3 x 50 mins/HD).

Thicker Than Water (ZDFE)

PIMIENTO

MONTREAL-based Pimiento spotlights a roster of Latino-skewed documentaries at MIPTV, including: the third season of Amerikologie Special Brazil, broadcast on TV5 Quebec; Miss Inc, looking at the Venezuelan beauty queen industry; Havana Sexy, which profiles four Cubans using their bodies for work; Brazil: Corpo Perfecto, about the desire for the perfect body; Perou A Table!, about a project to eradicate social problems using food and cooking; Medium Rare, about the dangers of red meat; and Miami Eldorado, about the rise of Latinos in Miami.

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CARACOL TV INTERNACIONAL

FLORIDA-based Caracol brings a slate of telenovelas to MIPTV, including: The Dark Widow, about Griselda, who suffers several betrayals and finally becomes involved in drug trafficking; The Sweetest Love, the story of four generations of women who are in love with the wrong man; and The Voice Of Freedom, based on the true story of Helena Vargas, a Colombian singer who longed for more freedom in the 1950s. The Dance Floor is a Caracol format where 16 dance groups led by 16 experienced singers make the audience dance and sing along.

HELMFRIED VON LÜTTICHAU

CHRISTIAN TRAMITZ

(“THE LAST COP”) AS STALLER

(“MANITOU’S SHOE”) AS HUBERT

PBS INTERNATIONAL

NEW HD titles from PBS International include: a fourth season of Pioneers Of Television (10 x 53 mins), featuring stand-up comedians who landed sitcoms, TV doctors and nurses, comedy actors, and characters that broke the colour barrier on television; Why Sharks Attack (1 x 60 mins), in which experts explore deadly shark attacks in Australia and sightings in Massachusetts; and Secrets Of The Vatican (1 x 84 mins), a Frontline special looking at events leading up to Pope Benedict’s resignation.

NOMINATED AS BEST SERIES GERMAN TELEVISION AWARD 2013 51 % ABOVE AVERAGE AUDIENCE SHARE VIEWERS 14-49 25 % ABOVE AVERAGE AUDIENCE SHARE VIEWERS OVERALL IN ACCESS-PRIMETIME

Robin Williams on Pioneers Of Television (PBS International)

AK ENTERTAINMENT

KOREA’s AK Entertainment is prioritising two programmes at MIPTV. Documentary Steel Route (3 x 60 mins/HD), available dubbed into English and Spanish, tells the history of how steel changed civilization. The story crosses eight countries and 3,500 years. The company also brings: Bible Route (20 x 30 mins/10 x 60 mins/HD/SD) following the spread of Christianity in the Middle East, Europe, Africa, and Asia; Bible Route II (4 x 50 mins), which follows the Exodus route; and Christian Renaissance (2 x 60 mins) which looks at early Christianity in Egypt and Turkey.

VISIT US AT MIPTV: Riviera 8, #R8.A6

CONTACT: Tel. +33 (0) 4 92 99 89 20 sales@tmg.de

Credits not contractual

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04.04.14 09:25

NEWS RTE

IRELAND’s RTE brings Jigs & Wigs – The Extreme World Of Irish Dancing (6 x 25 mins) to MIPTV. The observational documentary series takes an affectionate look at some of the more obscure sides of Irish Dance — the politics of dance organisations, the fanatical and sometimes strange world of Irish Dance around the world, Festival dancing in Northern Ireland and a talented family of travellers as they fight for a place in the World Championship.

OPTOMEN INTERNATIONAL

CHEF Gordon Ramsey is taking his Kitchen Nightmares format out to British restaurants abroad. In Costa Del Nightmares Ramsey tries to rescue four struggling restaurants in European holiday destinations. The businesses are in decline because of crazy spending, out of control partying, broken relationships, warring families, bad management and, of course, dreadful cooking.

Costa Del Nightmares (Optomen International)

BETA FILM

Jigs & Wigs - The Extreme World Of Irish Dancing (RTE)

GALERIAS Velvet (18 x one hour) is set in a luxury store in 1950s Madrid, featuring a relationship between the company heir and a seamstress, and is made by the team behind successful series Grand Hotel. The German distributor also brings: Scandinavian financial and political thriller Mammon (6 x 60 mins); Sarajevo (1 x 120 mins), a drama about the assassination of Franz Ferdinand in 1914; The Pilgrim (2 x 120 mins), about a young 14th century woman disguised as a man on a pilgrimage; Australian drama series Wonderland (44 x 60 mins), about a group urban professionals.

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Appointments

Could you sell MIPTV? Reed MIDEM UK organisers of MIPTV, MIPCOM and their accelerator events are looking for an experienced salesperson to join our team in London who knows the Entertainment Industry. As successful candidate you will be able to demonstrate your long term success in bringing in new business and working well in a team. While knowing the Industry you will be especially knowledgeable about the new digital opportunities that are growing at our events including transmedia, branded content and advertising agencies.

You are looking for a challenge and an opportunity to show how good you are. If you are interested email your CV to peter.rhodes@reedmidem.com

miptv

ABC COMMERCIAL

NORDIC WORLD

NEW TITLES from Australia’s ABC Commercial include: Thai Street Food (13 x 30 mins), in which chef David Thompson talks and cooks with vendors, hawkers and market stall-holders to discover popular dishes, classics and less wellknown delicacies; 72 Dangerous Animals Australia (12 x 45 mins/HD), is a natural history series that looks at all 72 of Australia’s deadly animals; The Flying Winemaker (13 x 30 mins/HD), which looks at Asian wine with winemaker Eddie McDougall; and Stop At Nothing: The Lance Armstrong Story (1 x 97 mins/HD).

IN SIX-part series Craft Master 15 apprentices from across Ireland compete to produce a unique piece of work that will see them represent their chosen craft discipline from the fields of millinery, furniture, jewellery, knitting and basketry. Each week, three apprentices are mentored by a professional craftsperson to design and produce their piece. The winner gets the opportunity to kick-start a career by receiving a stand at the largest international trade fair in the country.

Thai Street Food (ABC Commercial)

Craft Master (Nordic World)

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Anytime, anywhere, any device – register now and log in! Watch full-length programs online Create and recommend playlists Get information and news Visit our new website at www.zdf-enterprises.de

Erich-Dombrowski-Str. 1 55127 Mainz, Germany

Download our app from the Apple App Store

T: +49 (0) 6131 991 0 F: +49 (0) 6131 991 2590

info@zdf-enterprises.de www.zdf-enterprises.de

PRODUCT NEWS DCD RIGHTS

DCD RIGHTS brings a slate of documentaries from UK-based factual specialist Popkorn Television to MIPTV. The five titles prioritised in Cannes include: The Lost Orphan: A Home For Mirela (1 x 60 mins/HD), the follow-up to The Lost Orphan: Mirela’s Story (1 x 60 mins), about a young Romanian girl; My Violent Child (1 x 60 mins/HD, working title), looking at parental abuse; London: The Inside Story (6 x 60 mins) and Motorway Madness (1 x 60 mins/HD).

NIPPON TELEVISION NETWORK CORPORATION (NIPPONTV)

FIVE NEW shows top NipponTV’s roster for MIPTV, including: new format Mansion Madness (1 x 60 mins); two animated series La Corda D’Oro – Blue Sky (12 x 30 mins) and The World Is Still Beautiful (12 x 30 mins); cultural documentary Ebizo Ichikawa Reinvents The Kabuki World (1 x 150 mins); and drama series Hanasaki Mai Speaks Out. Ebizo Ichikawa Reinvents The Kabuki World (NipponTV)

OFF THE FENCE

YOUR Inner Fish (3 x 60 mins) is based on a book by paleontologist Dr Neil Shubin, looking at how the human body carries the legacy of animals that lived millions of years ago. Off the Fence also brings: season four of reality show starring Joan Rivers, Joan & Melissa: Joan Knows Best? (8 x 60 mins); and World’s Wildest Cities: Manaus (13 x 30 mins), about the city in the heart of the Amazon. The Lost Orphan: A Home For Mirela (DCD Rights)

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The who’s who of the global industry

The 2014

GUIDE 7- 10 APRIL 2014 • PALAIS DES FESTIVALS - CANNES, FRANCE • MIPTV.COM ADVERTISEMENT

Pick up your copy at the registration area A year-round networking tool

miptv

AUTENTIC DISTRIBUTION

AUTENTIC Distribution, the new joint venture of German documentary specialist Autentic and WDR mediagroup brings a portfolio of programming to Cannes. Highlights include: The Great Underground War (5 x 45 mins), about the First World War; Asia – Secret Lives, Hidden Places (5 x 45 mins), about Asia’s national parks; The Salvagemasters (4 x 45 mins), Animal Emergency (7 x 30 mins), based in Singapore; Dingomaro (1 x 45 mins) about south Iran; motorbike travel show Berlin2Shanghai (5 x 30 mins); and Is Amanda Knox Guilty?/The Murder Of Meredith Kercher (1 x 60 mins).

NPO SALES

FACTUAL shows from The Netherlands’ NPO include: The Clean Spirit (1 x 50 mins/1 x 90 mins), which follows the Tour de France with cycling team ArgosShimano who are keen on showing that winning is possible without doping; In Line For Anne Frank (1 x 55 mins), in which personal stories from people waiting outside the Anne Frank museum are mixed with segments from her diary; Sex For 5 Euro (1 x 45 mins) is an investigative documentary about child prostitution in Brazil; My America (4 x 26 mins) features journalist Michiel Vos travelling the US to find out what it really takes to become an American; and Forever Young (4 x 50 mins) looks at the anti-ageing business.

The Clean Spirit (NPO Sales)

SPI INTERNATIONAL

POLAND’s SPI International is at MIPTV to showcase the new addition to its channel portfolio, Stopklatka TV, Poland’s first free movie channel available on the country’s digital terrestrial television. Stopklatka TV is a joint venture backed by Polish media group Agora and the SPI-owned pay TV operator Kino Polska TV, and offers a mix of Polish, European and world cinema titles.

LIGHTNING INTERNATIONAL Essence Of India (Lightning International)

Animal Emergency (Autentic Distribution)

ENDEMOL

ENDEMOL is launching new formats at MIPTV. Fundastic was created by Endemol Israel and developed with broadcaster Reshet, features budding entrepreneurs who face a panel of judges as well as viewers who decide, via a bespoke app, how much financial backing each contender deserves. Ejector Seat is a fastpaced general knowledge game show from Endemol UK for ITV. When loosing contestants exit the show they are dramatically tipped backwards from their seats. Host In The Box is a factual entertainment series from Endemol Germany for Prosieben. The presenter is locked in a wooden box and shipped off to an undisclosed location where they must adapt to and explore the lifestyle. 264_JEAN DAVOUST_N2_TV

JUST FOR LAUGHS

LONG-running prank show Just For Laughs Gags celebrates its 15th anniversary at MIPTV with the launch of 20 new half-hours that highlight favourite moments from the shows. The series boasts over 276 halfhour episodes shown in over 140 countries. It is also licensed to over a hundred airlines worldwide and counts over three billion hits on YouTube. 245v2_ACUBA__N2_TV

Cuba… Whose Art Is It Anyway ?

ACUBA FILM Your European Partner

Ce documentaire cherche à définir quelle est la place de l’art aujourd’hui, à Cuba, au travers des interviews de personnalités cubaines et du peuple cubain.

This documentary search for defining the place of the art in Cuba nowadays through interviews of Cuban personalities and Cuban people

IN ESSENCE Of India, New York City chef and journalist Samira Nanda looks at the culinary, cultural and artistic heritage of India. She travels through Delhi in her auto rickshaw, gaining access to authentic Indian restaurant kitchens, cooking with street cart vendors and wandering the spice markets. The programme is brought to MIPTV by Hong Kong-based Lightning International.

Contact France: Jean Davoust Phone: (33) 6 03 55 93 07

jean-davoust-editeur@wanadoo.fr

Kazuko Nishikawa - Productions Inc

Acuba Film (1998) focuses on creative and high quality feature films, documentaries & quality TV series with a high artistic value. MIPTV P4.B1. When My Granny Was a Little Boy (Sketch comedy, 8x24min) Hi, Rasma! (Doc, 52min) Hope 3D (16 min)

Contact: Arko Okk, Producer

Tel: 00 372 56 646 725

E-mail: arko.okk@gmail.com

www.acuba.ee

PRODUCT NEWS NERD CORPS ENTERTAINMENT

ENDANGERED Species (26 x 22 mins) is Nerd Corps Entertainment’s newest comedy series for kids six to 11, which follows a mismatched family of animals who live in a stump — Pickle the adrenaline-junkie bunny, Merl the safety-conscious squirrel, and Gull the naive but adoring seagull. Nerd Corps has also partnered with Shout! Factory and Screenvision to bring the Slugterra franchise to the big screen. The new 70-minute movie, Rise Of The Elementals continues the story from the TV series and the first Slugterra TV movie, Ghoul From Beyond. Endangered Species (Nerd Corps Entertainment)

ZDF ENTERPRISES

RUSTY Knight [52 x 13 mins/HD) stars a knight built from an old cash register and assorted scrap metal pieces who thinks he’s the coolest knight in Scrapland. The company also brings: pre-school series Q Pootle 5 (52 x 11 mins/HD); live-action series Sam Fox: Extreme Adventures (26 x 26 mins/ HD); New Adventures Of Peter Pan (26 x 22 mins/ HD/3D); Lassie And Friends (26 x 22 mins/HD); and Jungle Book (104 x 11 mins/1 x 60 mins/HD). PLANETA JUNIOR

SPAIN-headquartered producer and distributor Planeta Junior is highlighting three co-productions at MIPTV: Bubble Bip, a new 26-episode pre-school series about a character from an action video game who decides to escape to the real world; two series of Sendokai Champions, about four friends with no talent for sports, who have to learn the art of Sendokai to win the Great Multiverse Tournament in order to save the planet; and Egyxos, due for completion later this year which is set in an ancient Egyptian civilisation lost in space and time. Bubble Bip (Planeta Junior)

SABAN BRANDS

SABAN Brands returns to MIPTV with Julius Jr., based on characters created by Paul Frank, which is due to launch on Disney Junior in Italy, and anime series Digimon Fusion. The series airs on Nicktoons and Vortexx on The CW in the US, CITV in the UK and YTV in Canada, and broadcast on Cartoon Network Latin America later this year. STUDIO 100 MEDIA

NEW 2D series Knietzsche is targeted at five- to 12-year-olds and features the world’s smallest philosopher who examines the major questions in life. Sometimes funny, sometimes comforting, the series mixes education with comedy. Produced by vision X Film und Fernsehproduktion, the series is distributed worldwide by Germany’s Studio 100 Media, excluding Germany, Austria and Switzerland.

Knietzsche (Studio 100 Media)

AADARSH PVT

INDIA-based IP development company, Aadarsh is at MIPTV to showcase the first episode of Purple Turtle, a new pre-school animation based on the books of the same name, to international broadcasters and possible co-production partners. The series (78 x 7 mins, 3D/HD) is currently in development for delivery in 2015. BRB INTERNACIONAL

CO-PRODUCED by Aardman, VoozClub and Screen 21, and brought to MIPTV by Spain’s BRB Internacional, Canimals (52 x 7 mins), is a comedy that combines animation and real live images to tell the story of little characters in the shape of tin cans. The complete series is now available in the US on Hulu along with other BRB titles including Bernard, Suckers and Angus&Cheryl. Canimals (BRB Internacional)

SUPERIGHTS

SUPERIGHTS is at MIPTV with new animation series Boyster (52 x 13 mins), from Paris-based producer Je Suis Bien Content. Currently in production, the series will be broadcast on Disney XD in Europe, Middle East, Africa and the USA and France 3.

miptv

ANTARES

TOEI ANIMATION

RAINBOW Mother Tells Stories is an innovative show from Taiwanese company Antares in which life lessons are taught to children through a teacher and a story picture book, using easy to understand language.

DLT RAYDAR RIGHTS

FOLLOWING a deal between Raydar Media, Grasshopper Productions and Clive Juster & Associates, DLT Raydar has secured global rights to Mouse And Mole At Christmas. The 1 x 30 mins animation, broadcast originally on BBC One in the UK, tells the story of best friends Mouse and Mole who throw a twelfth night party for their friends.

Sailor Moon Crystal (Toei Animation) Rainbow Mother Tells Stories (Antares)

MILLIMAGES

AT MIPTV Millimages is unveiling a new multiplatform pre-school property that stars charismatic character Molang. The French company also brings new episodes of two of its shows. Mouk continues his travels around the world and France Televisions will launch series two in September this year, coinciding with the international launch of two new apps. Corneil & Bernie (52 x 13 mins) is also back for a second season. The Pop Art series, inspired by Warhol and Lichtenstein, will roll out internationally over the first half of the year.

MEDIA I.M.

SAILOR Moon Crystal is Toei Animation’s re-boot of the classic manga franchise created by Naoko Takeuchi, first introduced in 1992. Featuring updated artwork, music and storylines Sailor Moon Crystal goes back to the beginning of eighth grader Usagi’s transformation into the heroine. Along with her magical black cat she embarks on a mission to find her fellow Guardians, while uncovering the secrets behind the legendary Silver Crystal. DHX MEDIA

COMEDY drama series Hank Zipzer, featuring Henry ‘The Fonz’ Winkler, is inspired by the 18-part novel series of Hank Zipzer: The World’s Greatest Underachiever, written by Winkler and Lin Oliver. The 13 x 30 mins show, which currently airs on CBBC, stars Henry Winkler as a music teacher, alongside Nicholas James who plays Hank Zipzer, and is based on Winkler’s own experiences as a young boy growing up with dyslexia.

NEW LONDON-based distributor Media I.M. is launching The Pooches (130 x 4.30 mins) at MIPTV. The CGI animated series aimed at children six to 12 was created by Russia’s Melnitsa Studio and comes with a number of consumer products. The Pooches are a happy modern dog family enjoying 21stcentury life.

The Pooches (Media I.M.)

Hank Zipzer (DHX Media)

Mouse And Mole At Christmas (DLT Raydar Rights)

NPO SALES

NETHERLANDS-based NPO Sales brings a range of kids’ programming to MIPTV. Documentary series Full Proof (26 x 13 mins) is a series that drags science out of the classroom and takes experiments outdoors. Each episode is hosted by a child from a different country. Drama series My Dad’s A Detective (12 x 23 mins) sees Sam and his friends help his detective father. Caps Club (2 series, 8 x 25 mins), features a secret club of five kid detectives, two with phsycial disabilities. Betrayal (12 x 50 mins/ 10 x 50 mins) is a thriller series about an impossible love story. A third series is on its way. Amsterdam Paradise (2 series, 8 x 50 mins) is a drama about young people living in the big city.

Full Proof (NPO Sales)

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TUESDAY 8 APRIL BREAKFAST & DEMO SHOWCASE

DECONSTRUCTION OF MOBILE WEB AND CONNECTED DEVICES 8.30-9.30 | MIPCube Hub, Palais -1 Presenter George Meek, VP of Future TV, Brightcove, UK

ULTRA-HD

4K: SETTING THE SCENE 9.30-10.15 | 4K Theater, Palais -1 Presenter Tom Morrod, Senior Director, IHS, UK

JUNIOR AT MIPTV

KIDS TV CO-PRODUCTION WITH ASIA MATCHMAKING 9.00-11.00 | Networking Lounge, Palais 3 Hosts Lewis Bao, Director of International Distribution & Business Development, Chongqing Xianghong Film&TV, China Haiming Cheng, Producer, Yi Animation, China Todd Lituchy, CEO, New Media Vision, UK Hitendra Merchant, CEO, and Anuradha Javeri, Creative Director, YoBoHo New Media, India Sarah Muller, Head of CBBC Acquisitions & Drama Development, BBC, UK Stella Noh, Manager, SK Broadband, South Korea Sandrine Pechels de Saint Sardos, VP Programs, Bejuba! Entertainment, Canada Jyotirmoy Saha, CEO, August Media Holdings, Singapore @moysphere Ram Sarangapani, Managing Director, Criya Australia, India Huoi Seong Low, CEO, Vision Animation, Malaysia

WELCOME BREAKFAST From 8.30 | Foyer Auditorium A, Palais 3

FRESH TV FROM ISRAEL 9.00-9.30 | Auditorium A, Palais 3 Presenter Virginia Mouseler, CEO, The Wit, Switzerland @thewitfreshtv

HOW TO CREATE SUCCESSFUL SCRIPTED FORMATS / DRAMAS? 9.40-10.20 | Auditorium A, Palais 3 Moderator Anna Carugati, Group Editorial Director, World Screen, USA

TALKS

A DATE WITH DATA 9.15-9.45 | Esterel, Palais 5 Moderator Trista Bridges, Entrepreneur, Co-Founder, Rude Baguette, France @RudeBaguette Speakers Mahesh Kumar, Director of Special Projects, Magine, Sweden Julian McCrea, CEO, Portal Entertainment, UK @portalent2010/ @julianmccrea Odile Perraudin-Juillard, Business Development Executive, Front Office Transformation, Odile IBM Corporation, France Perraudin-Juillard

AFRICA GOES DIGITAL: WHERE IS THE CONTENT? 9.30-10.30 | VerriĂ¨re Grand Auditorium, Palais 1

Speakers Avi Armoza, CEO, Armoza International Media, Israel Revital Basel, VP Sales, Dori Media Group, Israel Ehud Miron, President & CEO, Ananey Communications, Israel Yoram Mokady, VP Content, HOT, Israel Keren Shahar, Head of Distribution and Acquisitions, Keshet International, Israel

INNOVATION SEMINAR: FROM START-UP TO TV 10.30-11.10 | Auditorium A, Palais 3 Moderator Danny Fenton, CEO, Zig Zag Productions, UK Speakers Frank Melloul, Chief Executive Officer, i24news, Israel @fmelloul Doron Revivi, COO, SatLink Communications, Israel @SatLinkCom Eli Uzan, Chairman, Screenz Cross Media, Israel

Breakfast served Moderator Riz Khan, International Journalist formerly of the BBC, CNN and Al Jazeera English

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07/04/2014 14:49

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OFFICIAL CONFERENCES & EVENTS MATCHMAKING

TALKS

NEW MEDIA MOGULS: A FIRESIDE CHAT WITH THE GAME CHANGERS 10.00-11.00 | Esterel, Palais 5

MEET THE DIGITAL COMMISSIONERS 10.45-11.45 | MIPCube Hub, Palais -1 Host Marc Goodchild, Chief Creative and Managing Director, Connected Ideas Limited, UK

Host Brent Weinstein, Head of Digital Media, United Talent Agency, USA @brentweinstein Brent Weinstein Speakers Damon Berger, CEO & Shira Lazar, Co-Founder, What’s Trending, USA @DamonBerger @shiralazar Ben Huh, CEO and Founder, Cheezburger, USA @benhuh Kerry Trainor, CEO, Vimeo, USA

Speakers Voyelle Acker, Deputy Head of Digital Storytelling and Transmedia, France Televisions, France Aline Bonnet, Media Strategy Manager, Orangina Schweppes France, France @OSFrance / @aline_brunette Aline Bonnet Morgan Bouchet, VP Transmedia & Social Media, Orange, France @morganbouchet Jacques Kluger, General Manager Diversification & New Media, Telfrance, France @jkluger Isa Ostertag, Cross Media Commisioning Editor, ZDF, Germany

PRODUCERS’ TOOLBOX

HOW TO FUND SUSTAINABLY

JUNIOR AT MIPTV SCREENING

“LITTLE ASTRO BOY”

10.00-10.40 | MIPCube Agora, Palais -1 Speakers Jesse Cleverly, Creative Director, Wildseed Studios, UK @WildseedStudios Andy Green, COO & Founder, Distrify, UK @andydistrify

11.00-12.30 | Auditorium K, Palais 4 By

Andy Green

ULTRA-HD

SCREENING: BBC SUMMITS & SPECIAL EVENTS

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT 10.00-14.00 | Carlton Hotel

11.30-12.15 | 4K Theater, Palais -1 Presenter Andy Quested, Head of Technology BBC HD & UHD, British Broadcasting Corporation, UK

Supported by

KEYNOYE SESSION CANCELLED: 11.45-12.15 | Grand Auditorium, Palais 1

YNON KREIZ, EXECUTIVE CHAIRMAN, MAKER STUDIOS

By invitation

MIPTV MEDIA MASTERMIND KEYNOTE ULTRA-HD

SCREENING: SAINT THOMAS PRODUCTIONS 10.30-11.15 | 4K Theater, Palais -1 Presenter Bertrand Loyer, President, Saint Thomas Productions, France

12.20-12.50 | Grand Auditorium, Palais 1

ALEX CARLOSS, GLOBAL HEAD OF ENTERTAINMENT, YOUTUBE, USA “THE POWER OF CHOICE” Alex Carloss

Following his keynote, Alex Carloss will welcome to the stage Shane Smith, Co-Founder and CEO of VICE for a fireside chat. Shane Smith

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07/04/2014 14:49

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TUESDAY 8 APRIL ULTRA-HD

ULTRA-HD

SCREENING: UNITED4ALL

SCREENING: DBW COMMUNICATION

12.30-13.15 | 4K Theater, Palais -1

14.00-14.45 | 4K Theater, Palais -1

Presenter Bolke Burnaby Lautier, Manager Operations Sports & Events, United, The Netherlands

PRODUCERS’ TOOLBOX

SCREENINGS

FRESH TV FICTION 13.00-13.45 | Grand Auditorium, Palais 1 Presenter Virginia Mouseler, CEO, The Wit, Switzerland @thewitfreshtv

Presenter Giuliano Berretta, President, DBW Communication, Italy

Presented by

HOW TO VOD LIKE A VIDEO STAR 14.45-15.15 | MIPCube Agora, Palais -1 Speaker Wendy Bernfeld, Managing Director, Rights Stuff BV, The Netherlands @wbernfeld / #rightsstuffnews

Wendy Bernfeld

ULTRA-HD

SCREENING: NHK

MATCHMAKING

MEET THE TECH TO CREATE 13.00-14.00 | MIPCube Hub, Palais -1 Host Jason DaPonte, Managing Director & Executive Producer, THE SWARM, UK @jasondaponte Speakers Daryan Dehghanpisheh, Vice President of Strategy, Huge, USA Dale Herigstad, Co-Founder, SeeSpace, USA Andy Hood, Executive Creative Development Director, AKQA, UK @andyjhood Jonathan Laor, CEO, Applicaster, Israel Andy Hood @Applicaster Grégoire Sierra, CEO, Djehouti/ Racontr, France @greg_sierra

15.00-15.45 | 4K Theater, Palais -1 Presenters Hiromichi Iwasaki, Executive Producer, Natural History, NHK, Japan Shinichi Nagano, Media Strategist, Programming Dept., NHK, Japan

JUNIOR AT MIPTV

FUTURE OF KIDS TV SUMMIT “SCREENING IS PLAYING” 15.00-17.15 | Carlton Hotel Supported by

By invitation - Followed

TALKS

ALTERNATIVE DIGITAL DISTRIBUTION: THE PLAYERS YOU SHOULD MEET 14.00-14.45 | Esterel, Palais 5 Moderator Anna Stuart, Analyst, TV Programming Intelligence, IHS Technology, UK @ihs_tvprog Speakers Shana Eddy, SVP, Corporate Development, Pluto.tv, USA @pluto.tv Metodi Filipov, Co-Founder, Flipps Media, USA @mfilipov Peter Mercier, Senior Director, Xbox Content Peter Mercier Acquisitions and Strategy Team, Microsoft, UK

by networking drinks

Co-Chairs Kate Bulkley, Media Commentator/Journalist, UK Christophe Erbes, author & consultant, media (c)nsulting, France @oscar_hoo

TALK 1: THE NEW FIRST SCREENS: HOW TOUCH IS CHANGING TV FOR KIDS

Research study by Peter Robinson, Head of Research, Dubit, UK @PeterRobinson81 and Nicholas Walters, Founder, Hopster, UK @nickbrw

TALK 2: TUNING IN WITHOUT TUNING OUT: HOW INTERACTIVE VIDEO BOOSTS ENGAGEMENT AMONG KIDS

By Yoni Bloch, Co-Founder & CEO, Interlude and Israeli rock star, Israel @yonibloch

TALK 3: THE KIDS’ APPS YOU NEED TO KNOW ABOUT

By Stuart Dredge, freelance journalist writing for The Guardian, Music Ally and his own website: http://appsplayground.com, UK

TALK 4: KIDS ENTERTAINMENT IN 2018 – A VISION OF THE FUTURE By Daniel Efergan, Creative Director, Digital, Aardman Animation, UK @efergan

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07/04/2014 14:49

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OFFICIAL CONFERENCES & EVENTS CREATIVES TALK: TOM FONTANA, CREATOR, “BORGIA” & CHRIS LONG, EXECUTIVE PRODUCER, “THE MENTALIST” 15.00-15.45 | Esterel, Palais 5 Moderator Anna Carugati, Group Editorial Director, World Screen, USA Speakers Tom Fontana, Creator, “Borgia”, USA Chris Long, Executive Producer, “The Mentalist”, USA

AN HOUR WITH CCTV9 16.00-17.30 | Auditorium K, Palais 4 Speakers LIU Wen, Managing Director, CCTV9, China CHEN Xiaoqing, Director of Program Operations, CCTV9, China TIAN Yuan, Head of International Acquisitions and Co-production, CCTV9, China

Tom Fontana

MIPTV MEDIA MASTERMIND KEYNOTE 16.30-17.00 | Grand Auditorium, Palais 1

Chris Long

MATCHMAKING

MEET THE VOD ENABLERS PLATFORMS 15.30-16.30 | MIPCube Hub, Palais -1 Host Jason DaPonte, Managing Director & Executive Producer, THE SWARM, UK @jasondaponte Speakers Ajey Anand, Co-Founder & CCO, Norigin Media, Norway @ajey_anand @NoriginMedia Egor Iakovlev, CEO and Founder, Tvigle Media, Russia @Eyakovlev George Meek, VP of Future TV, Brightcove, UK Benjamin Moulès, Digital Cloud Strategist, Microsoft, France @benjmou Benjamin Moulès

MAURICE LEVY, CHAIRMAN AND CHIEF EXECUTIVE OFFICER, PUBLICIS GROUPE, FRANCE ‘‘THE FUTURE OF CONTENT IS DIGITAL”

Maurice Levy

Moderator Kate Bulkley, Media Commentator/Journalist, UK

MIPTV MEDIA MASTERMIND KEYNOTE 17.10-17.40 | Grand Auditorium, Palais 1

DEB ROY, CHIEF MEDIA SCIENTIST, TWITTER, USA @dkroy

Deb Roy

MIPTV MEDIA MASTERMIND KEYNOTES OLIVIER COURSON, CHAIRMAN & CEO, STUDIOCANAL, FRANCE ROLA BAUER, PRESIDENT/PARTNER, TANDEM COMMUNICATIONS (A STUDIOCANAL COMPANY), GERMANY @Tandemcom “STUDIOCANAL/TANDEM: EUROPEAN SENSIBILITY GLOBAL APPEAL”

15.50-16.20 | Grand Auditorium, Palais 1

WOMEN IN TECH & MEDIA 17.45-18.15 | MIPCube Agora, Palais-1 Olivier Courson

Moderator Pamela Ryckman, Journalist and Author, “Stiletto Network”, PBR Enterprises, USA @PamelaRyckman

Rola Bauer

Moderator François-Pier Pelinard-Lambert, Executive Chief Editor, Le Film Français, France

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Followed by cocktail

Speakers Simone Halberstadt Harari, Founder & President, Effervescence, France @Hararisimone Sara Jen, Director, Business Development & Partnerships, Viki, Singapore Mary Beth O’Connor, Founder, Lucky VIII FILMS, USA

Sara Jen

07/04/2014 14:49

PRODUCT NEWS THE JIM HENSON COMPANY

INSPIRED by characters from classic Henson series Fraggle Rock, Doozers, a co-production with DHX Media, focuses on four Doozer kids who love to design, create and innovate exciting projects. The company will also be focusing its sales efforts on the mixed media, animated pre-school series, Driftwood Bay, a production of Northern Ireland’s Sixteen South, that is distributed under Henson’s third party licensing label, HIP (Henson Independent Properties). The series, which will have its world debut on Nick Jr. in the UK, features a voice cast including Stephen Fry, Peter Mullan and Richard Dormer.

LIGHTNING INTERNATIONAL

THE WORKERS is a new educational children’s TV show, aimed at two- to eight-year-olds, brought to MIPTV by Hong Kong’s Lightning International. The series includes songs, activities and games with different characters including a policeman, a doctor and a fireman.

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NEXT MEDIA

TAIWANESE company Next Media brings the Mad Box Zombies series to MIPTV. Every night, mini animal zombies slowly come out of their matchbox beds and take over a large haunted manor.

Mad Box Zombies (Next Media)

REDROVER The Workers (Lightning International)

Doozers (The Jim Henson Company)

9 STORY ENTERTAINMENT

JOE & JACK (39 x 7 mins) is a pre-school series about a four-year-old boy and his best friend, a cat. Canada’s 9 Story Entertainment showcases the show at MIPTV on the back of sales to Germany’s ARD/SWR for broadcast on KiKA. Produced by Ireland’s Dancing Girl Productions, Joe & Jack launched in 2012 on Ireland’s national broadcaster RTE. PLATINUM FILMS

THE UK’s Platinum Films returns to MIPTV with the Matt Hatter Chronicles. Matt Hatter debuted in the UK on Nicktoons and CiTV in 2011, and has just agreed a three-season deal with Cartoon Network and leading global toyco the Simba Dickie Group for the Indian launch of the Matt Hatter toy range. Series 1 and 2 will premiere across India, Pakistan, Bangladesh, Nepal and Sri Lanka later this year ahead of the third season launch.

Matt Hatter Chronicles (Platinum Films)

TECHNICOLOR ANIMATION & GAMES

THE UK’s Technicolor Animation & Games is currently in development and/or production on a slate of children’s properties. At MIPTV it is highlighting The Deep, a CGI series based on a graphic novel, from Technicolor, ABC Television Australia and Australia’s A Stark Production. The series follows the adventures of a family of underwater explorers who seek to unravel the mysteries of the deep sea. The producers are developing the 26 x 30 mins series with a view to securing finance. An app is also planned. Technicolor and Canada’s Mercury Filmworks have partnered with Gaumont Animation to co-develop and co-produce the animated comedy television series, Atomic Puppet, which will air on Disney XD in France, the US and on various other Disney XD channels around the world. In Canada, the series will air on Teletoon Canada.

The Deep (Technicolor Animation & Games)

KOREA’s Redrover brings new pre-school animated series Bubble Bubble Marin (52 x 11 mins) to MIPTV. Submarine-like species known as Marines live in a community that shares many similar features of humankind. The story starts with Marin’s family moving to their new home and the adventures he has with his four friends. ZOLAND ANIMATION

CHINA’s Zhejiang Zhongnan Animation, also known as Zoland Animation, employs over 200 in-house animators. Set to be released this year is Magic Wonderland, the company’s latest original animation movie, based on a TV series. Targeted at children aged five to 12, the series combines 3D design and an intricate storyline.

Magic Wonderland (Zoland Animation)

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PRODUCT NEWS PGS ENTERTAINMENT

PARIS-based PGS Entertainment is showcasing new CG-animated series ALVINNN!!! And The Chipmunks at MIPTV. The series, created by Janice Karman and produced by Bagdasarian Productions with OuiDO! Productions, has been picked up for two series (104 episodes x 11 mins) for Nickelodeon’s international channels (excluding North America and Brazil). This marks the return of the franchise to television after 20 years. PGS represents the series worldwide, excluding the US and France. The company is also highlighting The Jungle Bunch To The Rescue (52 x 11 mins).

PICTURE BOX DISTRIBUTION

CANADA’s Picture Box brings a catalogue of liveaction and animation programming to MIPTV, including: Annedroids (52 x 30 mins), which mixes live action and animation as kid scientist Anne, her friends and androids perform experiments in a junkyard laboratory; The Adventures Of Bagel And Becky Show (52 x 11 mins), an animation about a quirky dog and cat; and Yup Yups (50 x 2 mins/25 x 5 mins), a pre-school series featuring Green, Pink and Blue, characters who change shape to communicate and express emotions.

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UNION MEDIA

UK DISTRIBUTOR Union Media brings a new project to MIPTV, the 52 x 11-minute animation series Circle Square, which has been pre-bought by the UK’s CBeebies channel. Circle Square is about a community living in a circle of houses around a village square, and features stories that develop in ways that are fantastical, with each adventure involving friends and neighbours working together.

Circle Square (Union Media) ALVINNN!!! And The Chipmunks (PGS Entertainment)

HASBRO STUDIOS Annedroids (Picture Box Distribution)

TECHNICOLOR

TECHNICOLOR has optioned the rights from Fun Crew to develop and produce 52 x 11-minute episodes of 2D digital animated children’s series, Cosmo, Bud & Boo, a project that it is debuting at MIPTV in order to find potential co-production partners and buyers. The series, aimed at kids aged four to seven, features three friendly bears — though one of them is actually a boy in a bear suit.

A NEW 78-episode series, the next instalment of the Transformers franchise, is brought to MIPTV by Hasbro Studios. It takes place years after the last series and features a new team of Autobots. The series has already sold in the US to the Hub Network.

Transformers (Hasbro Studios)

LITTLE AIRPLANE PRODUCTIONS

The Furchester (Sesame Workshop)

BILLY Green Builds! is a co-production between SeaWorld Kids and Little Airplane Productions, inspired by SeaWorld’s commitment to conservation, exploration and saving wildlife. The 52 x 11 mins pre-school series follows seven-yearold Billy who — with his animal sidekick Moxy and solar-paneled vehicle the Chuggy Buggy — travel the globe to build environmentally friendly, imaginative ways to help animals in trouble.

SESAME WORKSHOP

ON THE MIPTV roster for Sesame Workshop is: The Furchester (52 x 11 mins), which depicts a family of incompetent Muppets who operate a hotel; Elmo The Musical (15 x 11 mins), which helps kids sing and dance with Elmo on math-filled adventures; Cookie’s Crumby Pictures (13 x 5 mins), in which Cookie Monster parodies popular films; Super Grover 2.0 (17 x 6 mins) follows Grover as he reports across the planet; Abby’s Flying Fairy School (26 x 9 mins), a 3D animated series aimed at boosting pre-schoolers’ critical thinking skills; Super Healthy Monsters (26 x 5 mins), with healthy tips from muppet characters; and Sesame Street, with songs, stories, parodies and celebrity guests, available as a one-hour, half-hour and local co-production format.

Billy Green Builds! (Little Airplane Productions)

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271_RM 4K_N2_TV

BE AMAZED! Join MIPTV’s daily UHD TV screenings & sessions in the 4K Theatre, Palais -1

TUESDAY 8 APRIL IHS • 9.30 Numbers & forecasts on 4K’s take-up

ST THOMAS PROD • 10.30 4K spectacular aerial & underwater showcase

BBC • 11.30 Natural History Unit filming in 4K

UNITED4ALL • 12.30 4K capture of MUSE in concert

DBW • 14.00 4K production: aerial drone showcase

NHK • 15.00 Spectacular 4K showcase ‘Human Life: Our Amazing Cells’

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FEATURE WHAT’S NEXT FOR KIDS?

Mr Bean: The Animated Series 2 (Endemol)

Kids still love ‘toons’ It seems young viewers can’t get enough animation — but it has to be good. As Clive Bull reports, kids like to laugh, but they like quality too

IDS across the world are still hungry consumers of TV content despite — or perhaps because of — the wide range of electronic entertainment competing for their attention. The level of daily viewing remains high but is stabilising with North American kids among the keenest viewers watching an average of three hours, 33 minutes a day, according to Eurodata TV Worldwide. The average across Europe is two hours, 21 minutes per day, although there are significant variations between countries, with Portugal consuming the most, and Germany at the lower end of the scale. In many territories it is local children’s channels that lead the market, but competition from international rivals is fierce. Global kids brand Nickelodeon now reaches 350 million households in 110 countries. Jules Borkent, senior vice-president global content and international acquisitions, is aware of the challenges. “It’s critical that we capitalise on our unique scale, while reflecting local tastes. Complementing a strong US pipeline of content with local hits that travel is key.” As for genres, animation continues to dominate. Its ability to transcend borders, cultural differences and demographics makes animation the most versatile genre. Borkent cites Nickelodeon’s SpongeBob and Dora as the ultimate examples of this — they are seen today in 141 territories and 37 languages. Cathy Payne, CEO of Endemol Worldwide Distribution, agrees that animation remains king with kids but warns that there needs to be a focus on editorial qual-

ity. “Kids are selective and it is the good product that breaks through,” she says. “There is a huge amount of animation and this has increased with the availability of increased subsidy funding that has allowed a certain amount of shows to be produced that otherwise would not. The audience will engage with many different styles of animation as long as it delivAlison Rayson ers the editorial the audience wants.” Endemol brings Mr Bean: The Animated Series 2 (52 x 11 mins) to MIPTV. Voiced by star of the live-action series and movies of the same name, British comic actor Rowan Atkinson, Mr Bean is a prime example of the kind of non-verbal, physical humour that translates across all languages.

Buyers and commissioners generally don’t want something that is just labelled an educational show

Chello Zone’s international pre-school channel JimJam is now in more than 100 countries worldwide, across seven feeds, and in 14 languages, the latest feed being a Benelux service with Dutch content including Paz, Miffy & Friends, and Frog & Friends. JimJam’s channel manager Charlotte Wood says TV is still the most dominant way for kids to access programmes, but for new content a 360º approach is needed. “Kids these days are far more technologically advanced,” she says. “They know how to navigate the TV to watch on

FEATURE demand, use tablets to watch favourite programmes, access apps, play games and read e-books. Apps and digital are expected from many children as an add-on to their favourite TV show.” In 2013 JimJam launched the Heroes Of The City app — with the TV show creator Ruta Ett — into two of its key markets, the Netherlands and Poland. “We’ll be looking for more properties which have innovative digital opportunities which complement the TV programme, and of course for stand-out series which fit with our diverse line-up,” Wood says. “We’ll also be interested to see what nature programming is available to develop our real-life/documentary style segment, following the success of My Animal Friends.” Magic Hands (Remark Media) Beyond digital expansion, Wood has detected a definite increase in wellbeing content that focuses on healthy eating, exercise and hygiene. “Producers are delivering America, its US remake Every Witch Way and Hotel 13 these health messages in increasingly sophisticated and from Nick Germany are proving popular across our Nick creative ways, with entertainment always at the heart of channels in Northern Europe,” Borkent says. the programming,” Wood says. Notable new deals for JimJam include Noksu and As well as the global networks and local channels, overShapes from Evergreen, which it is expanding onto the the-top (OTT) services are of course beginning to make inroads into kids TV. “The inpan-Euro and Polish feeds folcreasing dominance of OTT serlowing the success in Benelux vices like Netflix, Amazon and and Asia. These animated series YouTube means that there’s a real tackle life skills and everyday challenge to traditional players to themes for growing children look for originality,” Alison Raythrough fables and adventures son CEO and founder of Raydar — and always with the help of Media says. “I think the arrival of friends. From Big Media, the those platforms is a good thing for third installment of real-life nathe marketplace and it’s making ture series My Animal Friends everybody sit up. Parents are now will be premiering on JimJam at thinking in certain markets: do I the end of the year. have Netflix? and do I have my ex isting kids cable offering?” Rayson Nickelodeon’s Borkent agrees Charlotte Wood says this highlights the importance with the need for digital spin-offs of content being developed from and second-screen experiences. the outset as a transmedia offer“Kids today are being ‘digitally ing, and puts the emphasis on how fluent’, completely changing the way they consume and engage with our content. It’s now part of everyday kids stories can be told across different devices and platforms. and ‘tween culture to simultaneously engage with our Raydar brings Remark Media’s Magic Hands to Cannes, content across multiple platforms so it’s essen- a show that is aimed at deaf and hearing children, comtial for us to offer multiplatform program- bining sign language and the spoken word. “We’re workming experiences — providing a digital ing with that and are hoping to break new ground,” Rayextension and experience of the show.” son says. “Obviously there will be relatively few markets The recent launch of the Nick app as where we can sell it as a finished show because each well as My Nick Jr in France and market uses different sign language. But we are looking the US, are timely examples of at a format, and ways of adapting it to different markets Nick’s drive to create “a tru- using their own sign language. It’s a finished show offerly immersive experience” ing and a re-versioning opportunity.” Also on the slate is Blue Zoo’s Oliver The Ostrich and across all platforms. In terms of content, Bor- AlphaBlocks, both of which could be described as kent says comedy is time- educational — a label Rayson says can be quite diviless and universal. “Kids sive. “Buyers and commissioners generally don’t want like to laugh, regardless something that is just labelled an educational show,” of age, and their appetite for she says. “But if it’s genuinely a show that is first-andcomedy is only getting big- foremost an entertainment show but with educational ger. Comedy with heart is our values — that sort of hybrid does work. But it has to be key ingredient at Nickelodeon.” entertaining in the first place.” AlphaBlocks is a case in And dramedy — the fusion of com- point. It’s a show that has been created to teach children edy and drama — is also making its to read in the fastest, most-fun way possible, but at its mark with kids. “Grachi, our highly heart it’s a phonic show that’s been made in an entersuccessful telenovela from Nick Latin taining and accessible way.

Apps and digital are expected from many children as an add-on to their favourite TV show

Hooba Jooba (Guru Studio)

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Kids today are being ‘digitally fluent’, completely changing the way they consume and engage with our content Jules Borkent

Noksu (Evergreen)

On the pre-school animation front, BBC Worldwide (BBCWW) is showcasing Dinopaws, an animated series about three very inquisitive dinosaurs on a mission to explore the world (50 x 11 mins and 1 x 22 mins Christmas special). Canadian animation studio Guru, co-producer of Dinopaws, also brings Hooba Jooba to Cannes, a new property in development, based on an award-winning student film by Max Swiecki. “It caught our eye at the Toronto Youth Shorts Film Festival in 2013 and we are really excited about working with and developing a promising new talent,” Guru Studio’s president and creative director Frank Falcone says. “Hooba and Jooba, the two hairiest exchange students ever, are coming to push our buttons. All of them. At once.“ BBCWW is also showcasing The Numtums (52 x 11 mins) a CBeebies/BBCWW co-production which features animated creatures with numbers on their stomachs who play maths games for kids. For the tween and teen age range, Harriet’s Army (1 x 90 mins) picks up on the current interest in World War One, telling the story of a 14-year-old girl who gets caught up with adventures on the home front. Another new live-action drama at MIPTV is All3media’s Rocket’s Island, a Lime Pictures Production for CBBC. Following Lime’s success with House Of Anubis, the first Nickelodeon series to be filmed outside of the US, Rocket’s Island (13 x 30 mins) follows the adventures of its teenage cast through the picturesque villages and rolling hills of rural Wales. “The storylines are strong and intriguing, family and character based,” Neil Bailey, All3media international commercial director, says. “The piece has real universal appeal and a timeless quality. Lime Pictures has real pedigree in this genre and their expertise and experience certainly stand them in very good stead here.” A taste for nostalgia is another emerging trend — but with a fresh twist. In a unique mix of CGI animation and live-action models, Thunderbirds Are Go! (working title) re-invents the classic Thunderbirds series that debuted 50 years ago. ITV Studios and New Zealandbased Pukeko Pictures, in collaboration with worldfamous Weta Workshop (Avatar, King Kong, The Lord Of The Rings) are to co-produce the 26 x 30 mins series. Andrew Smith, CEO of Pukeko Pictures, says the

focus is on “family values, heroism and generosity”. With global collaboration in the kids market on the increase, a ground-breaking example is China’s CCTV Children’s Channel linking up with Sesame workshop, the non-profit educational organisation behind Sesame Street. Happy New Year is a series aimed at encouraging children to learn about Spring Festival, and in a segment called Chinese New Year, Elmo, Cookie Monster and Lily chat with hosts about traditions and customs. It is the first in-depth co-operation between the two partners and features Ju Ping, one of CCTV’s most well-known children’s hosts. The Australian Children’s Television Foundation (ACTF) is eager to see the reaction from buyers to its potentially trend-setting new factual entertainment series MY:24. “It’s the first time we’ve ever had one of our shows screening at MIPDoc,” Tim Hegarty, ACTF international sales manager, says. “Twenty-six young people chronicle the impact of a life-changing experience within a 24 hour period — expressed in their own words and using their own images.” Hegarty says there’s a desire for programming that’s more original and more willing to take risks. “MY:24 has really tapped into that, with its master interviews – the filmed equivalent of selfies – family archival material, clever graphics and entertaining facts. It won’t be everyone’s cup of tea, but that’s something the ACTF prides itself on: bringing shows to the market that push the boundaries”. Another documentary on the ACTF slate is series two of Bushwhacked! It has already been sold to Super RTL (Germany) and Discovery Network (Asia) prior to its official launch at MIPTV. ACTF will be conducting a great deal of follow-up activity on live-action comedy series Worst Year Of My Life Again! which was launched at MIPCOM Junior last year. It has already sold to Disney Latin America as well as SVT (Sweden), NRK (Norway) and YLE (Finland).

Guru Studio’s Frank Falcone

Nickelodeon’s Jules Borkent

As kids TV continues to fuse with other digital entertainment Guru’s Falcone points says that it won’t always be enough to produce associated content or an app for tablets and smartphones. “Kids will either engage with your second screen offering or pass it over for some other, unrelated video game — so it had better be good,” he says. And it can be a two-way street: Falcone says the trend to look out for is the phenomenon of watching recorded video-game play with commentary and e-sports. “The Twitch network is the fourth-largest consumer of internet bandwidth after Netflix, Google, Apple,” he says. “This stuff is big.”

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FEATURE CONTENT FROM ANYWHERE

A world of entertainment

The marketplace is full of content beyond the headline productions from those countries considered to be the leading providers of filmed entertainment. Creativity today is coming from all corners of the world and broadcasters worldwide are no longer ignoring it. Andy Fry reports

NGLO-American content and global formats tend to dominate the world’s entertainment news. But increasingly there is a robust and dynamic business for completed shows that originate outside of the major — largely English-speaking — content hubs. Proof of this comes from the Spanish-speaking Americas, where leading companies such as Televisa Internacional, Telemundo Internacional, TV Azteca, Telefe International and Caracol enjoy consistent success when exporting their telenovelas around the world. Mexico’s Televisa, for example, generated around $420m from the sale of its content in 2013. While some of this total is attributable to the company’s fast-growing formats business, a significant share is from the sale of original-version telenovelas. Initially, Televisa built its tape-sales business by selling content into other Spanish-speaking territories. But a combination of low-cost, high-volume and relatable storytelling soon won it fans in Eastern Europe. More recently, the company has started to see strong interest in its product from Asian and African buyers. Africa has proved to be a particularly interesting market because recently launched, budget-restricted networks are able to fill large parts of their schedule with highquality LatAm content. There is one problem, however. Many African channels are unable to cover the cost of

dubbing into local language. Televisa’s solution, perhaps ironically, has been to dub into English and French — languages that are widely spoken across the region. Telemundo Internacional is also a key player on the international market, with its content airing in 120 countries and dubbed or subtitled into more than 40 languages. Like Televisa, it is a strong presence in Africa, recently selling an English-dubbed version of La Patrona to Joy TV in Ghana. That, says Melissa Pillow, sales director of Europe for Telemundo, is the latest in a run of sales to Ghana, where the company’s telenovelas “have a long history of success”. As for La Patrona itself, “it is one of the top-rated Telemundo Internacional telenovelas of all time”, Pillow says. Aside from sales into LatAm, it has aired in markets as far afield as Israel, Greece, Indonesia, Cyprus, Romania and Georgia. As for other parts of Africa, it is currently proving a hit in Kenya — where is airs on Nation TV in primetime Eric Welbers — Uganda, Angola and Mozambique, and will soon launch in Zambia, Nigeria and Tanzania. As La Patrona illustrates, Eastern Europe continues to

Ten years ago, most buyers wouldn’t have showed much interest if I’d tried to sell them a German-language drama. The market is very different now

FEATURE TELENOVELAS STILL GOING STRONG TELEVISA is one of the world’s largest content producers and exporters. At MIPTV, it will present a range of scripted and non-scripted titles including telenovela El Color De La Passion and entertainment formats Project Adam & Eve and Mad Mall. Televisa Internacional (TI) general director for Europe and Asia Richard Ehrsam says: “Our telenovelas continue to do great business in regions like Eastern Europe, Asia and across Latin America. But we are also seeing growth in Africa and Western Europe. Western Europe never used to be a good market for us, outside Spain, but the economic downturn means there is more demand for long-running scripted shows like ours. We recently completed our first dubbed telenovela deal in France.” Ehrsam is also overseeing TI’s activities in non-scripted on a global basis. He says: “We have formed a joint-venture with La Competencia in Spain to create non-scripted formats for the global market. At MIP we will introduce four new titles.” According to Ehrsam, Televisa is well-placed to succeed in non-scripted for a number of reasons: “A lot of companies struggle to get good format ideas off paper and into production. But we have channels where we can make these shows a reality. We also have a strong distribution network around the world thanks to our existing telenovela business. This, combined with our development partnerships, puts us in a strong position.”

Project Adam & Eve (Televisa)

Zodiak Rights has enjoyed success with French drama The Returned

be a strong market for Telemundo. Other titles to have sold there recently include Forbidden Love, picked up by Pop TV in Slovenia; Broken Angel, licensed in markets including Albania, Georgia, Moldova and Romania; and My Dear Handyman, a Telemundo/Globo coproduction that has been sold to Moldova and Romania. Demand for ready-made content from continental Europe is also strong. If anything, the last few years have seen a growth in interest, says Beta Film’s managing director, Eric Welbers. “Ten years ago, most buyers outside a few core markets wouldn’t have showed much interest if I’d tried to sell them a German-language drama. But the market is very different now. There’s a much greater willingness among buyers to innovate with their choices.” It’s not just German shows that are benefiting, according to Welbers. “Our catalogue consists of shows from right across continental Europe, many of which are selling well in their original version, even in Englishlanguage markets where there is no history of watching dubbed or subtitled shows,” he says. He adds that Belgian thriller Salamander is doing well on BBC Four and also sold to Scandinavia, the Netherlands, Greece and Serbia/Montenegro. Italian crime series Gomorrah will air on Sky UK, Benelux and HBO Nordic, while Germany’s Generation War has sold to BBC Two, SBS Australia, Belgium and Scandinavia. “We’re also seeing interest worldwide in Spanish dramas, including Velvet and Grand Hotel, which aired on the Hulu platform in the US,” Welbers says.

The Beta Film chief cites three reasons for this strong set of performances: “The first is media fragmentation. More dubbed or subtitled shows are finding their way into new markets and then building audiences. If they succeed on services like Hulu or BBC Four in the UK, it’s easier for mainstream services to justify similar acquisitions.” The second key factor has been increased innovation from drama producers in smaller or emerging markets. “A lot of producers realised there was no point trying to compete with US content on much smaller budgets,” Welbers says. “So they focused more on innovation. That has really worked for markets such as Scandinavia and I’m starting to see some very brave, non-traditional drama from other places. One example of this is TV3 Spain’s The Red Band Society, which has been selling as a completed show and format internationally.” Finally, Welbers adds, there has been a beneficial side effect from the growth of the formats business: “Fans who see the formatted version of a show first are often interested in what the original looked like. With so many niche and on-demand platforms, it means that these native-language shows can now also find homes.” Welbers’ assessment is echoed by Caroline Torrance, recently appointed head of international scripted at Zodiak Rights. “We have had fantastic success with French drama The Returned [produced by Haut et Court], which was the most exported French drama of 2013,” she says. The Returned has sold to 70 countries, including the

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FEATURE UK (Channel 4), the US (Sundance), Latin America (HBO LatAm) and South Korea (AXN). This comes in addition to sales for Braquo (France), Wallander (Scandinavia) and Millennium (Scandinavia). Braquo, for example, has sold to 90 territories, including the US (Hulu), the UK (Fox), Italy (Fox International Channel; RAI Cinema), Poland (Canal+) and Turkey (SinemaTV). Wallander sold throughout the Englishspeaking countries and Eastern Europe, while Millennium sold worldwide. For Torrance, the success of non-English titles in English-speaking markets is down to the quality of the stories on offer: “The message is that well-written shows like The Returned, Braquo, Wallander, The Killing and Borgen will travel regardless of language difference. But there’s an added point, which is that they give audiences a different look and feel to what they are used to.” So dynamic is this market right now that it is also giving rise to dramas that work across more than one language, Torrance adds. This approach was pioneered by titles including Lilyhammer and The Bridge, and will now also feature in a new series from Zodiak. “The show is called Occupied and imagines a world in which Russia has orchestrated a silk-glove invasion of Norway,” Torrance says, adding that the drama is being co-produced by Yellowbird (Scandinavia) and GTV (France) and will be filmed in a combination of Norwegian, French and English. Like Welbers, Torrance says the surge in demand for ready-mades is not just restricted to the English-speaking markets: “We have always done well with dramas like St Tropez, which has been broadcast in 120 countries. But it’s true that there is a wider pool of broadcasters willing to look at shows. We have just licensed a package to Pan-Asian broadcaster CinemaWorld that includes titles from Yellow Bird and GTV. We have also just sold GTV’s The Blue Bicycle to China’s CCTV6.”

The success of such shows means Torrance is actively looking for ready-made non-English drama from thirdparty producers. “We are also looking at whether buyers’ interest might extend to other genres,” she adds. “At MIPTV, for example, we are presenting the Scandinavian comedy Solsidan, which has already aired for five seasons.” For Torrance, committed attention to ready-mades has an added bonus, “which is that it can also lead on to format deals. In the case of The Returned, we have licensed both the completed show and the remake rights to Sky Italia and Channel One in Russia.”

The message is that well-written shows like The Returned, Braquo, Wallander, The Killing and Borgen will travel regardless of language difference

The success of Spanish-speaking Americas and Western European native-language drama is now also being emulated by Turkish content. As with Spanishspeaking content, Turkish drama initially found success in countries that are culturally or geographically close, notably The Middle East. From there, how- Caroline Torrance ever, Turkish shows have started to make serious inroads into other parts of the worlds, both in their original form and as formats. First to ride the Turkish wave was Eastern Europe, where titles such as Magnificent Century, 1001 Nights and Lovebird have all been doing good business for leading Turkish distributor Global Agency. The last of these dramas, for example, has recently been sold to Domashniy TV in Russia and 1+1 in Ukraine. The latter is a commercial network that previously acquired Magnificent Century. Like LatAm telenovelas, Turkish drama benefits from the fact that it is available in high volumes — Lovebird, for example, is 270 hours. But there is also a universal

1001 Nights has been doing good business for leading Turkish distributor Global Agency

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French series Braquo, doing good business across territories for Zodiak Rights

appeal in the storytelling, suggests Catherine Stryker, New York-based head of sales at Global Agency. “Turkish storytelling tends to feature a strong central romance and complex relationships between extended family members. This makes them relatable to countries with similar audiences, often found in emerging markets,” she adds. Building on its success in Eastern Europe, for example, Global Agency reports strong interest in its series and formats from Latin America and Asia. Having said this, Stryker admits that some markets are more open to completed shows than others, which is why it makes sense to control rights to both the completed show and the format. “In the Latin and Hispanic territories, the market for scripted formats is more buoyant because audiences prefer to see their own popular actors and actresses,” she says. “Many of them have huge fan followings, so a Turkish script that ticks the boxes for romance and complex relationships combined with Latin talent is an interesting hybrid.”

A Turkish script that ticks the boxes for romance and complex relationships combined with Latin talent is an interesting hybrid Catherine Stryker

The appeal of Turkish drama has not been lost on distributors in other geographic zones. Scandi sales house Eccho Rights, for example, has been successfully sell-

ing shows from Turkish producer Ay Yapim. Examples include The End, a taut drama that tells the story of a woman who is told her husband has died in a plane crash, only to discover that he wasn’t onboard. Sold in 35 countries as a completed show, The End has now been picked up as a format in Russia, Germany and France, as well as by US network Fox. Eccho is also distributing a new Ay Yapim drama called Kurt Seyit & Sura. Based on bestselling novels, it tells the story of a Crimean soldier who falls in love with the daughter of a noble Russian family. “The production has an ambition and budget that is far beyond anything previously done in Turkey,” says Fredrik af Malmborg, managing director of Eccho Rights. “The first series has 13 episodes, making it suitable also for audiences in the West.” This is an important point, because one way of achieving a competitive edge when selling completed shows is to make sure they are presented in the most convenient way to buyers. In the case of Kurt Seyit & Sura, a dubbed version will appear on MBC in the Middle East just a few days after it has launched in Turkey, echoing the shift towards shorter windows that is also occurring with high-profile US content. In the case of another show, Karadayi, Eccho has closed a deal that will see simultaneous broadcast across Qatar TV, CBC in Egypt, MTV in Lebanon and Rotana in the Gulf. This is more complicated than the traditional approach, which involves doing a single

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FEATURE deal with a pan-regional channel, but Af Malmborg believes it will bring benefits: “Working with four broadcasters is a new way of doing business in this region and it has empowered them. By bringing them together in a synchronised run, their position in the local market improves.”

Hit show Brazil Avenue has been sold to markets including Russia, Portugal, Greece, Hungary, Croatia and Kazakhstan

Another well-established content hub is South Korea, which has had the kind of impact on Asia that Hollywood has had in Europe and Latin America. Starting from around 1995, Korean drama has grown to be a significant force in markets including Japan, China and Taiwan. In 2010, the KBS drama Iris became the first foreign drama in 15 years to air in Japanese primetime, where it gained a healthy 10% share. Like Spanish-speaking and Turkish content, Korean drama is now starting to break out of its traditional markets, aided by exposure on internet platforms such as DramaFever, Netflix and Hulu. A case in point is Nine: Nine Time Travels, a drama from tvN that has sold to 37 countries. The story of a man who discovers the ability to travel back in time, Nine was picked up in its completed form by Hulu before securing a format deal with ABC in the US. Korea is not the only Asian country achieving export success, however. Japanese public broadcaster NHK, best known in western markets for its factual programming, has been doing well with morning serial drama Carnation and historical drama Taiga, both of which are licensed to Myanmar’s MNTV. Even more impressive has been another morning serial Ama-chan, a hit comedy that generated an audience

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share of 23% in Japan last year — the highest score for this category in the last decade. Now, the show has been sold to Taiwan, Indonesia and Thailand, where it has been dubbed into Thai for broadcast on cable and satellite platform TrueVisions. Perhaps most surprisingly, says NHK Enterprises, which distributes the show, it is available with English subtitles on cable in Hawaii, where it is targeted at people of Japanese descent. Given the global market’s openness to new ideas, the big question is what other markets might start cashing in. One obvious candidate is Brazil, which has started to have the same kind of success as its LatAm neighbours in the telenovela arena. Globo’s hit show Brazil Avenue has been sold to markets including Russia, Portugal, Greece, Hungary, Croatia and Kazakhstan — not to mention the rest of Latin America. Other key deals include the sale of a slate of telenovelas to Serbian channel Happy TV and, perhaps more unusually, the sale of The Life We Lead to Sweden’s SVT2. Indian content has proved its popularity on the world stage in the form of Bollywood movies. But now companies including GoQuest Media Ventures are starting to make inroads with TV content too. With a slate that contains titles such as Bade Ache Lagte Hain, Pyar Ka Dard Hai and Kya Hua Tera Vada, GoQuest says it has syndicated Indian TV shows to channels in countries including Bosnia, Montenegro, Kenya, Nigeria, Uganda, South Africa and Fiji. What is evident, however, is that the traditional barriers to audiovisual content have been broken down for good. So who really knows where the next breakthrough show will come from?

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FEATURE VIDEO-ON-DEMAND

Top Boy, season two (DRG)

Video on demand: making it pay Content distribution has become incredibly complex in the digital age. But companies with quality shows, sophisticated rights-management systems and strong negotiation skills are starting to generate decent revenues from on-demand. Andy Fry identifies eight basic rules to make that happen 1 Control as many rights as possible Producers and distributors are in a weak position if they go to the international market with an incomplete set of programme rights, says Jonathan Ford, Content Media’s executive vice-president of Content Television & Digital. “It’s common to give up some rights in the commissioning market, where broadcasters want a catch-up window,” he says. “But if you go into the international market without all rights, you find that your options are very quickly restricted.” One typical scenario, Ford says, is where a pay-TV channel is required by the platforms it is on to buy shows with VOD rights, so that the shows can be aired across multiple devices — a TV-everywhere scenario. “If you don’t have those rights, then some acquiring broadcasters won’t be in a position to do a deal.” Cinephil managing director Philippa Kowarsky, who specialises in documentary co-production and distribution, agrees with Ford’s assessment: “I’m always telling producers to be careful about the deals they do so they

are not spoiling a bigger opportunity. They don’t want to give up catch-up rights in one territory and then discover that they have jeopardised a more lucrative panregional rights deal.” One way that distributors make sure rights do not go missing is to become involved at the earliest stages of the domestic commissioning process, advises DRG commercial director Wayne Davison. “In the case of the Channel 4 drama Babylon [co-directed and produced by Danny Boyle], we invested in the production of the show, which means all the issues regarding rights are being handled strategically,” Davison says. “That makes sense for the producer because the way you maximise revenues is Philippa Kowarsky by reaching as many eyeballs as possible.”

I’m always telling producers to be careful about the deals they do so they are not spoiling a bigger opportunity

FEATURE These days when we are developing or distributing a series, we talk to the larger VOD players at the same time as the broadcasters Richard Goldsmith Netflix has ordered two new seasons of eOne’s Trailer Park Boys

2 Don’t view VOD as an afterthought Karen Vermeulen, senior vice-president of global sales and co-production at Zodiak Kids, says that a show’s VOD strategy needs to be developed alongside its broadcast strategy. “Today’s market is potentially very good for content-owners,” she says. “But it requires smart windowing to unlock the true value of your content. If you only look at VOD after you have done your broadcast deals, then you’ll probably miss out.” The Jim Henson Company’s executive vice-president of global distribution, Richard Goldsmith, agrees: “We have been a prolific supplier to VOD platforms like Netflix, Hulu and Amazon since the market first emerged. These days when we are developing or distributing a series, we talk to the larger VOD players at the same time as the broadcasters. In many ways, their desire for exclusive or original content means they are just a different kind of TV platform.”

Amazon and CBS worked together on Under The Dome, a series from Stephen King and Amblin

An example that backs up this point was a recent deal that saw Amazon Prime revive crime series Ripper Street after it was cancelled by its domestic broadcaster, the BBC. In that case, Amazon will premiere the new series — season three — before it goes on to the BBC a few months later. Amazon also secured the UK subscription streaming rights for the first two series of the show. More evidence of Amazon’s increased ambition came when it struck a deal with US network CBS to stream Extant from Steven Spielberg’s Amblin just four days after broadcast on TV. Previously, Amazon and CBS worked together on Under The Dome, a series from Stephen King and Amblin. “Our partnership for Under The Dome helped build a creative, financial and marketing model for event TV in the summer,” says Scott Koondel, senior vice-president and chief corporate content licensing officer at CBS Corporation. “We look forward to using the same model for Extant, a series whose creative auspices, on-screen talent and intriguing concept, is generating excitement.” Netflix is making similar moves. Its investment in House Of Cards is analogous to Amazon’s Extant. And, echoing the Ripper Street story, the company has ordered two new seasons of Trailer Park Boys, an eOne series that was shut down after seven series in Canada. Seasons eight and nine will debut on Netflix around the world, as will the first seven series, which Netflix has also acquired. Another indicator of how windowing priorities are changing was ITV Studios Global Entertainment’s recent decision to put new episodes of drama Mr Selfridge on sale via iTunes three days before they were due to air on free-to-air channel ITV1. This electronic sell-through strategy was used for every episode in the show’s second season, which began in late January.

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The Bletchley Circle (Content Media)

3 Ascribe a value to every right Free TV, pay TV, catch-up/holdback, subscription VOD, advertising VOD, electronic sell-through (aka download-to-own), exclusive/non-exclusive, national/panregional, DVD/video, multiscreen… There are many permutations to consider when allocating rights, says Content Media’s Ford, whose drama slate is headlined by The Fall, Line Of Duty and The Bletchley Circle. “But it’s important to consider them all carefully so that you maximise the return for producers,” he says. “We are always careful to make sure that the rights we licence are going to be used properly by the buyer, because we don’t want to be in a position where we grant a right and they then go on to sub-licence it to another platform.” If there is a potential for conflict here, it is the grey area where broadcaster catch-up/holdback rights and subscription VOD rights overlap. For content-owners, lengthy catch-up periods can equate to lost revenue unless the broadcaster has explicitly paid for them. The

best defence against this is to have great shows, because this encourages broadcasters to grant rights concessions.

4 Try to keep everyone happy Broadcasters are feeling threatened by the rise of independent VOD platforms. As a result, they are becoming more demanding in terms of the kind of rights they want to secure at the point of acquisition. For distributors, this can be a challenge, says Zodiak’s Vermeulen. “It’s important to support your broadcast partner, particularly in kids, where there are additional considerations about exposure for ancillary market products,” she says. “But as a content-owner, you also want a healthy, competitive market. So the key is to try to create a windowing strategy that suits everybody.” In one respect, this is getting a bit easier to manage now that the bigger on-demand platforms have become more selective, says DRG’s Davison: “At first they were buy-

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ing big volumes of content, but now they have looked at the matrix and worked out what audiences really want. So they are coming back to distributors with much more selective content requirements.” Some distributors can keep competing VOD players happy by offering non-exclusive access to content. For example, BBC Worldwide recently granted Hulu access to around 100 of its titles for use on premium and ad-supported platforms. However, it also has similar arrangements in place with Netflix and Amazon. Tailored elements can be added to partnerships — for example, when Hulu and BBC Worldwide co-produced comedy series The Thick Of It and The Wrong Mans.

5 Know what VOD platforms want As the last point suggests, VOD platforms are becoming clearer about what they want. Netflix, Hulu and Amazon have all made it clear that their biggest TV successes are exclusive first-run dramas, comedies and box sets. In the case of factual, they tend to cherry pick high-end event documentaries, but are not so interested in factual entertainment. One growth area is children’s content, since this is a good way to lock in family subscriptions. A classic VOD play was the recent deal that saw Amazon’s Prime Instant Video become the exclusive subscription streaming home of sci-fi drama Orphan Black, produced by Temple Street Productions in association with BBC America and Bell Media-owned channel

Space. The deal, brokered by BBC Worldwide North America, covers season one (already aired) and all future seasons. Explaining the rationale, Brad Beale, Amazon’s director of digital video content acquisition, says: “Orphan Black is exactly the type of smart, suspenseful TV show our customers love to binge on.” Theoretically, this VOD deal could undermine BBC America’s ownership of the brand. But that is not the judgment of Matt Forde, executive vice-president of sales and co-productions for BBC Worldwide Americas, who expects the two to reinforce each other. “Prime Instant Video is a great platform for viewers to enjoy our content,” Forde says. “Now is the perfect time for subscribers to get on board Orphan Black and catch up on season one before the series returns to BBC America in April.” Archive is of interest, but it has to be of good quality and be as complete as possible. Televisa, for example, did a deal that saw Netflix secure 3,000 hours of its telenovelas. Zodiak’s Vermeulen says her company’s shows, which include Totally Spies and Little Princess, have been strong VOD performers “because they are quality shows with lots of episodes. The VOD platforms aren’t interested in picking up any dusty old archive show any more.” DRG’s Davison agrees, saying his company has “crown jewels like Doc Martin and Shameless that do very well in VOD”.

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6 Explore the role of local, niche or smaller players

Doc Martin: “does very well in VOD”

For most content-owners, Netflix, Amazon and Hulu are the first names on their consideration list — assuming their on-demand rights have not been swallowed up as part of their broadcast deals. But it pays to do your homework on the local VOD platforms, such as Blinkbox (UK), Dailymotion (France), Watchever (Germany), Tencent (China) and DLA (Latin America). DLA, for example, has done deals with content-owners including Paramount, Sony, Universal, Fox, Disney, Lionsgate, the BBC and HIT Entertainment. Watchever’s recent content deals have included the acquisition of Nordic drama The Bridge and German teen series Wolfblood, plus kids shows such as H2O: Just Add Water and Dance Academy. Some of these platforms are big players in their own right. Dailymotion has a multi-territory audience of 120 million and recently launched drama series The Dark Prophet exclusively on its platform. In some markets, VOD platforms are taking up the role that pay-TV platforms usually play. In China, for example, platforms including Tencent and Sohu have been avid buyers of content. Tencent has bought UK dramas such as Doctor Who and Merlin, while Sohu acquired 100 hours of factual programming including I Shouldn’t Be Alive and Built From Disaster from ITV Studios Global Entertainment. Among the niche VOD services, Davison says DRG has

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recently done a deal with DangerTV, a new online platform that specialises in anything dangerous. “The emergence of these platforms is good for distributors because it means increased competition,” he adds. Content’s Ford agrees that competition is good, but says it is also important to look at the business model of the platform in question. “There’s a difference between accepting a licence fee or a revenue-share because of the impact that has on cashflow.”

7 Monitor the market for broadcaster-owned VOD platforms Broadcasters are moving fast to launch their own VOD services before Netflix and Amazon arrive or establish themselves. One example among many is Sky Deutschland’s Snap, which will make VOD content available to subscribers and non-subscribers — at a price. Should Netflix decide to launch in Germany, it will now face competition from Snap, Amazon, ProSiebenSat.1’s Maxdome and Watchever. The broadcaster-backed VOD platforms are valuable partners for content-owners. ITV Studios Global Entertainment, for

Watchever’s recent content deals have included German teen series Wolfblood

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8 Consider how piracy and YouTube affect windowing

The VOD platforms aren’t interested in picking up any dusty old archive show any more Karen Vermeulen example, has recently done a deal in Singapore with MediaCorp VOD service Toggle, which will deliver more than 200 hours of programming annually, including Hell’s Kitchen USA and May The Best House Win. Toggle also picked up 580 hours from FremantleMedia International and 700 hours from Celestial Tiger Entertainment, which represents Lionsgate in Asia. Telco-backed VOD platforms are another key market. In Korea, IPTV platform KT Mediahub acquired 150 hours of drama, entertainment and factual content from ITV Studios Global Entertainment, including Agatha Christie’s Marple, Case Histories and Murdoch Mysteries.

Game Of Thrones, the most illegally downloaded TV series of 2012 and 2013

HBO’s fantasy drama series Game Of Thrones was the most illegally downloaded TV series of both 2012 and 2013. The finale to season three had 5.9 million illegal downloads, according to file-sharing website TorrentFreak. TorrentFreak cites various reasons for this extraordinary level of piracy. One is that HBO is very protective of its content, keeping it in the premium pay zone and not allowing it out on to Netflix in the US. Another is that there is often a time lag between the US debut and the international debut. Australia, for example, experienced high levels of piracy around season two because of a week’s time lag. HBO has done some VOD deals, for example with Google Play and Blinkbox in the UK. But the message to other content-owners is to reflect on whether their windowing strategy is likely to encourage piracy or not. Some broadcasters around the world do not like to move too quickly after the US, because they want to see how shows have performed. But most have realised they are losing precious audience to pirates and are now closing up the gap on top shows. Israel, for example, shows HBO content within hours of it airing in the US, having already translated it into Hebrew. Issues also arise with YouTube, according to DRG’s Davison, “because a lot of content is put up by the audience”. He adds: “That raises questions about whether you remove it or try to monetise what’s already there.”

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