Miptv 2014 news 3

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DAY

Wednesday 9 April 2014

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MEDAILLES D’HONNEUR 12 2014

presse

Four industry luminaries are honoured tonight at a gala dinner where they will each receive the MIPTV 2014 Medaille d’Honneur

MIP DIGITAL FRONTS

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Today, MIPTV introduces the new international screenings for original online video

JUNIOR AT MIPTV

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The first Future Of Kids TV Summit yesterday included a Media Mastermind Keynote by Interlude’s Yoni Bloch

TWITTER AMPLIFY

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Deb Roy, Twitter’s chief media scientist, introduced a new service that drives Twitter users to television

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32 episodes (44 hours & 5 mins) | Entertainment |

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01/04/2014 12:19

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Back where he belongs The X Factor UK with judge Simon Cowell, now available for international distribution

Stand Croisette 11 Cannes www.fremantlemedia.com

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01/04/2014 12:20

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CONTENTS IN PICTURES

+ hedule

Sc rence Confe me program P46–49

6 Cannes by day

NEWS 8 Market news including stars, deals and conferences 2014

MIPTV 2014 MEDAILLES D’HONNEUR

Tonight four industry luminaries are honoured at a gala dinner where they will each receive the MIPTV 2014 Medaille d’Honneur

Konstantin Ernst

Dr Herbert Kloiber

Marion Edwards

Tim Worner

FEATURE 53 Reflecting brand values

miptv neWs 3 ®

The official MIPTV daily newspaper Wednesday 9 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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We Proudly Congratulate Our very own

Marion Edwards and

Konstantin Ernst Herbert G. Kloiber Tim Worner MIPTV Médaille d’Honneur Award Recipients

From All Your Friends and Colleagues at

TM & © 2014 Twentieth Century Fox Film Corporation. All rights reserved.

IN PICTURES

Cesar Domboy and Pauline Burlet, stars of Resistance, in Cannes for TF1’s mini-series about young freedom fighters living under German occupation

TOSHIAKI Baba from NexTV (left) and Yohei Yamakawa, Nippon Television Network’s senior director, programming, are taking part in a MIPTV screening and session tomorrow at 10.00 in the MIPCube 4K Theatre.

The session, which is presented by Baba on behalf of NexTV (Next Generation Television & Broadcasting Promotion Forum), showcases the latest 4K productions.

Another speaker alongside Nippon Television’s Yamakawa, will be Katsunari Itoh of Sky Perfect TV. NexTV Forum is a forum of companies involved in the creation of 4K and 8K Ultra-HD technology and standards

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miptv

WOOK Jung ‘Bad Cook’ Lee is on a global food adventure at MIPTV. The KBS food and travel producer, who trained as a Cordon Bleu chef, is in town to whet appetites for his latest cooking show, Food Odyssey (8 x 50 mins). The 4K series, which was filmed in 23 countries, from the North Pole to the Sahara, is the sequel to Lee’s Peabody Award-winning Noodle Road. “Food Odyssey is an interesting combination of cooking show, historical documentary and anthropological study,” Lee said of his latest culinary venture, which has already been sold to TVB in Hong Kong

ZDF’s Nicole Keeb with Hopster’s Nicholas Walters (right) and consultant Howard Litton at the cocktails following the inaugural Future Of Kids TV Summit. The Summit, which was the first in a new strand called Junior At MIPTV, brought together 80+ creative strategists to discuss digital disruption in creation and distribution in the kids’ sector

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Drama/Suspense Series (2014) • 20 x 60 minutes

MIPTV / C15.A5

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NEWS Executives explore Israel’s burgeoning global appeal

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SRAEL is currently a hotbed for scripted and unscripted TV formats alike, with the global success of Homeland — based on Israeli drama Prisoners of War — spearheading a new wave of dramas travelling beyond their home country.

At MIPTV yesterday Israeli executives convened at a Focus On Israel panel called How To Create Successful Scripted Formats/ Dramas.

The panel included Avi Armoza, CEO, Armoza International Media; Revital Basel, vice-president sales, Dori Media Group; Ehud Miron, president and CEO, Ananey Communications; Yoram Mokady, vice-president content, HOT; and Keren Shahar, head of distribution and acquisitions, Keshet International. It was moderated by World Screen’s group editorial director Anna Carugati.

“When you sell a non-scripted

Zig Zag’s Danny Fenton (left) moderated another Focus On Israel panel, Innovation Seminar: From Startup To TV. The panel featured i24 News’ Frank Melloul, SatLink Communications’ Doron Revivi and Screenz Cross Media’s Eli Uzan

show, you sell a formula. But when you sell a scripted format, you sell a remake of a script,” said Armoza, on the advantages foreign broadcasters can find when buying Israeli scripted formats. “You buy three years of development, and the best Israeli scriptwriters sitting together for seasons one and seasons two. You can get quickly into something that is fully written and fully developed.”

The Wit’s Virginia Mouseler presented the Focus On Israel Fresh TV From Israel session. Explaining what sets Israeli programmes apart from others, she said: “There is an extra complexity, psychological layers that are very interesting”

Carloss hails the YouTube effect “FANS BLUR borders,” said Alex Carloss, global head of entertainment at YouTube in a Media Mastermind Keynote on what the world’s most popular online video community has taught us.

“25 million non-resident Indians get their favourite Bollywood movies on YouTube, French parcour was unknown until the first videos were posted on YouTube.

Now it’s in a Bond movie.”

And the impact can be economic too. Korean pop was low profile internationally until Psy went Gangnam Style on YouTube: two billion views later, K-pop is a $5bn industry.

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YouTube’s Alex Carloss

Carloss also discussed how YouTube’s fans benefited the brand’s bottom line.

When Frozen was released in

Ehud Miron tried to pin down why Israel had become a creative hothouse. “In a way the new world came to us, and not us to the world,” he said. “Until 1990 there was no television in Israel: one channel, black and white, government channel, very boring.

But the kids that are creating now grew up on MTV. Those kids are now are starting to produce.”

Yoram Mokady suggested a lot of talent had been waiting to burst on the scene when the Israeli TV industry opened up. He added that budgets were low because of the size of the country and “if you have a low budget, you better come up with a good story, because you can’t cover it up with bigger production values.”

2013, its beguiling soundtrack triggered a wave of cover versions which were posted on YouTube. Rather than sue for

copyright infringement, Disney decided to leave them be. They got thousands of views apiece and helped make Frozen the highest-grossing animated film of all time.

Following his keynote, Alex Carloss spoke with Shane Smith, co-founder and CEO of youthoriented transmedia group Vice, about the recent launch of its new global news channel Vice News, which is exploring new ways to gather and air news.

“News is not a monologue anymore,” Smith said. “We launched three weeks ago and we have 4,000 contributors around the world. We’ve covered the Crimea, Venezuela and Thailand already. We can live-stream without commentary if we want.”

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Drama Series (2014) •49 x 60 mins

MIPTV / C15.A5

tvinfo@entonegroup.com

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NEWS Morrod: UHD adoption ‘set to mirror HD’ within a decade

IHS Technology’s Tom Morrod

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HE UPTAKE of UltraHD (UHD) will closely follow that of HD, becoming part of the mass market within 10 years, MIPTV delegates heard yesterday.

“The technical ecosystems will be ready around 2017, and commercial mass market by 2023,” said analyst Tom Morrod, senior director, IHS Technology, in a presentation mapping UHD’s likely trajectories.

Morrod examined the entire supply chain from camera to TV, looking at the various take-up rates. “Cameras are available and affordable,” he said. “Some 14% of European studios have at least one 4K camera.”

“Live sports will probably be a big driver,” he said. “And several big broadcasters are committed to covering major sports events in UHD in the coming years.”

Getting 4K cameras into the hands of consumers is also easy. They start from as little as €500 ($690) and, as one delegate pointed out, at least five brands of smartphone now offer 4K cameras.

But quadrupling the numbers of pixels involved quadrupling the cost of distribution, and may require broadcasters to double their

frame-rate, doubling the space requirements once again. The kit required for compression needs to diffused to broadcasters and will be a significant bottle-neck in the mass market uptake of UHD. However, Morrod calculated that a pay-TV operation would start to make money from being able to charge enhanced premiums at just three per cent of UHD TV sets.

“UHD channels will benefit most from focusing on premium channels which cannot be met online,” he said.

UHD TVs are widely available at sizes from 50” to 110”. “Some smaller, cheaper TVs are becoming available down to 39”, though the benefits of sets smaller than 50” are diminished.”

But until the badging is properly standardised, the potential for consumer confusion — and disappointment — is rife. And if mass market kit doesn’t deliver, consumer confidence will suffer, as happened in the early days of 3D.

Trending with new media’s big hitters THE INTERNET is as different

a platform from television as television is from film, and it takes a different flavour of content to satisfy the wildly different expectations of digital consumers, according to Brent Weinstein, United Talent Agency’s head of digital media.

He was setting the scene for yesterday’s New Media Moguls Fireside Chat, which featured What’s Trending CEO Damon Berger and co-founder Shira Lazar, Cheezburger CEO and founder Ben Huh and Vimeo CEO Kerry Trainor.

Reflecting on the inspiration behind What’s Trending, Lazar — who hosts the daily YouTube show — said: “We came from the trenches of the digital community and we wanted to create something authentic and interactive for that audience.”

Berger added: “We saw an unbelievable opportunity to do more nimbly all the things we’d seen being successful in traditional

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media. And we wanted to fill the gap MTV left. It used to curate what was cool. We wanted to do the same with internet trends.”

Curation is also important to Ben Huh, whose Cheezburger Network now attracts half a billion views every month. “Curation is key because people are tired of making choices,” Huh said, noting that Cheezburger now has a staff of 50 people dedicated to “curating humour”.

Also important is making content natural to the devices used by your audience, which is increasingly becoming the smartphone. And the smartphone, Huh stressed, “is not a shrunk-down TV”.

A measure of Cheezburger’s success is that its revenue is now generated entirely from advertising. Huh, who was recently named by Newsweek as one of the world’s most influential digital disrupters, thought the flow of ad spend to online would increase as digital “stopped being

the f**king sideshow and started being the real thing”.

Meanwhile, Huh is set to take “a huge run at the big screen, because TV real estate is still something that advertisers are really interested in”.

For Vimeo’s Kerry Trainor, nothing beats turning passion into profit. “My favourite thing is when you know you’ve got something that really works and then you succeed in turning it into a business,” he said.

Trainor described the US video-sharing website’s mission as “providing super-high technology to empower creativity”.

Cheezburger’s Ben Huh: “a huge run at the big screen”

Vimeo’s Kerry Trainor: “empowering creativity”

United Talent Agency’s Brent Weinstein (left) with What’s Trending’s Shira Lazar and Damon Berger

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

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

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

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

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

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PROFILE

2014

Konstantin Ernst

If you don’t try new things, you are on your way to the junkyard With his strong understanding of audiences and willingness to take risks, Konstantin Ernst has helped to establish Channel One as the leading broadcaster in Russia

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ONSTANTIN Ernst, CEO of public broad-

caster Channel One, is regarded as one of the most influential figures in Russia. He has been in charge of Channel One since 1999, during which time it has established itself as the clear frontrunner in Russian TV. A lot of credit for the channel’s success goes to Ernst, who has demonstrated a strong understanding of what Russian audiences like. Talking to the MIPTV News, he says: “I believe that those dealing with television should love their profession and their viewers, as the viewers always feel this love.”

“Channel One is popular because we try to show the present time in all of its dimensions, even though it’s running faster and faster. I hope we are the common space for the Russian-speaking audience — the space people enter to learn something new and speak through their problems,” Ernst adds.

In terms of content, Ernst has invested heavily in Russian-produced drama and movies, a decision that has reaped rewards both in terms of ratings and theatrical distribution. He has also been very adept at picking the best of what the international market has to offer.

Local versions of formats such as Survivor, Dancing With The Stars, Who Wants To Be A Millionaire and The Voice have all rated well on Channel One. So have acquired drama titles such as Lost, Lie To Me, Boardwalk Empire, Suits and Sherlock.

“We watch all the new formats on the market, as global integration is the only way to give contemporary television the quality that today’s audience demands,” says Ernst, praising, in particular, licensed shows by Talpa, Sony Pictures, FreemantleMedia and Fox. Ernst describes The Voice as “an absolute champion. There are

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no traffic jams in the street on Friday, and the following Monday, people in offices discuss the latest episode.”

Even now, he is often entrusted with handling tent-pole live events. One example of this was the Russian-hosted 2009 Eurovision Song Contest, which was watched by 70% of viewers in Russia. More recently, Ernst oversaw the production of the Sochi Winter Olympics opening ceremony.

Those who know Ernst say one of his key attributes is his willingness to take creative risks. “If you are afraid to make a mistake, if you don’t try new things, you are on your way to the junkyard as a professional,” he says.

While Ernst’s big success has been driving Channel One’s audience share in Russia, he has also expanded the company’s activities in other ways. There is an international version of the channel and a digital bouquet within Russia that covers a range of programme genres.

“Even though new media offers lots of opportunities, they are focused on an individual content consumer.

As long as the society consists of people, nothing can cause such a great amount of discussion, argument, and preferences expressed, as a TV channel.”

Ernst has played a key role in building bridges between Russia and the rest of the world via Reed MIDEM’s programme markets.

At MIPCOM 2011, he brought a large delegation to celebrate the fact that Russia had been named Country Of Honour.

“MIPTV is a key industry event for us. We have many partners and old friends here, and we are eager to find new friends and partners.”

As for his Medaille, he says: “I am deeply touched. It is those who share your trade who see all your strengths and weaknesses that the audience may fail to notice. I thank my colleagues and hope to live up to this honour in the future.”

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WEDNESDAY 9 APRIL ST THOMAS PROD • 9.15

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LADIES FIRST • 10.15 4K clips including Fitness California Style

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FOURK • 14.00

4K factual show: ‘Mix’, the art of the cocktail

TERRA MATER • 15.00 The Mona Lisa Mystery captured in 4K

THURSDAY 10 APRIL NEXTV F • 10.00

4K Senior experts & productions showcases

NHK • 11.00 Spectacular 4K showcase ‘Human Life: Our Amazing Cells’

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PROFILE

2014

Herbert Kloiber

Our model is about organic growth Dr Herbert Kloiber has built Tele Munchen Group into one of Europe’s strongest media independents by attention to detail and taking opportunities when they arise

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ELE MUNCHEN Group chairman Dr Herbert G Kloiber is one of the media industry’s great survivors. Active in the business for more than 40 years, he has transformed TMG into one of Europe’s largest independent studios. Today, the company has interests in every part of the content value chain, from theatrical, broadcast and on-demand to distribution and production.

Proof of TMG’s continued significance came on the eve of MIPTV when the company extended a long-term partnership with Lionsgate. Under the terms of the deal, TMG has secured a new and expanded multi-year output agreement, covering the distribution of Lionsgate’s Summit label films in Germany and Austria in all media. The expanded agreement was negotiated in Berlin and closed in anticipation of the release of Summit’s adventure film Divergent in Germany and Austria on April 10.

Distributing high-quality US film and TV content into the German-speaking market has been one of the bedrocks of TMG’s business over the years. But it has also built up a very strong position as a producer and co-producer.

“We produce a lot of content specifically for Germany that the international market would not know too much about,” Dr Kloiber says. “But we have always played an active role in co-producing international content as well. Recent examples include Moby Dick, Flashpoint, Richard The Lionheart and Last Christmas, the story of the Von Trapp family which is due for release in 2015.”

According to Dr Kloiber, a big part of his company’s staying power has been its focused approach to identifying opportunities for growth. “Being an owner-led company as opposed to a management-led company has meant that we have not focused on aggregating our corporate clout through mergers and acquisitions. The danger with that is that you pay too much. Our model has been about organic growth and about choosing clear niches in the market instead of going into experimental areas.”

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That said, Dr. Kloiber has never been afraid to innovate when he is convinced there is a gap in the market. A pioneer in areas like drama co-financing and home entertainment distribution, one of the more recent additions to the TMG family is On-Demand Deutschland, a joint venture which offers third-party platforms a complete portfolio of on-demand and internet TV services.

Built on TMG’s vast experience of distributing content into the German-speaking region, ODD now manages video-ondemand and pay-per-view products for the likes of Kabel Deutschland and Unity Media.

Dr Kloiber’s meticulous approach to detail is evident when you ask him about the key changes brought about by digital distribution. “For our business, one of the key challenges has been making sure the rights to content are managed effectively,” says Kloiber, who has doctorate in law from the University of Vienna.

“You need to be very well-organised in your legal department and pay close attention to contracts so that you don’t give up the rights to windows that haven’t even been invented yet.”

TMG is also a broadcaster, owning networks in Germany (RTL2, Tele5) and Austria (ATV1 and ATV2). For Kloiber this remains a key part of his business and one that he thinks is here to stay. “Free TV networks have seen their audience eroded a bit, but we have done very well with RTL2 recently.

These channels are still important to audiences and have a role to play in driving other parts of our business.”

Throughout his time in the business, Dr Kloiber has used MIPTV and MIPCOM as opportunities to build relationships with companies and individuals around the world. So he is very pleased to have been awarded the Medaille d’Honneur

by Reed MIDEM. “I’m very happy coming down to Cannes and expect to do so for a few more years yet. The other Medaille winners are very honourable people, so I’ll be there cheering them on.”

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PROFILE

2014

Marion Edwards

An unbelievably exciting place to work Marion Edwards is one of the leading lights of the international content industry, masterminding Fox’s activities in traditional television and, increasingly, the digital and formats markets

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ARION Edwards, president, international television at Twentieth Century Fox, has been in the TV business for more than 30 years: “I never imagined I’d stay in the same job or with the same company for so long,” she admits. “But the international TV business has proved to be such an unbelievably exciting place to work. Even if you put to one side the profound changes in the media business, it’s been fascinating to witness the political and economic upheaval that has taken place.

During my time, I’ve seen everything from the Iranian revolution to the end of apartheid in South Africa.”

A highly-respected figure in the business, Edwards has seen her remit expand steadily in recent years. Aside from overseeing the sale of Fox series and features to broadcasters worldwide, she manages the company’s burgeoning trade with non-linear outlets. “That side of the business has become much more complex for content owners, but if ever there was a time to be a TV consumer, it’s now. The quality of what’s on offer is superb and they can watch it in so many different ways.”

Edwards has also aggressively expanded Fox’s activities in the scripted formats sector. In addition to greenlighting international versions of Malcolm In The Middle, Bones, It’s Always Sunny In Philadelphia and Prison Break (in Russia), she oversaw the successful launch of the Hindi version of 24 in India. A Chinese version of Glee starts production in mid- 2014.

As part of her format activities, Edwards has been es-

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pecially successful breathing life into archive shows and properties considered dead by US networks. In one case, the UK developed a series based on an abandoned Fox pilot named The Oaks. Shot in England, the new show, Marchlands, secured strong ratings, critical acclaim and a second series on ITV Network.

Throughout her career, MIPTV and MIPCOM have always been key dates in the calendar for Edwards: “It’s important to go where the clients are,” she says, “When you’re involved with a business as far-reaching as Fox you need a place that brings everyone together. It’s as true now as it ever used to be that the global TV business is based on personal relationships.”

Coming into this market, Twentieth Century Fox has a rich array of titles on offer, says Edwards. “We have Guillermo del Toro’s wonderful vampire series The Strain to show buyers. There’s also Tyrant, which is from the same team that created Homeland. On top of that, I’ll be at MIPFormats to discuss licensing opportunities for some of our titles.”

Edwards says she is also at the market to keep across emerging trends such as the rise of SVOD and the persistent threat of piracy. “I also plan to visit MIPCube.

Fox is doing a lot more in the digital entertainment area so that will be a focus for us.”

Then, of course, there is the small matter of her Medaille d’Honneur. “It’s wonderful to be recognised by the industry where I’ve based my entire career. It feels like being rewarded for having fun!”

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PROFILE

2014

Tim Worner

The only real heroes are ideas...

Initially trained as a journalist, Seven West Media CEO Tim Worner joined Seven Network in 1995 and rose to become chief executive of the channel in 2011. He held that position for two years before taking on his new expanded role in July 2013

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HROUGHOUT Tim Worner’s time at the top end of the company, Seven has been Australia’s number one network. Last year Seven and its two sister channels (7TWO and 7mate) secured a 30.7% share of the primetime audience.

Explaining his success, Worner says: “I come from the production and programming side of the business so maybe it’s not surprising that to me everything is about story. It all starts from there. At Seven, we see television as a sport. It’s a contest of ideas and the game is to identify them, develop them, execute them and market them better than anyone else.” To achieve this, you need a good team, he continues: “The key to our sustained success has been a team that has really grown together.

They are better now at working together than they have even been. There are no heroes here at Seven. The only real heroes are ideas.”

A show that illustrates his point, says Worner, is “My Kitchen Rules, the number one show in Australia and quite simply a phenomenon. We run it four nights a week, sometimes for two hours. I have never seen a series do what this show has done on social media while it is going to air. I have to say it astounds me that it hasn’t been picked up as a format in more territories.”

Looking ahead, he has high hopes for “a new drama called The Killing Field and two big reality formats that we will unveil in the next few months. Bringing Sexy Back showcases a new breed of personal transformation while The Big Adventure revolves around a secret that will change someone’s life.”

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Seven’s resilience is perhaps surprising given the changes in the media landscape. So what does Worner attribute it to? “The key is still the best stories and ideas. But while content is possibly even more important than it has ever been, the pace of change is very rapid. The challenge in running one of these businesses is at least matching that speed. We know we can’t let it get away from us. Having said that, broadcast TV is still the biggest game in town and I think it will be for a long time.”

In terms of key business developments at Seven, he says: “Viewers are increasingly consuming content on their terms, so it is going to be important for us to make our content available anywhere, anytime. We have made progress in that regard, but there is much more to come.

The other development for us has been the establishment of production houses in London and Los Angeles, 7Wonder and 7Beyond. We are determined to make a difference in markets other than Australia.”

Attending MIPTV and MIPCOM has played a key part in the story-led culture that Worner has nurtured at Seven: “In many ways, these markets are a crucible of ideas and from that point of view they are critical in our year.

It is a long trip but we never fail to leave energised and motivated by what we have been exposed to. We have made many friends and partners there.”

This year, he will also collect the Medaille d’Honneur.

“This award doesn’t really belong to me,” he says. “It belongs to the whole team at Seven. I also think it is a testament to the entire Australian TV industry. It says a lot about how competitive, how vibrant and how good it is.”

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MIP DIGITAL FRONTS THE NEW INTERNATIONAL SCREENINGS FOR ORIGINAL ONLINE VIDEO

Wednesday 9 April

FOUNDING PARTNERS SHOWCASE

10.15-11.00

Grand Auditorium, Palais 1

The Young Turks (Youtube.com/theyoungturks)

Featuring Talent: Ana Kasparian, Host and Producer, The Young Turks, USA @AnaKasparian

JacksGap

Featuring Talent: Finn & Jack Harries Directors, Digital Native Studios, UK @jacksgap @Finnharries

Rhett & Link

Featuring Talent: Rhett Mclaughlin & Link Neal, Rhett & Link Inc., USA @rhettandlink

Golden Moustache

Michael Stevens Creator of VSauce

Featuring Talent: Adrien Labastire, Deputy General Manager Golden Moustache M6, France

11.10-11.55

Grand Auditorium, Palais 1 Leah McFall

Stampy Cat

René Rechtman President International, Maker Studios

14.45-15.25

Grand Auditorium, Palais 1 David Carlier, Action and Adventure Sports Specialist, Communications Director, Freeride World Tour

Julien Thierry, CEO, Eclypsia

Marawa The Amazing, World Conquering Hoola Hoop Master

12.05-12.50 Shane Smith Founder & CEO VICE

Andrew Creighton President VICE

Grand Auditorium, Palais 1

Eddy Moretti Chief Creative Officer VICE

>> “Farmed & Dangerous” by CHIPOTLE & PIRO

15.30-16.00 • Grand Auditorium, Palais 1 Presented by actor Ray Wise and series creators: Chipotle’s CMO Mark Crumpacker, Piro’s Writer/director Tim Piper and Writer/Executive Producer Daniel Rosenberg.

Wednesday 9 April

Thursday 10 April

DIGITAL STUDIOS SHOWCASE 16.15-17.30 Grand Auditorium, Palais 1 THE BEST OF FRESH ONLINE ORIGINALS ON YOUTUBE

Top digital studios from across the planet will each take the stage to present their best online originals across every genre.

Surf the best web video and learn about the most successful trends and talent online.

10.15-10.45

MIPCube Agora, Palais -1

11.00-11.30

MIPCube Agora, Palais -1

11.40-12.10

MIPCube Agora, Palais -1 Full programme available on miptv.com

NEWS Producers encouraged to pump their back catalogues into VOD

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ENDY Bernfeld, founder and MD of Rights Stuff Amsterdam, told producers to dust off their back catalogues and “make a bang for a buck” by taking advantage of the videoon-demand opportunities, at the MIPCube Producers’ Toolbox conference session, How To VOD Like A Video Star.

“We’re in a Wild West era now that VOD has turned a corner,” Bernfeld said. “Last year audiences paying for a VOD subscription service beat the number of people who were downloading Wendy Bernfeld, founder and MD of Rights Stuff Amsterdam

via BitTorrent.” Bernfeld said that careful curation and creating easy access had paid off — audiences were gathering to watch and were happy to pay for the privilege.

“Another trend is VOD platforms investing in scripts in order to achieve some distinctiveness,” Bernfeld said. She encouraged producers to approach VOD platforms at an early stage of content development.

“To really make your digital distribution strategy sing, you have to look at all forms of VOD, as it is no longer one,” Bernfeld added.

“Look at all the possible VOD windows, like subscription VOD (SVOD) and ad-supported VOD (AVOD), and go beyond the names you’ve heard of; package your catalogue thematically and guide the VOD platform buyers.

Once you have accomplished one good deal, you have a pipeline established to leverage business in the future.”

Telling better stories powered by data BIG DATA is like teenage sex, Mahesh Kumar told the MIPCube Talk, A Date With Data: Everyone Thinks Everyone Else Is Doing It, But No One Really Knows How To Do It. Kumar, director of special projects at Swedish cloud-based, over-the-top TV service Magine, added: “It’s a great time to be in the media industry because of data.”

He said it was his company’s job to convince broadcasters of the opportunities from analysing the data that Magine collects on the viewing habits of audiences watching TV networks on its platform. “The real holy grail will be how to tell better stories, powered by data,” Kumar said.

UK-based Portland Entertainment also believes data can make storytelling more stimulating. The company has joined forces with UK’s Hammer Films and thriller author Peter James to use its Immersion Go

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technology to measure viewers’ facial expressions when watching a horror movie or thriller.

Portal CEO Julian McCrea also told the MIPCube audience that data can help tell stories better, “especially if you don’t have the budget of the big studios” to research viewers’ reaction to a new release.

Odile Perraudin-Juillard, IBM’s business development executive, front office transformation, in France, said the corporation’s most exciting data-related project was called Watson.

A data-powered robot built to understand the English language, including slang and swear words, Watson was recently used

by IBM to challenge the winners of the reality-TV quiz-game show Jeopardy, and won.

“We’re now moving ahead to develop a system that can understand and anticipate what an audience is looking for,” she added.

Magine’s Mahesh Kumar

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Think European, aim global, says Studiocanal’s Courson

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TUDIOCANAL chairman and CEO Olivier Courson and Tandem Communications president Rola Bauer used their Media Mastermind Keynote in the Grand Auditorium on yesterday afternoon to outline their shared vision for highquality scripted content that has a European sensibility but global appeal.

Courson described how Studiocanal had been deliberately set up to offer an alternative to US studios: “US production is amazing, but it is mainly focused in the US domestic market. Our domestic market is Europe so we begin with European stories and talent.”

This philosophy was used to build Studiocanal’s film business and also underpins its recent expansion into TV, which has so far involved the acquisition of Tandem along with UK indie producer Red. Bauer said Courson’s emphasis on European talent was a key reason why Tandem joined

the Studiocanal family. But she stressed that this European centre of gravity did not mean the group was turning its back on

North America: “Every time we develop something we try to find stories that will transcend boundaries. Shows like Crossing Lines

Moderator Le Film Francais’ Francois-Pier Pelinard-Lambert (left) with Studiocanal’s Olivier Courson and Tandem’s Rola Bauer

Digital marketing raises its Game

Orangina’s Aline Bonnet

and Labyrinth have aired in the US which is proof that European content can cross the pond.”

Looking ahead, Courson wants Studiocanal to be producing around seven TV international series a year from a combination of Tandem, Red and third-party producers. He gave a strong hint that he is looking to invest in the Swedish drama market.

Orange’s Morgan Bouchet

IT’S NOT just marketing; we’re developing new ways of storytelling,” said Orange’s Morgan Bouchet, vice president transmedia & social media, of the branded digital content his team is creating around HBO’s Game Of Thrones.

The app syncs with the start of the episode and offers info, maps, actor profiles, games and ways for fans to communicate on Facebook and Twitter.

Aline Bonnet, media strategy manager, Orangina Schweppes France described using digital campaigns to show Orangina’s trademark edgy humour.

“We worked with French humorists such as Alain Chabat and

Remi Gaillard before they became well-known,” she said.

Subsequent campaigns with Studio Bagel triggered 2.5 million views.

“In 2013 we made Mission 404, a short film about saving the internet,” she said. “The branding was open, but not strong, and at 14 minutes, some people thought it was too long. But it got five million views.”

Orangina is now working on a long-form feature with Studio Bagel.

Other speakers included Voyelle Acker, deputy head of digital storytelling and transmedia, France Televisions; Jacques Kluger, general manager diversification & new media, Telfrance; and Isa Ostertag, cross media commissioning editor, ZDF, Germany.

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NEWS Co-pro Summit attracts the top talent and companies

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ACK FOR its third year, the International Drama Co-production Summit in the Carlton hotel brought together many of the leading decision-makers in the business. All together, about 60 key figures in the co-pro sector used the summit to make new contacts and explore the potential for developing projects.

One of those attending was Peter Benedek, co-founder of leading agency UTA. Speaking to the MIPTV News, he said: “It was a really useful exercise, involving a terrific group of international executives. Even those of us who have a lot of experience have

The Co-Production Summit in action

Bloch says keep old content off new media IT’S TIME to stop putting old content on new mediums, Yoni Bloch — rock star, tech geek, X Factor judge and co-founder and CEO of Israeli digital media company Interlude — told delegates at the Future Of Kids TV Summit.

“It takes three decades for content to catch up every time a new platform emerges,” Bloch said, explaining why video’s potential is being “massively underused” on the web. Indeed, it was this realisation that drove Bloch to establish Interlude.

“It started when me and my band wanted to make an interactive video that our audience would want to play over and over again,” he said. When they discovered no technology existed to achieve this ambition, they got to work developing their own.

The result is a new type of interactive video that offers users a seamless online experience, while enabling creatives to express themselves in new and surprising ways.

Bloch screened several examples

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of videos powered by Interlude technology, including his band’s music video, which consists of 21 scenes and 256 possible combinations. “And because you make choices in real time, you are actually making your own video. Kids and teens love that,” Bloch said.

According to Bloch, people watch Interlude videos an average of Interlude’s Yoni Bloch: seamless online experience

three times, as opposed to YouTube’s average of around 70% of one view. This is ideal for children, he added, with their short attention span and love of repetition.

“My nephews actually played one video for four hours,” he said.

“And they changed it every time — which made it slightly less annoying for their parents.”

much to learn about how to put together co-productions.”

That positive view was echoed

by Philipp Kreuzer, managing director of Bavaria Media Italia: “There’s a lot of curiosity in this area so the Summit was an great opportunity to catch up with people you already know and make new contacts. There was a good mix of producers, commissioning editors and distributors.”

One of the highlights of the Summit was a Q&A session with showrunner Tom Fontana, whose many credits include Borgia. For the rest of the time, Summit delegates moved around between tables to ensure they were networking with the widest possible group.

A closed-door event, the Summit was supported by UTA, Telefilm Canada and the Canada Media Fund. Among the companies taking part were the BBC, Starz, TF1, ZDF, HBO and DR Denmark.

“APPS are creating new networks for children’s television, almost by stealth,” appsplayground.com’s Stuart Dredge told the Future Of Kids TV Summit. “Rovio is making Angry Birds cartoons, but it’s also licensing shows to distribute within its apps, which have more than two billion downloads and 263 million monthly active users.”

He added that what apps are showing is that kids are storytellers: “They want to create their own stories, not just consume other people’s.

This is an age-old trend, but a growing number of apps are recognising it.”

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Advertisers making content are not a threat to the TV industry

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AU R ICE L ev y, chairman and CEO of Publicis Groupe, sees no real potential for conf lict with the traditional TV industry as a result of advertising agencies increasingly making content.

“We are storytellers about brands, so we are in the advertising business. And the TV industry is in the entertainment business. But it’s true that a lot of the directors come from our world and a lot of them make great adverts, alongside successful careers in film and TV,” he said.

“There is a long list of great film directors, such as Ridley Scott and Alan Parker, who have shot commercials. The reality is that these days when it comes to the making of content, or using content for marketing purposes, we

often do this with TV people, with us acting as co-producers, or executive producers, and sometimes as producers in our own right.”

And content marketing can provide a solution for ad skipping, a phenomenon which Levy believes is exaggerated, but nonetheless needs to be addressed. “It has been happening for quite a while now, but considerably less often than we’re led to believe,” he said.

“But we are facing a challenge here and we use every trick in the book to get and retain people’s attention, right through to the point where we change their attitudes to brands and drive sales, which is what our job is all about.

That can be through interactivity, which we see as the holy grail.

Ultimately though, it’s about getting the right message to the right cluster of people.”

Chairman and CEO of the Publicis Groupe, Maurice Levy

How Twitter can convert a touchdown

Deb Roy, chief media scientist at Twitter

TWITTER Amplify has the potential to drive Twitter users to live TV broadcasts, according to Deb Roy, Twitter’s chief media scientist, in his Media Mastermind Keynote.

“It opens up a new pathway from content producer to audience,” he said.

Taking the example of an American football game, he said Amplify would allow the NFL to embed a 30-second clip of justaired footage in a tweet directly targeted at a Twitter user who was engaging in a hashtagged conversation — whether or not they were watching the TV. “It’s the ability to take tiny bits of TV and use Twitter to broadcast them and extend the reach,” he said. “Of course, this is a call-to-action to tune in.

It’s effectively an extension of

the NFL’s broadcast capability using Twitter.”

Amplify’s potential was farreaching, Roy said: “It’s a broadcast network that augments the traditional broadcast network.

So is Twitter a social network or a broadcast network? My answer is, it’s both.”

Roy also presented figures from Nielsen and Video Research that showed Twitter already increased viewership and advertising return on investment.

More subjectively, he said Twitter, like a soundtrack to a silent film or a conversation about a sunset, could deepen the enjoyment of the primary experience.

He added that Twitter was deepening its engagement with the TV ecosystem and especially building relationships in Europe.

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NEWS Digital Emmy winners show growing role of social media

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HE INTERNATIONAL Academy of Televison Arts & Sciences announced the winners of the International Digital Emmy Awards at a ceremony on Monday night attended by more than 300 international executives from the television, broadband, and mobile industries.

The event was organised in par tnership with Reed MIDEM and sponsored by the

Bell Fund of Canada.

Winners came from Kenya, in the Children & Young People category; Australia, in Fiction; and the UK for the Non-Fiction category. The Pioneer Prize was presented to YouTube, with Alex Carloss, head of entertainment, accepting.

The winner in the Children & Young People category, Shujaaz.

FM Reloaded, from Kenya’s Well Told Story, is a multi-me-

Esphan Kamau and Rob Burnet of Well Told Story

dia communications platform that inspires young people to become entrepreneurs and raise awareness about challenges they encounter in their daily lives.

The project won the category for the second time. Shujaaz.FM, the first instalment, won in 2012.

The winner in the Fiction category — #7DaysLater, from the Australian Broadcasting Corporation and Ludo Studio P/L — is a digital crowd-sourced comedy

Daley Pearson, creator, writer, director, producer, Ludo Studio

Kim Plowright, executive producer, and Joe Myerscough, producer, Windfall Films

ProMexico spices up national group PROMEXICO has led a large

Mexican delegation to MIPTV and MIPDoc, as the country prepares to become Country Of Honour at MIPCOM 2014 in October.

“Mexico has become firmly established globally as one of the most competitive territories in the development of digital content, and is the leading exporter of creative products in Latin America,” Karla Mawcinitt Bueno, ProMexico’s communication and marketing general co-ordinator, said.

“Altogether, the media industry represents 3% of the gross domestic product of Mexico, which makes it the fifth most impor tant industr y in the country.”

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Among the activities of the Mexican delegation at MIPDoc was Snack & Screen, in which nine documentaries about Mexico were screened.

“Mexico is currently going through its best moment in terms of the world audiovisual industry, due

series that challenges Australia’s most popular YouTube creators.

D-Day: As It Happens, made

by Windfall Films and Digit London for the UK’s Channel 4, is a 24-hour event in which viewers follow the lives of seven real people in 1944, across TV, the web and Twitter, in real time. It won the Non-Fiction category.

“This year’s Emmy winners masterfully demonstrate the perfect use of social media to leverage a great story — be it for social change, revisiting history or just pure entertainment,” said Bruce L Paisner, president & CEO of the International Academy of Television Arts & Sciences.

to the rapid growth the sector has experienced in the last few years,” Mawcinitt Bueno said.

“In 2013 alone, the country exported content to more than 100 countries, producing content that is also viewed by more than 50 million Hispanics in the United States.”

A small taste of the sort of energy and exuberance MIPCOM delegates can expect in October from Country Of Honour Mexico

She also pointed to the growing presence of the Mexican television and film industries at MIPTV. “Representatives of these industries will offer entertainment executives from around the world the opportunity to discover the wealth of content, including fiction, documentary, factual, animation and digital media content, alongside all types of children’s content,” she said.

Mexico is home to more than 1,500 audiovisual companies, ranging from film producers and post-production effects studios, to software and videogame developers. Mexico also occupies third place in the Latin American subscription television market.

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Azteca and CMD unite for African telenovela channel

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ZTECA and Cisneros Media Distribution (CMD), two of the world’s leading telenovela producers, have joined forces with digital content distributor AfricaXP to launch Romanza+Africa, a telenovela channel targeting Englishspeaking audiences in Africa.

Announcing the deal at MIPTV, CMD’s vice-president Cesar Diaz said: “This unprecedented partnership reinforces our presence in Africa, a market where our telenovelas have performed well through the years. Now, with the launch of Romanza+Africa, the telenovela genre will be at the forefront of the many entertainment options available in the African market.”

Marcel Vinay Hill, vice-president of international sales at Azteca, added: “Telenovelas have become very popular in this region in recent years and through a channel such as Romanza+Africa we will

give fans instant access to a vast library of great content.”

At launch, Romanza+Africa will have a slate of 3,000 hours of programming including titles such as Catalina And Sebastian and Secret Of Love. Explaining how the channel works, AfricaXP CEO Craig Kelly said: “Our cloudbased platform enables us to take

our partners’ content, assemble a bespoke channel and then deliver to any African broadcaster quickly and cost-effectively. There is a growing demand for premium themed channels in Africa and a number of our broadcaster clients have expressed interest in a 24/7 telenovela channel. The genre is taking Africa by storm.”

BBC WORLDWIDE (BBCWW) has announced MIPTV deals with two media stalwarts in Greater China.

For TVB, the primary free-to-air TV broadcaster in Hong Kong, BBCWW is providing new titles including How To Build A Planet, Supergiant Animals and Deadly Pole To Pole, and entertainment, lifestyle and pre-school titles including Sherlock (series three), Michela’s Classic Italian and series four of Show Me Show Me. The other deal sees over 60 BBC natural history and factual shows on Tencent’s VOD service. Titles include Frozen Planet and Penguins – Spy In The Huddle.

MUSKETEERS SET TO TOUR EUROPE

Azteca’s Marcel Vinay Hill (left), AfricaXP’s Craig Kelly and CMD’s Cesar Diaz

JCTA offers a taste of Japan JAPAN Cable & Telecommunications Association (JCTA), the trade body representing Japan’s 500+ small cable operations, is at MIPTV to promote its members — and Japanese culture, history

BBC WORLDWIDE EXPORTS NEW TITLES TO CHINA

and locations — to the international production community.

“The JCTA is keen to connect visiting television companies with local producers who can assist with information, filming

JCTA’s Shingo Okamura (right) and Ehime Cable TV’s Naruto Shiraishi

and facilities,” said senior policy advisor Shingo Okamura. “Japan is hosting the 2020 Olympic Games, and has many cultural and historical traditions that visitors may want to film.”

“The philosophy of cable TV is to support local Japanese culture and history,” Okamura added. “If you get to know the federation, you’ll get to know Japan.”

And Naruto Shiraishi, executive managing director of Ehime Cable TV, is one of those you’ll get to know. As well as offering local production expertise in the Ehime area, Shiraishi is the distributor of Gennai (1 x 120 mins), a filmed version of the Botchan Theatre production about the renowned 16th century samurai.

THE MUSKETEERS, the BBC historical-action drama series will have exclusive first-runs on FilmBox premium channels in Poland, Hungary, the Czech Republic, Slovakia and Romania, following a MIPTV deal between the BBC and SPI International. SPI has also acquired rights to 15 more BBC titles including the Call The Midwife series. The programmes will go out on the FilmBox Extra and FilmBox HD channels. Berk Uziyel, executive director of FilmBox International said: “The Musketeers will also be available on FilmBox Live, our multi-screen SVOD platform.

We are committed to using the latest technology so audiences can enjoy easy access to content.”

FilmBox’s Berk Uziyel: “Committed to using the latest technology”

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NEWS PARTNERS IN CRIME CINEFLIX Rights has added more than 160 hours of content to its portfolio, following a new partnership deal with award-winning Canadian producer CMJ Productions.

Pablo Salzman, Cineflix Media’s director of commercial and digital media, said: “We are confident that CMJ’s slate of successful shows, across a range of genres, will have significant appeal to our broadcaster clients. The shows are especially strong in the crime genre, so adding their content to our existing catalogue will cement Cineflix Rights’ position as a leading distributor of crime and investigation programming.”

Among the titles included in the deal are Imposters (6 x 60 mins), Bogeymen (13 x 60 mins), Home Made (13 x 60 mins), Bad Trip (13 x 60 mins), Celebrity Damage Control (26 x 60 mins) and Celebrity Legacies (26 x 60 mins).

“Cineflix Rights impressed us with their ability to build international TV brands for audiences worldwide and deliver consistent returns to their producer partners,” said CMJ president John Kuyk.

Third-party content makes up around half of Cineflix Rights’ 3,600-hour catalogue. The company has now forged partnerships with more than 65 producers, including LMNO Productions, October Films, Impossible Pictures, Hoodlum, Indigo Films and Waddell Media.

CMJ Distribution’s John Kuyk (left) with Cineflix Rights’ Pablo Salzman

Format pioneer Fort Boyard celebrates 25 years of renewal

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Zodiak Rights’ Steve McAllister (left) and ALP’s Patrice Laurent

ORT Boyard, the long-running adventure game, has celebrated its 25th anniversary at MIPTV. Produced by Zodiak Media’s ALP, and set in a magnificent Napoleonic marine fortress off La Rochelle, on the French Atlantic coast, the show features contestants facing a plethora of physical challenges and riddles.

A pioneer of the adventure game show, with a production “hub” way before that became fashionable, the show has stood the test of time, according to Patrice Laurent, head of international affairs at ALP. “This format is in movement every year.

We have to change, we have to renew. New games, new adaptations — each county has

its own, 10% or 20% different. That’s important for the viewers,” he said.

It remains a favourite with overseas broadcasters, with more than 30 versions made. A 10th series recently aired in Canada after a 10-year hiatus, and last year’s 24th season for France 2 broke ratings records.

“There is no doubt that the efficiency of the production is key to making it an attractive proposition for broadcasters,” Steve McAllister, CEO of Zodiak Rights, said.

“Because the team at ALP is so experienced at working with production companies and broadcasters around the world, they can produce a season for each territory in under a week.”

Intrigue gives scripted formats US spin INTRIGUE Entertainment’s Kelly Pancho is unabashed about her company’s desire for scripted shows, especially formats, and she is at MIPTV with “bags of money”, to get as many scripted-format titles as possible. Once acquired, the format will be produced with a US spin to it.

“For the most part, we’re looking for scripted formats to remake. If it is a good story and original, we shall go after it,” said Pancho, vice-president,

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development, at the California-based TV and film production group.

“I am here to buy shows that will last for whole seasons. I don’t have a limit on the number. I am very open to talking to sellers. I am not opposed to older titles either.”

Created about three years ago by CEO Tariq Jalil, a former Disney executive, Intrigue has so far focused on feature films and non-scripted TV. “But we noticed there is greater de-

mand for scripted shows,” said Pancho. “Also, feature films can take a long time to develop, while TV allows for fresh projects every year.”

She is also selling content. She brings Only Human, the pilot based on the scripted format The Ran Quadruplets, which is the Israeli TV drama from Armoza Formats. Starring Hollywood actress Jamie Lee Curtis, the pilot has been ordered by US network CBS.

Intrigue Entertainment’s Kelly Pancho

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NEWS MIP DIGITAL FRONTS: WHAT’S GOING ON THIS MORNING YouTube 10.15–11.00 MICHAEL Stevens of VSauce (UK), YouTube’s most subscribed science and technology channel, presents the site’s hottest talents: Ana Kasparian of the political news show The Young Turks, travel docs from JacksGap and comedy from Rhett & Link and Golden Moustache.

Ana Kasparian

Maker Studios 11.10-11.55 THE LEADING online video content maker for millennials gives an insight into its workings, with Rene Rechtman, president, international, talking to online gamer Stampy Longhead.

Tanz backing Digital Fronts as new online market leader

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IPTV’s MIP Digital Fronts marketplace creates new opportunities for companies seeking quality online-only content to license or develop, said Larry Tanz, CEO of US digital studio Vuguru.

As the world’s first digital-only content market, Digital Fronts brings together content buyers and sellers to display shows created with multiplatform distribution in mind.

“Vuguru is seeking scripted formats to develop for scripted long-form TV and SVOD (subscription video-on-demand),” Tanz said.

“We also have a big catalogue of scripted short-form content that we always do a lot of business with at MIPTV.” Financially backed by former Disney CEO Michael Eisner’s company Tornante, Vuguru has bought the scripted show Play Nice, which centres on a group of adults who act immaturely in the interest of their children.

In the more flexible world of multiplatform distribution, Play Nice is available as an 88-minute feature, a (4 x 22mins) mini-series, or a twelve-part series of eight-minute shorts.

“I believe that long-form scripted online

Larry Tanz

content should be treated as part of the TV landscape. But short-form lifestyle/unscripted content should be treated differently – in its own category,” Tanz added.

Asked whether digital technology is blurring the traditional line between what is editorial and what is commercial, he said: “Unscripted lifestyle content has always toed the line between editorial and advertising, whether in print or video. When advertisers pay for online content, of course, it will carry a commercial message. Advertisers are always looking for ways to create entertaining ways to capture consumers’ attention and onlinecontent marketing is a growing area for that.”

Maker Studios’ Rene Rechtman

Online video is changing the game Dailymotion 12.05-12.50 THE HUGELY popular video platform discusses how to hold viewers’ attention in a distracted world, with special guests David Carlier, an adventure sports specialist, Julien Thierry of videogame site Eclypsia and hula-hoop maestro Marawa The Amazing.

Marawa The Amazing

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JIMMY Lee, the offspring and will turnaround to of Canadian advertising adapt itself to online video agency Sid Lee, is using its as on-demand will grow post-production resources more and more,” he said. to create original multiplatHe believes the main conform video content. And cern will be to try to keep Pierre-Mathieu Fortin, viewers engaged amid all Jimmy Lee’s development the content offers that will director/creative executive pour towards them. “The producer of original and role of the ‘broadcaster’ branded content, has chowill change and return as sen the newly launched MIP the ‘content curator’ they Digital Fronts as the platalways were,” he said. form to sell the company’s And for those who fear creations internationally. the more flexible digital “We are looking forward Jimmy Lee’s Pierre-Mathieu Fortin landscape might allow the to presenting Jimmy Lee commercial message to as a content provider related to an ad agency overwhelm editorial creativity, Fortin had where, traditionally, producers would pitch this reminder: “Back in the radio and TV to a broadcaster who would then sell the ad days, brands somewhat had their say in the time,” Fortin said. “We are now in a world production and distribution of content. If an where everybody can sit at the table at the advertiser wasn’t happy with the content, he same time. We just like to set the table!” would leave. I guess now things are just a bit “Online video content is there to stay and more obvious. Brands have now become their grow. The TV landscape is forever changed own broadcaster.”

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Forty million views in just two years for What’s Trending

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HE PRESENCE form and international of What’s Trendbusiness—and there is noing, the awardwhere better than MIPTV. winning, EmmyWe’re going to have a lot nominated, daily of interesting conversalive interactive online tions in terms of taking show, at MIP Digital What’s Trending global, Fronts illustrates the inand partnering with comnovation the internet has panies.” brought to video enterDespite being devoted to tainment. the online format, Damon The US video company What’s Trending co-founder/host Shira Lazar Berger, What’s Trendthat produces the show – ing CEO and co-founder, also called What’s Trending – launched just said the conventional TV market retains its two years ago, yet has already amassed 40 status as the core global audiovisual medium. million YouTube views for identifying the “Online video has been proven to be effective hottest trends in videos, news, personalities in terms of revenue, marketing and audience and culture online. building for media properties when produced The personalities who have appeared in the at pricing levels that the evolving distribution What’s Trending videos range from veterans models can support. As a more mature model, such as Hollywood producer Jon Landau and television offers the same robust domestic and Marvel Comics’ legendary creator, Stan Lee; international revenue and brand-building feato next-generation stars such as Harry Potter tures that sustain our industry.” actor Daniel Radcliffe and hip-hop hitmaker But, he added: “As television and online video Kendrick Lamar. become more indistinguishable in the eyes of Now What’s Trending is going global. Co- the consumer, understanding how to have founder and host Shira Lazar said: “What’s complementary strategies for both is the fuTrending is looking to expand into multiplat- ture of building entertainment brands.”

Welsh looking for more creators RICHARD Welsh, creative director at UK “Not so long ago, MIPTV was the preserve of digital studio Bigballs Films, welcomed the a relatively closed set of distributors, producconcept behind MIP Digital Fronts, the new tion companies and broadcasters. marketplace for original digital-video con- “Now those broadcasters sit side by side with tent at Cannes. brands which fancy themselves as broadcasters; Content creators need alternative outlets to millennial YouTube stars talk candidly and contraditional broadcast TV and the new digital vincingly about audience engagement to media platforms need premium-quality content to be agencies who should really know better; while viable businesses. For Welsh, Digital Fronts interactive platforms and e-commerce sites with has the potential to help meet both these re- millions of users search for a new generation quirements. of production companies who can deliver them “For us, this space needs more creators, more great stories to their under-served audiences. premium content and a shift in The internet has changed everyperception from many in the thing, for everyone.” traditional world of TV. We But such developments should don’t develop a show for one never justify the production of of our channels based on what low-quality brand content. “We format might sell well; our priprovide that authentic route into mary consideration is about an ongoing conversation and entertaining and involving our the only thing we ask in return audience,” he said. from a potential partner is that Digital Fronts acknowledges their inclusion creates more the radical opportunities the invalue to our audience than is ternet has introduced, he said. Bigballs Films’ Richard Welsh captured,” he said.

MIP DIGITAL FRONTS: WHAT’S GOING ON THIS AFTERNOON Vice 14.45–15.25 VICE, the multimedia company with the eye on the key youth demographic, unveils new original formats, and the Vice Sports, Food and News channels. Hosted by Andrew Creighton, president of Vice, with chief creative officer, Eddy Moretti, and Shane Smith, founder and CEO. Vice’s Shane Smith

Farmed & Dangerous

by Chipotle and Piro 15.30–16.00 THE TEAM behind Hulu’s hit Farmed & Dangerous talk brand partnerships and creative integrity.

With Chipotle’s Mark Crumpacker, and Piro’s Tim Piper and Daniel Rosenberg, alongside actor Ray Wise.

Moderated by Elsa Keslassy of Variety, who will also present Chipotle with MIPTV’s Brand Of The Year.

Piro’s Tim Piper

Digital Studios Showcase 16.15–17.30 TOP DIGITAL studios present their online video content. They are; Collective Digital Studio (Tether, Video Game High School), SXM (The Comment Show), Smokebomb Entertainment (State Of Syn), Vuguru (Play Nice), Bigballs Films (Maya’s World Cup Cities), Hoodlum (Secrets & Lies) and Diagonal View Productions (AllTime10s).

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NEWS BRISTOW BAGS MOB WIVES FOR CANADA TORONTO-based Bristow Global Media has acquired the rights to Mob Wives, a docusoap about the wives of convicted mobsters.

It has bought the rights to air the show in Canada from Electus International, the sales and distribution arm of Electus.

Commenting on the deal, which was announced at MIPTV, Bristow Global Media president and CEO Julie Bristow said: ‘We couldn’t be more excited to be working with Electus International on this successful format. There is nothing like finding new ways to take the viewer to engaging characters and places that are unexplored’.

SPI unveils live interactive channel Madscreenbox

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PI INTERNATIONAL is launching new live interactive channel Madscreenbox with an official screening at MIPTV today.

The first live channel with 4K content, Madscreenbox allows viewers to join and play games via their mobile phones and tablets during live TV broadcasts.

The channel will also showcase documentaries and music events.

Loni Farhi, president of SPI International, which operates 30+ TV channels including FilmBox, said: “Madscreenbox is a revolutionary product as it creates a technological bridge that connects television, computers and mobile devices, and will engage millions of people worldwide to interact and enjoy gaming features within one global entertainment platform.”

He said that the channel was

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“ready for Android and IOS and will be broadcast in three different formats, 4K, HD and SD, and is available for DTH, IPTV and Smart TV distribution worldwide” All Madscreenbox game hosts will interact with players using

artificial intelligence. During the game, every 10 seconds, the gamer’s score is reported to the channel server to update the top 10 users which is then displayed on TV sets live. Gamers will also be able to talk to the hosts on their mobile devices in real time.”

BEYOND International’s Airshow (8 x 60 mins) explores the most dangerous part-time profession on the planet.

From the ground, air shows look glamorous, but every year pilots push too hard and pay the ultimate price.

Pictured here: Beyond International’s Michael Murphy (left); Great Pacific’s Blair Reekie; Discovery Channel’s Paul Lewis; Great Pacific’s Mark Miller; Discovery’s Ken MacDonald; and Beyond’s Mikael Borglund

NEW ZEALAND’S SOHO TO SHOW FARGO SERIES MGM INTERNATIONAL Television Distribution’s 10-episode drama series Fargo is to air on SoHo, Sky TV’s drama channel in New Zealand from May. Inspired by the classic feature film, the series is executive produced by Noah Hawley (who wrote the series), Warren Littlefield, Geyer Kosinski and Joel and Ethan Coen. Fargo is produced by MGM Television and FX Productions for the FX Network in the US, with MGM Television acting as the lead studio and worldwide distributor of the series.

SPI International’s 4K interactive channel Madscreenbox

TV meets social media with iLIKE IT’S BEEN called the ‘Facebook of TV’ — but iLIKE.TV doesn’t want to abolish the traditional TV viewing model.

“We take the best of social networks and put it with the magic of the TV screen, which Twitter, Facebook and others don’t have,” said Paolo Roatta, its CEO and founder, speaking ahead of his participation in the MIPCube Meet The Second Screen Experts Matchmaking event.

For many people TV watching is a passive experience, and iLIKE. TV does not intend to disrupt that. “The mobile phone or tablet is a good way of maximising attention to your product,” said Roatta. iLIKE.TV broadcasts as a linear channel but “all of the programming is based on a social interaction,” Roatta said.

In live talk shows viewers appear via phone, tablet or PC webcam

on screen to talk to guests. In prerecorded programmes they can vote, for example, to influence the next episode.

The channel is ad-funded, though it may move to a ‘freemium’ model for some services. In its first year it has aired in Italy on Sky and free-to-air DT. It is looking for international platforms, to form partnerships in Europe and to license its technology in other territories.

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NEWS Star does justice to AMC’s gritty new death row drama

Camp Lakebottom (9 Story)

CHANNELS LURED TO CAMP LAKEBOTTOM 9 STORY Entertainment has received an order from Teletoon Canada for an additional 26 episodes of the animated comedy series Camp Lakebottom. The series premiered on Teletoon Canada last July, as part of the channel’s “Can’t Miss Thursdays” programming block.

The series has also been sold to Disney XD US, along with multiple international Disney Channels in the UK, Ireland, Benelux, Italy, Spain, Portugal, CEE including Poland, Asia including Japan, Korea, Hong Kong, Taiwan and India, Middle East, Turkey, South and Sub-Saharan Africa and Latin America. It has also been licensed to ABC TV (Australia), Super RTL (Germany), Canal + Family (France) and Noga (Israel).

“Camp Lakebottom has had tremendous support from Teletoon,” said Vince Commisso, president and CEO, 9 Story Entertainment.

ARAB SPRING CHRONICLED BEACTIVE’s new documentary Road To Revolution (2 x 52 mins) has sold to SIC Television, Portugal. The documentary, produced by beActive Entertainment, takes a controversial look at the events known as the Arab Spring. The transmedia project tells the story across various platforms, including a book, a mobile app, an online presence, a feature film for theatrical release as well as the television documentary format.

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H A R D -H I T T I NG drama about an activist law student fighting to save the life of an innocent man on death row has been unveiled to the international market at MIPTV. Set in Philadelphia, The Divide follows the story of Christine Rosa, a student volunteer at a campaigning organisation who comes across the story of a death row inmate she believes to have been wrongly convicted of murder 11 years ago.

The eight-part series, which is set to make its US debut on WE tv in July, was produced

by AMC Studios and is being presented at MIPTV by Tricon Films & Television.

Marin Ireland, who has appeared in Homeland, Boss and Side Effects, stars alongside Paul Schneider, who plays Clarke Rylance, a law school contemporary and friend of the District Attorney who joins the fight to save the prisoner’s life.

Said Ireland: “Nobody wants to take this case on. There are fears of riots if he is released, and the DA doesn’t want to be proved wrong. The legal system is so broken that it’s easy to put someone away forever but very hard to get them out. It’s a story about justice. There isn’t a country in the world where people think that their justice system is perfect.

This is what happens when a system is busy not working.”

Marin Ireland

ROBOCAR Poli comes to the rescue for a second series, for Roi Visual and global partners.

Since winning a MIPJunior Licensing Challenge, the show’s first series has aired in 81 countries and 13 different languages. Among those lining up for the second are EBS, Canal+ and TV Tokyo.

Hiroaki Saiki (left), TV Tokyo; David Bessieres, Canal+; Hyun Wi Ryu, EBS; and June J Lee, Roi Visual

Peter Pan series takes to the air FOLLOWING a successful first season of The New Adventures Of Peter Pan, DQ Entertainment (DQE) and Method Animation have confirmed a second season partnership at MIPTV. Broadcasters ZDF of Germany, France Televisions, De Agostini in Italy, and Tele-Quebec, Canada are all partnering for the new production.

The first season received a good response across the world and was aired on numerous channels including RAI, JCCTV, and Noga.

The 3D stereo version also aired successfully on Sky Italia.

“Peter and his friends already have a huge fan following among the

kids and the second season promises to be even more adventurous with lot more humour, magic and action,” Tapaas Chakravarti, CEO and chairman DQE. “DQE’s partnership with global broadcasters has been growing in strength and their faith in us has resulted in some world-class properties.”

Nicole Keeb, head of international co-productions and acquisitions, children and youth, ZDF also said: “Well told stories and a stunning look make this series very special. Our audience loves the boy who doesn’t want to grow up - and so do we!

Tele-Quebec’s Laetitia de Coninck (back left); France Televisions’ Pierre Siracusa; ZDF’s Nicole Keeb; DQE’s Tapaas Chakravarti; ZDFE’s Arne Lohman (seated left); Method Animation’s Aton Soumache; and De Agostini’s Massimo Bruno

miptv

Electus International finds match with Italy’s Canale 5

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LECTUS International has sold a dating makeover format into the Italian market and is expecting to secure similar deals with a number of international broadcasters in the coming weeks.

The format sees a dating expert and blogger put together with members of the public hoping to find love online. They are then given a full makeover of everything from their appearance, fashion sense and social media identity before they go on a date at the end of each episode.

Italy’s Canale 5 has bought rights to the format, which will initially run over 20 episodes.

A local re-working of the show, which originally aired in the US with the title Girl Get

ARMOZA FORMATS REELS IN DEALS ISRAEL’s Armoza Formats reports early MIPTV deals for four of its headline shows. Thailand’s Kantana Group has picked up primetime studio-entertainment format I Can Do That!, while FremantleMedia France has taken Runway In My Closet, a daily stripped show that brings a new twist to fashion.

Scripted format The Killer Inside, a psychological thriller that looks at the world of crime from the perspective of an interrogation specialist, has gone to France’s Made In PM. Also heading to France is The Final Cut-Down, a daily stripped format in which five hairdressers compete to transform a passer-by.

Electus’ Cyrus Farrokh (left) and John Pollack

Your Mind Right, made its debut on the Italian channel on Tuesday night.

John Pollack, president of Electus International, said that the show was a makeover format fit for the 21st century.

‘Everybody is dating through social media now,’ he said. ‘This is their life, this is how they date. Having the right image on social media is very important. The show is about a makeover of your entire life, not just your looks’.

Pollack said that there had been significant international interest in the format at MIPTV, with talks ongoing with a number of broadcasters keen to take the format to use in their own markets.

PASSION Distribution was raising awareness — and temperatures — in the Palais on Monday with two models wearing nothing (much) but body art. The pair, who had taken almost six hours to decorate, were promoting Skin Wars (8 x 60 mins), Passion’s new competition format from the US. The Game Show Network series, which is hosted

by X-Men and Ugly Betty actor Rebecca Romijn aims to find the nation’s most talented and versatile body painter.

I Can Do That! (Armoza Formats)

ESIO TROT HEADS FOR GERMANY RED ARROW International has sold Roald Dahl’s Esio Trot to German pubcaster ARD Degeto/ Das Erste. The heartwarming love story about a retired bachelor’s secret passion for his neighbour stars Academy Award-winners Dustin Hoffman and Dame Judi Dench.

The screen adaptation of Dahl’s 1990 classic has been written by Richard Curtis and Paul MayhewArcher. Set to begin shooting in May, the movie is produced by Hilary Bevan Jones and directed

by Dearbhla Walsh.

Irina Ignatiew, Red Arrow International’s managing director of global scripted distribution, said: “We have Judi Dench and Dustin Hoffman as lead actors and Richard Curtis, Dearbhla Walsh and Hilary Bevan Jones off camera. You can’t top that.”

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NEWS XBOX AND C4 LEAD WAY IN SCI-FI DEAL A GROUND-breaking co-production deal announced by Channel 4, the UK public-service commercial network, and video-games developer Xbox Entertainment Studios confirms the games sector’s movement into TV entertainment is accelerating.

Games developers have traditionally focused on producing titles that competing gamers battle over on digital-screen devices.

Digital technology is enabling players to watch original video content on the same screen.

Some of that original content is being paid for by games developers like Xbox, a subsidiary of Microsoft.

Xbox has joined forces with Channel 4 to commission an 8 x 60 mins drama series called Humans.

It will be co-produced by UK production power house Kudos and Sweden’s Matador Film AB. The series is the remake of Swedish sci-fi series Real Humans by Swedish broadcaster Sveriges Television (SVT) and Matador Film.

The story is set in a parallel universe where average families use human-like robot servants called Synths.

Humans follows the horrific consequences of when one family adopts a rogue Synth.

Production kicks off later this year with the debut scheduled for 2015 on Channel 4 in the UK and the Xbox platform in North America.

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Bloomberg’s content offering covers business and beyond

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LOOMBERG is one of the world’s premier business information providers. But less wellknown is the fact that the company also creates thousands of pieces of content a day that can be licensed for use by broadcasters, publishers and digital media companies.

Bloomberg Media head of global content syndication Josh Rucci told MIPTV News: “We cover a wide range of subjects outside financial news, for example entrepreneurship, technology and luxury. And our content comes in many forms ranging from longform TV series to two- to threeminute syndicated packages, video clips, photos and data. For our partners, that means they can

Bloomberg’s Josh Rucci

acquire the fully-formed cake or the ingredients.”

In terms of deal-making there are different options, he explained.

“You can either come to us and buy a specific piece of content.

Or there are different kinds of subscription package for companies that want to access shortform content on a volume basis.”

Bloomberg Media is a regular visitor to MIPTV but this is the first time the company has taken a booth. The investment is paying off, said Bloomberg TV EMEA head of marketing Miina Laine: “It’s definitely helping with brand awareness and lead generation.

We’re meeting people from new territories and from digital platforms that we might not have come across otherwise.”

RAI revamps in bid to boost sales ITALIAN public broadcaster RAI is to restructure its commercial arm Rai Trade. The new company will be given an expanded remit and a new name, to be unveiled in the near future.

The enlarged entity will launch in July and is to be headed by CEO Luigi De Siervo, currently a director at Rai Trade.

De Siervo told MIPTV News that the change is an attempt to make RAI’s commercial arm more effective both domestically and internationally: “Advertising revenues in Italy are falling so it is a priority for us to grow our commercial revenues,” he said.

“The new structure will make us more flexible and better able to react quickly to commercial opportunities. We will behave a lot more like other public broadcaster commercial arms.”Rai Trade already covers a wide range of distribution and licensing activities. Going forward it will have greater control over digital distribution and invest more heavily in co-production. One of its first

Rai Trade top team:Alessandro Ravani (left), Luigi De Siervo and Mattia Oddone

projects is animated series Pio The Chicken, which Rai Trade recently acquired the rights to.

Rai Trade head of cinema and international sales Mattia Oddone said drama and animation were big priorities at this market. Key drama titles include Antidrug Squad 2, The Family 2, It’s Never Too Late and The Broken Years, a collection of three mini-series (2 x 100 mins) about the turmoil in Italy caused by terrorist group Brigate Rosse in the 1970s. “Now that the market is showing so much interest in Scandinavian,

French and Spanish drama, we see an opportunity for quality Italian productions.”

Rai Trade also has two series for pre-schoolers, Dixiland and Bing, and two series for tweens, Star Key and Pet Pals in Windland – in addition to Pio The Chicken.

“We believe there is a gap in the kids market for us,” said Oddone.

“Italy produces very good animation but has never had the kind of strong representation that French and Spanish shows receive. We also see an opportunity to extend our activities into licensing.”

miptv

Vice teams with Fremantle for food channel Munchies

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ICE MEDIA is launching new food channel Munchies — a joint venture with FremantleMedia — at MIPTV. The food channel will sit alongside Vice’s news and sports channels bringing its total number to eight.

“You can’t really call yourself a modern media company, like a Time Warner or whatever, unless you have a sports play, unless you have a news play, unless you have a music play,” Vice’s chief creative officer Eddy Moretti said.

“Increasingly things like food and travel are important to these media companies as well.

“There’s a real passion among kids for food.

These days, it’s cool to cook. Kids with tattoos do it,” Moretti added.

One such tattooed guy is rapper Action Bronson, whose Munchies show, F*ck, That’s Delicious, takes viewers on a culinary and musical tour of the world, exploring local cuisines from New Zealand to Croatia. It will be shown at Vice’s MIP Digital Fronts session today.

“We make them dress better and turn up on time, and they make us cooler,” said Keith Vice’s Eddy Moretti

Hindle, FremantleMedia’s CEO of digital and branded entertainment, of the partnership.

Vice comes fresh from a win at the Sundance Film Festival, for Fishing Without Nets, a drama about Somali pirates from the pirate’s point of view. It speaks of the depth of Vice’s engagement with current affairs.

“We’ve discovered over the course of the last few years that our audience, young people around the world, are deeply passionate about the world that they live in. They’re just not particularly attracted to any of the existing news brands, because they feel like their parents’ generation news brands.” Moretti said of the Vice News channel.

RED BULL FINDS WINGS IN ASIA WITH DISCOVERY

Danny MacAskill’s Imaginate

RED BULL Media House has signed a content partnership with Discovery Networks Asia-Pacific.

It includes exclusive rights to some of Red Bull’s adventure sports films including Where The Trail Ends, a pioneering mountain-bike film shot over three years with pro riders, and The Art Of Flight, a film about snowboarding that went to number one on iTunes in the week of its release.

Also included is Danny MacAskill’s Imaginate, which features the Scottish trials cyclist scaling giant household objects.

“Red Bull Media House and Discovery Networks Asia Pacific share a common goal: we strive to engage a wide range of viewers,” said Alexander Koppel, chief commercial officer at Red Bull Media House.

“We’re delighted to share our compelling content on Discovery’s bouquet of channels in South Asia and to introduce new audiences to the fascinating stories of some of the most talented innovators in sport.”

Action Bronson, now on Munchies

Yomiuri seeks Astro Boy partner JAPAN’s Yomiuri-TV Enterprise is on the look out for a partner to co-produce Little Astro Boy, a re-imagining of legendary animation series Astro Boy, originally created by Osamu Tezuka — the ‘God of Manga’ — in 1951. Eight 12-minute episodes about the boyrobot with 100,000 horsepower have already been produced and Toshikazu Sugae, Yomiuri-TV Enterprise’s vice-president is keen to sign a co-pro deal for a series of 52 episodes.

“In 1963, when Astro Boy launched on television in black and white, the programme garnered the highest ratings for Japanese animation in history, with a share of 42.7%,” Sugae said. “Unlike other recent Japanese animation, Little Astro Boy is aimed at pre-school

children and specifically for an international audience. We have also introduced more characters, as Astro Boy used to fly solo.”

Sugae said the anime industry is turned inward rather than outward, choosing to target a reliable domestic audience and “recoup money internally” but the Japanese government is now keen to invest in new content crafted to appeal to foreign audiences.

In a pitch at Treasure Box Japan at MIPFormats, Sugae talked about a popular game show in Yomiuri-TV Enterprise’s format catalogue: “In Fake Family, players have to guess the imposter who is pretending to be a real member of the family. Our pitch provoked a lot of enquiries and I’ve been busy ever since!”

Yomiuri-TV Enterprise’s Toshikazu Sugae

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NEWS TALPA MEDIA SELLS UTOPIA IN GERMANY JOHN De Mol’s Talpa Media Group has sold its new reality format Utopia to the ProSiebenSat.1 Group. The German version of Utopia will air on SAT.1 and online. The show will be a coproduction between Talpa and its German partner Schwartzkopff TV. In the Netherlands Utopia has been on air for just over three months on SBS6 and has nearly quadrupled the channel’s average rating in the extremely competitive early evening. In the US Talpa Media USA is working closely with the Fox network to create an American version, to be launched later this year. In Turkey the format is sold to Acun Ilicali, the media tycoon whose production company Acun Medya will broadcast a Turkish version on TV8.

Dancing With The Stars struts its stuff in 50th national deal

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BC WORLDWIDE has sold Dancing With The Stars to Planet TV in Slovenia, which becomes the 50th country to license the format of the global TV phenomenon. Since Strictly Come Dancing first aired on BBC One in the UK back in 2004, the show has travelled around the world across six of the world’s seven continents. Over 250 series have been recorded to date.

Celebrating the MIPTV deal around a specially-created mirror-ball cake, are, back row (from left): Igor Gajic, director of programming at Planet TV, Antenna Group’s Nick Pawsey, Magdalena Garbacz, senior sales executive, formats, CEMA, BBC World-

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cate, dancers from Danse Avec Les Stars, France’s hugely successful version of the show.

GLOBAL AGENCY promoted the new game-show format Dating Pool at MIPTV with flyer distributors in humorous costumes.

The team wore special tee-shirts with pictures of bikinis and speedos, and sported flip flops in the Palais. The studio-based dating game features 10 females and 10 males who use their brains and looks to give themselves the best possible chance of winning a dream date in a tropical location.

SONY IN NORDIC NETWORK DEAL MODERN Times Group (MTG) has signed a major deal to broadcast Sony Pictures Television (SPT) content across its multiplatform, crossborder network. The deal will release a tranche of SPT film and TV content to the Nordic markets for the first time. It will be broadcast on MTG’s free-TV services, paid-for movie channels and online platforms throughout the Nordic region. This includes latest releases such as Django Unchained and Men In Black 3 as well as SPT’s extensive collection of archive material.

wide and Paul Dempsey, president global markets, BBC Worldwide; front, Christophe and Coralie Li-

Rise And Shine discovers sex sells FOLLOWING meetings at MIPDoc, Rise And Shine’s Stefan Kloos has announced deals for key documentary titles in the distribution company’s 2014 catalogue.

How To Become A Sexual Giant, which compares the mating habits of fur seals and humans, has sold to ORF (Austria) and Planete France (France). The wildlife comedy was Rise And Shine’s most viewed film at MIPDoc, along with ARTEdocumentary Peep Show, exploring the disappearance of a once popular strip-show phenomenon.

“It is clear that sex sells!,” Kloos

said. “However, what sets these creative documentaries apart is that they both consider sexual subject matter in a different, high class way.”

Other successful titles include La Deutsche Vita, a film about homesick Italian expats in Berlin that has sold to YLE (Finland) and RSI (Switzerland) and Neuland, a Swiss documentary about an inspirational teacher of an integration class and his students, has won awards in five festivals since its release. The film My Stuff has also secured

theatrical releases in more than 10 countries including Japan and the UK.

Rise And Shine’s Stefan Kloos

miptv

Tandem and Spotnitz make the perfect co-pro couple

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TUDIOCANAL-owned Tandem Communications has unveiled a firstlook distribution deal with Big Light Productions, the London-based production company set up by US showrunner Frank Spotnitz (The X-Files, Strike Back, Millennium, Transporter).

Spotnitz explained why the firstlook deal made sense for him: “Everyone is very excited about drama co-productions but they are not easy to do. In my opinion, there’s no one better in the world at them than Tandem’s Rola Bauer. To have the backing of Tandem and Studiocanal is the best possible outcome for a company like mine which wants to produce high-quality drama series for the international television market.”

Tandem president Rola Bauer added: “We’re big fans of Frank’s work. He’s unique because he is an American producer who is

Tandem’s Rola Bauer and Big Light’s Frank Spotnitz

sensitive to the European sensibility. He really knows how to pitch stories that work at a global level, which makes him the ideal partner for Tandem. One of the biggest risks in co-production is when producers don’t know how to match up broadcasters.”

In a separate development, French pay-TV firm Canal+ has greenlit Spotless, a Tandem Communications production in association with Rosetta Media.

The new 10 x 60 mins drama

will shoot in London this summer and be distributed internationally by Tandem. Head writer and co-creator is Ed McCardie (Shameless).

Tandem partner Jonas Bauer told MIPTV News that the story centres on “a French immigrant who has established a successful crime scene cleaning business in the UK. Everything is going fine until his wild brother turns up and gets him involved in a drugs crime.”

UAE out in force with shows to sell

Cedars Art Production’s Anwar Sadek Sabbah (left), Lama Sabbah, Rania Haddad and Ziad Al Khatib.

MIPTV 2014 represents a double celebration for Lebanese media company Cedars Art Production, as it marks 60 years in the business and its first stand at MIPTV. It is one of three companies from the Arab world taking stands at the market for the first time, the others being Saudi Arabia’s Rotana Network and the Saudi

Broadcasting Corporation And Gulf Radio & TV Organization.

“We have been participating at the market for more than 25 years but this time we can really differentiate our unique catalogue to the international market,” Cedars Art Production’s Rania Haddad, said.

“With studios in Egypt, Leba-

non, Kuwait and UAE, our widespread presence across the Arab world gives us the opportunity to create high-quality Pan-Arab productions — all in Ultra-HD 5K. We are especially proud of our output in drama, telenovelas and animation. Our animation series Stories From Qur’an has real international appeal.”

There are 300 delegates from the UAE this year, including from Al Jazeera Media Network, and Al Jazeera Children’s Channel, Twofour54, Dubai International Film Festival (DIFF) and Dubai Film Commission.

“Traditionally, delegates from Arab countries would come to MIPTV as buyers,” Bassil Hajjar, Reed MIDEM’s representative, said. “Now, companies are reversing their step and selling their own content worldwide.”

BOOM TIME FOR FOX US BROADCASTER Fox has picked up Keshet/Dick Clark Production game show format Boom! at MIPTV this week. In Boom!, a squad of four players must defuse eight (replica) bombs by answering trivia questions correctly within a strict time limit. Players defuse one bomb per question by cutting through coloured wires representing multiple choice answers. Commenting on the deal, Simon Andreae, executive vicepresident, Alternative Entertainment, Fox Broadcasting Company said: “Boom! is a perfect blend of family entertainment and Fox attitude. Never has a ticking clock been so ingeniously placed at the center of a game, and never has a game more inventively borrowed from the language of a thriller.”

ARGENTINA SHOWCASE A COLLECTIVE of Argentinian TV producers is in Cannes to showcase more than 500 hours of content across the genres.

The group, Federal International Distribution (Federal Distribucion Internacional), is made up of more than 30 companies. Formed last year with support from the Argentinian government and the Argentinian National Film Board its goal is to boost the country’s smaller TV companies, provide opportunities for creative talent outside the capital Buenos Aires and help promote their work to the world. Group member Paula Kuschnir, director and producer at Wayruro Comunicacion Popular, said: ‘We got together because we realised that together we are more powerful and it’s better for selling our products.”

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NEWS

Massive Interactive powers new experience for Aussie audiences

Audio Networks’ Juliette Squair (left) with Simone Schamel

GERMANY LIKES THE SOUND OF AUDIO NETWORK THE UK’s Audio Network has opened its first office in Germany to make available its library of 60,000 original tracks to producers there.

“Germany is a large and exciting market, but its structure is different from the rest of Europe,” said Simone Schamel, who heads the new office in Munich.

“German producers and broadcasters demand quality, and that’s what we have. It’s the perfect fit.”

“Our music is recorded at Abbey Road Studios by a 75-piece orchestra,” said chief strategy officer Juliette Squair. “It puts high-quality music in the hands of even the smallest producer.”

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ASSIVE Interactive has signed a deal with FreeviewPlus to deliver Australia’s first integrated multi-broadcaster content platform.

The UK-based platform software engineer and designer has been appointed by FreeviewPlus to allow multiple broadcasters and providers to deliver content on the new service, which launches in May. It will be beamed to users’ homes through various physical devices, including set-top boxes, panel TVs and recording devices.

Massive Interactive has designed an application to bring together multiple feeds in various formats and allow them to be integrated seamlessly into the FreeviewPlus package.

In Cannes, the company is keen to talk to service-providers in-

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egantly in one place.”

Freeview genera l ma nager Liz Ross added: “Work ing with Massive Interactive has enabled us to create an unprecedented service that our member free-to-air networks are proud to present to the Australian consumer market.”

Massive Interactive’s Antaine Furlong (left), Ron Downey and Kieran Bresnan: a first for Australia

FRANCE Televisions Distribution and Terra Mater Factual Studios have signed a multi-year output deal for co-productions, pre-acquisitions and acquisitions focusing on natural history and science programming. France Televisions Distribution will handle the distribution for the French-speaking territories.

Pictured celebrating the deal are France Televisions’ Caroline Behar (left), Terra Mater’s Dr Walter Kohler, France Televisions’ Caroline Roch, Terra Mater’s Sabine Holzer, France Televisions Distribution’s Bertrand Lossignol, and France Televisions’ Thierry Mino and Joanna Pozzo

OLYMPUS GOES TO TMG TELE Muenchen Gruppe (TMG) has signed a distribution deal with Great Point Media for new mythological drama Olympus, giving TMG rights to German-speaking territories, for the series as well as any additional episodes made. The team behind the 13-episode series includes writer Nick Willing and executive producer Robert Halmi Sr. “Having co-produced, co-financed and co-distributed hundreds of projects with Robert Halmi Sr and Robert Halmi Jr, to be a part of this new project is an honour,” said TMG managing director, Herbert L Kloiber.

terested in developing their multi-content platforms.

Massive Interactive CEO Ron Downey said: “FreeviewPlus brings it all together. Viewers expect to be able to engage with content across different channels and platforms. Our system allows them to do it el-

Universal Music acquires Eagle Rock EAGLE Rock Entertainment has been bought by Universal Music Group (UMG), it was announced at MIPTV yesterday.

Eagle Rock’s music catalogue includes nearly 2,000 hours of programming and more than 800 titles available for DVD, Blu-ray, TV and digital media.

Eagle Rock chairman and CEO Terry Shand, who will contin-

ue to lead the company from its headquarters in London, said: “We are looking forward to growing Eagle Rock in the coming years by producing more great content and benefiting from the digital revolution that is taking the audiovisual space by storm.”

U MG cha i r ma n a nd CEO Lucien Grainge added: “Ea-

gle Rock has been built into a world-class content company and a leading force in distributing top music-based audiovisual programming. As we continue UMG’s transformation to a music-based content company, expanding our audiovisual catalogue and production expertise is critical.”

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NEWS Norwegian celebrity special for Trinny and Susannah Are You The One? (VIMN)

BUYERS IN BIDDING WARS FOR NEW VIMN SHOWS ARE YOU The One?, one of several VIMN (Viacom International Media Networks) shows available for the first time at MIPTV, is proving to be a hit with buyers.

“We’ve had three concrete offers this market, and on top of that, the show has sparked a bidding war in France,” VIMN’s senior vicepresident, international programme sales, Caroline Beaton, said.

Another show creating a major buzz this market is Broad City, which has proven to be as big a hit with the global TV market as it has on TV in the US. “Absolutely everybody wants it,” Beaton added.

“And frankly, I am not surprised, because when we first saw it in the office, we instantly loved it and totally got it. The surprise for me is that buyers from markets that I would have expected not to want it, due to some explicit moments, are just as keen.”

Susannah, Mastiff Norway’s Gustav H Jansen withTrinny and Susannah

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LOBETROTTING fashionistas Trinny and Susannah celebrated a brace of new shows at MIPTV. Zodiak Rights and production company Mastiff Norway have inked a deal for series four of Trinny & Susannah’s Makeover Mission with SBS/Discovery’s women-oriented channel FEM. The 24 x 60 mins show has also had a makeover: now titled Trinny & Susannah: Mission Norway Celebrity Special, the show strips celebrities and refreshes their style, a process that is conducive to confessional chat. “It’s revealing,” Susannah said. “Once you get a woman in a changing room, she’s physically nude but emotionally stripped back as well.”

Fifteen years for merry pranksters

Just For Laughs’ Michelle Raymond (left); Robert Charpentier of Fonds de Solidarite; Sophie Labesse of Societe de Developpement des Entreprises Culturelles (SODEC); Maurice Prud’homme of Fonds Capital Culture Quebec; SODEC’s Monique Simard; Caroline Brault of Banque Nationale; and SODEC’s Elaine Dumont

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“It’s been a cornerstone in the schedule for FEM,” Gustav H Jansen, CEO of Mastiff Norway, said.

Also announced was a new property — Trinny & Susannah: The British Are Coming — an original format developed by the stars and Israeli company Abot Hameiri, which has sold 10 x 60 mins to Israel’s Channel 10.

In it, the stars take two warring friends or family members and set them a series of style challenges to try to reconcile them, before inviting them and their friends to the British embassy for a reception. “Sometimes it’s funny, sometimes it can be very intense and emotional,” Trinny said. “It’s a mixture of respecting and challenging their style and culture.”

JUST For Laughs Gags, the world’s longestrunning prank show, is celebrating its 15th anniversary at MIPTV. To mark this event, 20 new half-hours will be launched to highlight favourite moments from the series.

Just for Laughs Gags now claims to have the largest collection of non-verbal, hiddencamera footage in the world. The programme, which boasts a catalogue of over 276 halfhour episodes, continues to attract high ratings among a broad demographic in over a 140 countries. It is also licensed to over 100 airlines worldwide, and counts over three billion hits on YouTube, positioning it as one of their top-10 comedy channels.

Michelle Raymond, vice-president, international distribution, and producer Pierre Girard celebrated the continuing success of the series with a cocktail at the Pavilion Espace Quebec, with SODEC, the Fonds Capital Culture Quebec, Raymond Chabot Grant Thornton, and the National Bank of Canada.

miptv

Toei boss says Japanese TV is keen to embrace the world

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APANESE television companies are becoming more international in their outlook as they engage with the global market, according to the head of one of the country’s biggest animation studios.

Toei Animation president Katsuhiro Takagi said that as Japanese companies’ attendance at MIPTV increased each year, their attitudes were becoming more outward looking.

Takagi said: ‘‘We used to just launch formats for the Japanese market, but now we are looking more and more internationally from the

beginning. Now that the Japanese presence is increasing we are looking to the world.’’

Toei is in Cannes presenting a slate of shows, including Sailor Moon Crystal, a re-release of a children’s animation that achieved notable international popularity when it was first broadcast 22 years ago.

The company has chosen MIPTV to unveil Sailor Moon Crystal following an initial merchandising drive.

The show will be launched in July with an international online simultaneous broadcast, a first for Toei.

DOCU DEAL HAT-TRICK FOR ARTE SALES ARTE Sales has licensed three documentary series — World Medicine (20 x 26 mins), In Search Of Secret Splendours (20 x 26 mins) and Wind Quest (12 x 52 mins) — to Italy’s La Effe (Channel 50). La Effe is the free digital TV channel owned by Feltrinelli Publishing Group.

World Medicine (ARTE Sales)

ARGONON SIGNS SNOW SHOW

Toei Animation’s Katsuhiro Takagi

Zig Zag grabs Brain game for UK ZIG ZAG Productions has struck a deal for Japanese format Ultimate Brain, that will bring the game show to the UK’s CBBC. The (10 x 30 mins) science series — originally a primetime game show on Japan’s NTV — encourages intelligence and creative thinking, but is also madcap and physical, and

Ultimate Brain (Zig Zag Productions)

is filmed in a giant brain-shaped studio with a quizmaster called Dr Brain.

Zig Zag acquired the UK rights for the format from NTV and also introduced it to Eccho Rights, the distribution arm of global independent producers’ format alliance Sparks Network.

The format has now been licensed to TV channel Rossiya (Russia), producers Strix (Denmark) and Sputnik in Belgium. Zig Zag also retains the US and Canadian rights to remake Ultimate Brain in those territories.

“We are especially pleased to be remaking Ultimate Brain for a children’s audience with CBBC,” said Zig Zag CEO Danny Fenton.

Hugh Lawton, executive producer for CBBC, said: “ There’s nothing not to like and I am confident the CBBC viewers will love this too.”

ARGONON International has signed a MIPTV deal with Leopard Films and Group M Entertainment for the distribution rights for Help!

I’m Snowtrapped, a first-hand account of the worst things that can happen in the snow. The contributors’ stories are told using the survivors’ own user-generated footage along with first-hand testimonials from those involved.

The programme was originally commissioned by Channel 5 and aired in the UK in February.

CARNABY GEARS UP FOR I, SUPERBIKER CARNABY Sales & Distribution has reported big MIPTV interest in its latest installment of the I, Superbiker series. I, Superbiker – The War For Four follows the lead riders through one of the most exciting finals in the history of the British Superbike Championships held at the famous Brands Hatch circuit. Reigning title holder and three-times champion Shane Byrne lost out to new champion Alex Lowes.

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NEWS FREMANTLE TEAMS WITH DEAL OR NO DEAL’S DE RIJK DICK DE RIJK — the Dutch formats guru behind Deal Or No Deal — has entered into an exclusive multi-year co-development deal with FremantleMedia.

The partnership is aimed at building “the next global entertainment TV franchise”, said Rob Clark, FremantleMedia’s director of global entertainment development.

Clark added: “Dick is a format mastermind. He’s an ideas man with a fantastic understanding of the global TV market and, as you can see from the formats that he’s developed, he thinks creatively and strategically.”

De Rijk, whose format credentials also include Set For Life, Show Me The Money and You Deserve It, said the new alliance “feels like a big challenge”.

He added: “A distribution partner of this size, both creatively and geographically, offers every opportunity to create some new fireworks in the television landscape. I can’t wait to get going.”

Boulder Creek International goes Big with surfing titles

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ONDON-based boutique international film and TV distribution studio, Boulder Creek International (BCI), has formed a strategic partnership with production company The Go Big Project, headed by director Rocky Romano and Miranda Winters.

The company has also signed a deal with The Nautical Channel to produce a new, eight-part lifestyle series, Wild Surf.

The deal with The Go Big Project includes worldwide distribution rights for Romano’s projects including the 90-minute surf documentary Learning To Breathe and documentary multi-part series Maverick Moments.

“Learning To Breathe is an exceptional film about surf legend Anthony Ruffo,” Matt Wills, BCI’s commercial director, said.

“Rocky Romano delivers exceptional work using groundbreaking 4K Ultra-HD to create cinematic looks for great television.”

BCI also announced that it has recruited Kelly Convey, formerly at Fox, as its new sales and acquisition executive.

“Kelly has a buying background and although she is moving into sales, we are keen to take advantage of her ability to develop programme ideas and acquire new compelling titles,” Wills said.

Boulder Creek International’s Matt Wills

SMOKEBOMB’s Jay Bennett (left) is pictured with David Hewlett, star of the digital media production company’s award-winning transmedia storyworld State Of Syn. Smokebomb’s digital series Backpackers, meanwhile, has sailed unchartered waters by making the leap from online-only to the broadcast network — proof of how storytellers and broadcasters can migrate content across multiple platforms.

Hi-5 signs with KRU for Malaysia HI-5 WORLD, the company behind kids franchise Hi-5, has entered into a co-production venture with KRU Studios to produce a localised version of the show in Malaysia. Production on its 25 episodes will start in July 2014 for broadcast later this year.

Malaysia is one of Hi-5’s biggest markets in Asia. Commenting on the deal, Norman Abdul Halim, executive president of KRU Studios, said: “Hi-5 is an established brand and with the adaptation

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into the Bahasa Malaysia language, the TV series and brand will reach an even wider audience in Malaysia.”

Julie Greene, executive creative director and producer of the Australian Hi-5, added: “We hope to bring all the fun and energy of Hi-5 to the broader audience, showcasing an exciting new lineup of young Malaysian talent.”

A Vietnamese version of the show is also slated to be released in August 2014.

Kids franchise Hi-5 heads to Malaysia

miptv

TVbeat targets operators to look for value in the detail

L DogTV chairman Yossi Uzrad

DISCOVERY OPENS DOOR FOR DOGTV DOGTV has secured a strategic alliance with Discovery Communications, which will allow the service to expand its content and open the door for collaboration with Discovery’s Animal Planet channel.

Discovery has invested an undisclosed amount into DogTV, a service for owners to entertain their canine pets, which its says will be used to boost its sales and marketing output.

The investment follows a period of significant growth for DogTV, which has expanded its programming into South Korea and has plans for a Japanese launch later in the year.

Commenting on the deal, DogTV chairman Yossi Uzrad said: “Discovery Communications’ investment in DogTV is a vote of confidence in the channels’ value to dogs and their owners, and attests the need for such a channel for millions of dog-owning households around the world.”

ONDON-based TVbeat, a technolo- “We’re not going against the existgy and data analytics company that ing currency, such as the Nielsen data. measures viewing behaviour online Those companies have years of experience and on mobile, is banging the drum in selecting the right people for panels. We for the atbring new insight tention of content ba se d on la rger creators, broadamounts of data.” casters and digital Miall-d’Aout said platforms. c o n t e n t ow n e r s Attending the a nd dist r ibutors, market for the first particularly, could time as CEO of benefit from its serTVbeat, Laurence vices. “We’re also Miall-d’Aout said interested in their her tea m’s goa l head of research is to work with and head of techdigital pay-TV opnology, who can erators, including identify the type of cable, satellite, terdata they need.” restrial and IPTV Sh e a d d e d t h a t services. n iche broadcastTV beat specialers, whose audiises in gathering ence ratings can the billions of data appear as zero in generated ever y traditional ratingst i m e a v i ewe r measurement serclicks a remotevices, would benefit control device or from TVbeat. The a mobile screen to size of their niche register their per- TVbeat’s Laurence Miall-d’Aout audience might be sona l i n for mat ion comparatively small, but with a digital service, or to watch or dis- they are usually dedicated fans, who could cover a show. be targeted effectively by marketers.

“We’re targeting those operators because “They have an incentive to work with us so they are the ones that generate data, but that they can monetise the data,” she said. they don’t necessarily use it internally, TVbeat also announced the expansion of its or know how to do it most effectively,” team with the appointment of Rod Petrovic she said. as the company’s chief technical officer.

Buchar launches VOD culture hub US-BASED programming network Kultur, which specialises in cultural and educational content, has announced at MIPTV that it will launch a new subscription-based video-on-demand service next month. Key partnerships with well-known programming providers are being finalised.

Kultur CEO Thomas Buchar said: “This new VOD service will offer, via streaming, delivery of brand name top-tier properties. To access cultural entertainment online currently consumers must search through thousands of titles on various

streaming services to find the material they prefer to watch.”

Buchar added: “It is a time-consuming problem that Kultur will solve by curating and aggregating all the best content – in opera, classical music, ballet and documentary films – in one place. Kultur will be the one-stop destination for this material.”

Vice-president Kultural acquisitions Rupert Hull (left) and CEO Thomas Buchar launch their new VOD service

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WEDNESDAY 9 APRIL HOST OF THE MIP DIGITAL FRONTS Amber J Lawson, CEO, Comedy Gives Back *WINNER 2014 IAWTV Award Best live Event & Managing Partner, StoryTech, USA @AmberJLawson

MIP DIGITAL FRONTS

Amber J Lawson

10.15-11.00 | Grand Auditorium, Palais 1

The NEW International Screenings for Original Online Video

Host: Michael Stevens, Creator of VSauce, UK

The Young Turks (Youtube.com/theyoungturks)

Featuring: Ana Kasparian, Host and Producer, The Young Turks, USA @AnaKasparian

JacksGap

Featuring: Finn & Jack Harries, Directors, Digital Native Studios, UK @jacksgap @Finnharries

Rhett & Link

Featuring: Rhett Mclaughlin & Link Neal, Directors, Rhett & Link Inc., USA @rhettandlink

Michael Stevens

Ana Kasparian

Finn Harries

Jack Harries

Rhett Mclaughlin

Link Neal

Adrien Labastire

Eli Mengem

Golden Moustache

Featuring: Adrien Labastire, Deputy General Manager, Golden Moustache M6, France

Copa90 (www.youtube.com/Copa90football)

Featuring: Eli Mengem, Presenter, Copa90, Australia @ElMengem

MIP DIGITAL FRONTS

11.10-11.55 | Grand Auditorium, Palais 1

The NEW International Screenings for Original Online Video

Host René Rechtman, President, International, Maker Studios, USA Featuring Talent Chester See, Actor, Musician, Singer-Songwriter, and Comedian, USA

René Rechtman

Chester See

Stampylonghead, Online gamer, UK

MIP DIGITAL FRONTS

The NEW International Screenings for Original Online Video

12.05-12.50 | Grand Auditorium, Palais 1

Hosts Marc Eychenne, VP International Content, Dailymotion, France Damien du Chéné, Chief Marketing Officer, Dailymotion, France With insights from special guests

Marc Eychenne

Damien du Chéné

David Carlier

Marawa The Amazing

David Carlier, Action and Adventure Sports Specialist, Communications Director, Freeride World Tour, Switzerland Marawa The Amazing, World Conquering Hoola Hoop Master, UK @marawamazing

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MIP DIGITAL FRONTS PROGRAMME MIP DIGITAL FRONTS

MIP DIGITAL FRONTS

The NEW International Screenings for Original Online Video

The NEW International Screenings for Original Online Video

14.45-15.25 | Grand Auditorium, Palais 1

16.15-17.30 | Grand Auditorium, Palais 1

Hosts Andrew Creighton, President, VICE, USA Eddy Moretti, Chief Creative Officer, VICE, USA Shane Smith, Founder and CEO, VICE, USA

Shira Lazar Andrew Creighton

Host Shira Lazar, Co-Founder, What’s Trending, USA @shiralazar

COLLECTIVE DIGITAL STUDIO (CDS) FEATURED SHOWS Tether Video Game High School (Seasons 1-3)

Screenings Black Market

Eddy Moretti

Fresh Off The Boat: America!

The VICE World of Sports The Motherboard Show Music World

Shane Smith

Presenter Paul Kontonis, SVP of Strategy and Sales, Collective Digital Studio (CDS), USA

“THE COMMENT SHOW” and other formats by SXM Presenter Thomas Bannister, Founder, SXM, USA

MIP DIGITAL FRONTS

The NEW International Screenings for Original Online Video

15.30-16.00 | Grand Auditorium, Palais 1

“Farmed & Dangerous” by CHIPOTLE & PIRO Speakers Mark Crumpacker, Chief Marketing & Development Officer, Chipotle, USA Tim Piper, Writer/Director, Piro, USA @tim_piper_ Daniel Rosenberg, Founding Partner, Piro, USA @pirovision Ray Wise, Actor, USA Moderator Elsa Keslassy, Foreign Correspondent, Variety, France

“STATE OF SYN”

by Smokebomb Entertainment Presenter Jay Bennett, Vice President, Digital/Creative Director, Smokebomb Entertainment, Canada Featuring Talent David Hewlett, Actor, Writer / Director, Canada @dhewlett

“PLAY NICE” by Vuguru Presenter Larry Tanz, CEO, Vuguru @larrytanz

“MAYA’S WORLD CUP CITIES”

by Bigballs Films Presenter Richard Welsh, Creative Director, Bigballs Films, UK @lightbulbwelsh

“SECRETS & LIES” by Hoodlum Presenter Nathan Mayfield, Chief Creative Officer, Co-Founder, HoodlumActive, Australia

“ALLTIME10S” by Diagonal View Presenter Matt Heiman, Founder, Diagonal View, UK

“WHAT’S TRENDING” Featuring Talent Shira Lazar, Co-Founder of What’s Trending & Damon Berger, CEO of What’s Trending @DamonBerger @shiralazar

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WEDNESDAY 9 APRIL MATCHMAKING

TALKS

ANATOMY OF A BRAND & CONTENT DEAL

MEET THE SECOND SCREEN EXPERTS

9.00-9.30 | MIPCube Agora, Palais -1

10.00-11.00 | MIPCube Hub, Palais -1 Host Simon Staffans, Content Developer and Media Strategist, MediaCity Finland, Finland @simon_staffans

Moderator Mike Dicks, Founder, Descience, UK @mikedicks Speakers Aline Bonnet, Media Strategy Manager, Orangina Schweppes France, France @OSFrance / @aline_brunette Peter Tortorici, CEO, GroupM Entertainment Global, USA

Peter Tortorici

Simon Staffans

Speakers Laurent Dehasse, Co-Founder, Vigiglobe, France @vigiglobe Didier Joos de ter Beerst, CEO & Co-Founder, Tevizz, Belgium Alexander Mazzara, CEO & Co-Founder, joiz, Germany @A_Mazzara Diego Jolodenco, Business Development, Wayin, USA Paolo Roatta, CEO and Founder, Arkimedia - iLIKE.TV, Italy @paoloroatta

MIPTV MEDIA MASTERMIND KEYNOTES 9.15-10.00 | Grand Auditorium, Palais 1

ULTRA-HD

SCREENING: LADIES FIRST DISTRIBUTION

ROY PRICE, DIRECTOR, AMAZON STUDIOS, USA TARA SORENSEN, HEAD OF KIDS PROGRAMMING, AMAZON STUDIOS, USA “CHANGING TV ONE VIEW AT A TIME: A LOOK AT AMAZON STUDIOS’ FORTHCOMING PRIMETIME AND KIDS SERIES”

10.15-11.00 | 4K Theater, Palais -1

Roy Price

Presenter Zsuzsanna Nemeth, Managing Director, Ladies First Distribution, France

ULTRA-HD

SCREENING: SPI INTERNATIONAL 11.15-12.00 | 4K Theater, Palais -1 Tara Sorensen

Moderator Vanessa Chapman, Consultant, Sesame Workshop, USA

Presenter Ali Murat Erkorkmaz, Head of Madscreenbox 4K Channel Project, SPI International, USA

INNOVATION SEMINAR ULTRA-HD

SCREENING: SAINT THOMAS PRODUCTIONS 9.15-10.00 | 4K Theater, Palais -1 Presenter Bertrand Loyer, President, Saint Thomas Productions, France

CREATING UNIQUE SECOND-SCREEN EXPERIENCES – 8 LESSONS FROM THE TRENCHES 12.00-12.30 | MIPCube Agora, Palais -1 Speaker Alain Nochimowski, VP of Business Development, Viaccess-Orca (VO), France @ViaccessOrca

By

ULTRA-HD

SCREENING: LIVE EVENTS 12.15-13.00 | 4K Theater, Palais -1 Presenters Simon Craddock, CEO, ONSIGHT, UK @ONSIGHT_UK Julian Napier, Film Director, Julian Napier Films, UK @juliannapier

wednesday_news_240x330.indd 3

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OFFICIAL CONFERENCES & EVENTS SUMMITS & SPECIAL EVENTS

BRANDS & ONLINE VIDEO LUNCH: ‘The Rise of the Chief Content Officer’ 13.00-14.30 | Majestic Hotel

INNOVATION SEMINAR

EMBRACE THE NEXT MEDIA REVOLUTION WITH THE CLOUD 15.15-15.45 | MIPCube Agora, Palais -1

By invitation Moderator Amber J. Lawson, CEO, Comedy Gives Back *WINNER 2014 IAWTV Award Best live Event & Managing Partner, StoryTech, USA @AmberJLawson Patrick Jubb

Speakers Patrick Jubb, Former Global Marketing & Communications Director, Jaguar Land Rover, UK Orla Roche, Digital Director, Jameson Whiskey, Irish Distillers Pernod Ricard, Ireland

By Speakers Marwan Elfitesse, Product Marketing Manager Windows Azure, Microsoft, France @marwan_elfi Benjamin Moulès, Digital Cloud Strategist, Microsoft, France @benjmou Thierry Picq, Media Business Developer, Microsoft, France

Orla Roche

MATCHMAKING

MEET THE AUDIENCE ENGAGEMENT EXPERTS 16.00-17.00 | MIPCube Hub, Palais -1

PRODUCERS’ TOOLBOX

HOW TO BUILD A SUSTAINABLE AUDIENCE ON YOUTUBE? 13.15-14.15 | MIPCube Agora, Palais -1 Speakers David Ripert, Head of YouTube Next Lab EMEA, Google, UK @davidripert Michael Stevens, Founder, Vsauce, UK

Michael Stevens

ULTRA-HD

Host Pauli Kopu, Creative Director, Co-Founder, KLOK, Finland @paulikopu Speakers Pauli Kopu Alex Alexander, CEO, FOURTWELVE, Australia @AAlexander412 Jeroen Doucet, Managing Director, ComingNext.TV, part of Ex Machina Group, The Netherlands @doucet Jason George, CEO, Telescope, USA Sara Jen, Director, Business Development & Partnerships, Viki, Singapore Borys Musielak, CEO, Filmaster, Poland @michuk William Schlegel, Co-Founder & CEO, Gamific.TV, France @wsc_gamific @gamific.TV

SCREENING: FOURK PRODUCTIONS 14.00-14.45 | 4K Theater, Palais -1 Presenter Kevin Williamson, President, FourK Productions, USA

THE KEYS TO BRAND CONTENT PUBLISHING STRATEGY 16.10-16.40 | MIPCube Agora, Palais -1

ULTRA-HD

SCREENING: TERRA MATER 15.00-15.45 | 4K Theater, Palais 1 Presenters Dr Walter Köhler, CEO, Terra Mater Factual Studios, Austria Martin Mészáros, Senior Producer, Terra Mater Factual Studios, Austria

wednesday_news_240x330.indd 4

Moderator Angela Natividad, Strategist and Journalist, Darewin Agency, AdVerveBlog & MIPBlog, USA @luckthelady Speakers Lionel Abbo, Head of Development and Digital, Shine France, France @lionelabbo Thomas Jamet, CEO, Moxie, France Chantal Petrachi, Director of Communications, Banques Populaires, France @chantalpetrachi

Lionel Abbo

08/04/2014 13:12

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NEWS Transporter on the move for LE Rights with global sales

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AGA R DE R E - ow n e d production firm Atlantique is at MIPTV this week to promote series two of action series Transporter, a TV spin-off of the cult movie franchise. Due to premiere later in 2014, the new 12-part series is being executive produced by Frank Spotnitz and shot in Morocco, the Czech Republic and Canada.

Commissioning partners on the project include M6 France and The Movie Network & Movie Central in Canada. While in Cannes, the show’s distributor LE Rights was also able to confirm sales to TNT (US), Me-

diaset (Italy), HBO Ole (Latin America), TV2 (Norway), ATV (Turkey) and Lusomundo (Portugal). LE Rights managing director Emmanuelle Bouilhaguet said: “The first series sold to 185 countries and a lot of the original buyers are coming back. We are also getting some new broadcasters now that there are more episodes. That was one of the things that attracted TNT to acquire the two series.”

Spotnitz says there was a huge appeal to him in the clarity of the concept, which is essentially about a man (Frank Martin, played by Chris Vance) who moves objects from A to B.

“It’s a simple idea which could easily sustain 100 hours of TV. But what I’ve set out to do with my writing team is deepen the franchise by adding emotional complexity and characters that have consequence,” he said.

Atlantique Productions has focused so far on English-language productions like Transporter and Borgia. But company managing director Olivier Bibas says the future slate may include productions in other languages: “We will stay in the business of high-quality, high-budget drama, but every coproduction is different so there are no set rules about how we will shoot our future projects.”

Guru’s Justin Time sells to Italy

Justin Time (Guru Studio)

GURU Studio has sold free-TV rights to two series of animation Justin Time to Cartoonito, Turner Broadcast System’s childrens channel in Italy.

Cecilia Padula, content director, Turner Broadcasting System Italy and Boing said: “We recognised the appeal of this adventurous and colourful animated series that celebrates imaginative play, invention and friendship.”

Mary Bredin, vice-president Guru Studio, added: “Having Justin Time on free TV platforms is essential for our lateral growth into licensing on an international scale.”

In a separate deal in Latin America, Netflix has acquired the SVOD rights to the second series of Justin Time (52 x 11 mins), which will be available in Spanish and Portuguese later this year.

Fred’s World Food Tour on market FRED, the distribution arm of Australian production house WTFN, has been inundated with offers for Lee Chan’s World Food Tour, which it has brought to the market at MIPTV. Several broadcasters even asked Fred’s marketing and acquisitions executive Lauren Br uce to take the show off the market.

“It is a great compliment, but we would never do that, of course,” Bruce said. “And in terms of

compliments we are also getting a lot of interest in China Now, a 52-epsiode series that looks at all aspects of a highly paradoxical country that, on the one hand, will surpass the US in GDP in the next 15 years, but where there are 35 million people living in caves,” Bruce added.

China Now (Fred)

KELENCONTENT LINES UP FOR FRENCH POLICE DRAMA

Do Not Cross The Line (Kelencontent)

TORONTO-based Kelencontent has signed a deal for worldwide representation of the format and 20 x 48 mins episodes of a procedural drama series produced by Mascaret Films and Project Images Films in France.

Do Not Cross The Line is a new English adaptation of the original French procedural drama series Dos Au Mur produced in 2013 by Mascaret and Project Images, and is set to launch this year on digital channels NRJ 12 and Cherie 25 (France). The female-led series is set entirely in a police station where four officers and a coroner have only 24 hours to get their suspects to confess.

“We are excited to be rolling out this truly compelling dramatic format and ready-made episodes at MIPTV where the reaction has been very positive.

Buyers are looking for strong female characterdriven procedural drama series, and the format can also be economically produced in a carousel production model, said Tanya Kelen, CEO of Kelencontent.

“We look forward to placing the format into key markets and expanding sales potential for the existing episodes,” said Gilbert Hus, executive producer, Project Images Films.

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FEATURE BRANDED CONTENT

Uma Thurman stars in Jameson’s First Shot

Reflecting brand values Brands are increasingly keen to create and own content that will strengthen their message to consumers, but does this mean they are throwing increasing amounts of money at producers? Gary Smith reports

B

making short-form videos, but RANDED or not, connow short form has evolved into tent cannot avoid the channels such as Funny Or Die, golden rule, namely that and My Damn Channel, which it has to be very good inare mainly aimed at viewers deed in order to attract watching on smart phones. and hold any kind of an audience.

And the challenge of creating This was true when the first soap comedy that translates across operas were rolled out in the late the various platforms is a very 40s and now more so than ever, a real one, in that just chopping show lives or dies on the amount a show up into segments is not of buzz that it creates. And while that simple, because the comeword-of-mouth is most often now a dic beats are very different bedigital pulse that can travel around Amber J Lawson tween a seven-minute episode the globe in nano seconds, the gritand a 22-minute episode, and it ty business of creating successful content remains every bit as complex as it always was. can be very difficult to manage that.”

“It’s still very difficult to make money with narrative- Another less-than-easy thing to manage is budgets. based trans-media properties,” Catherine Tait, president Even though brands are increasingly keen to create and of independent film, television and multiplatform con- own content that reinforces their brand’s values, this is tent company, Duopoly, says. “There was a period when not necessarily leading to more money for producers: YouTube launched, where big brands like telcos were “Quite the opposite in fact,” Tait says. “Most of the time

Red Bull is a brand that everyone knows, whether they drink the product or not

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we are working with budgets of less than $500,000, which is a fraction of what a brand might spend on a 30-second TV spot, but brands also see content marketing as a way to save money.” Duopoly recently teamed up with Baby Cow to co-produce SOS, which comes as a 13 x 8-mins series, or 4 x 30 mins, or as an 85-mins video. “We’ve also just completed Space Riders which has been sold to CTV’s online platform, and is also launching on Hulu, and we’re currently finishing up the second season of Guidestones — the first season won a Digital Emmy,” Tait adds. “I believe we’re still at a relatively evolutionary stage, and brands are looking for content that reflects their value proposition, but right now the winner is factual, which is even cheaper to make than comedy.”

Comedy done right is such a powerful way to engage an audience, but, according to Amber J Lawson, managing partner at Los Angeles-based brand and technology consultancy StoryTech, it’s all about size: “The truth about comedy on the web is that the beats have to be quicker, and while TV remains a lean-back experience, expectations about the rhythm of the comedy change as the screen gets smaller,” she says. “What we saw in Minority Report is now a reality, and knowing how to tell stories across multiple platforms is what matters, and that necessarily involves bringing tech people and

You cannot reduce creativity to a set of rules, but you can predict how much success a video will have with surprising accuracy Scott Button

storytellers together.”

According to Lawson we are also on the cusp of a new era of brands acting as media companies: “Red Bull is a brand that everyone knows, whether they drink the product or not,” she says. “And everyone knows what the brand stands for. And the opportunities are the same for every brand. Chipotle’s Farmed And Dangerous campaign is an excellent example of empire building because it’s compelling, therefore people will watch it.

And behind every brand reinventing itself as a media company, there are the advertising agencies who are now looking to become content producers.”

Ultimately, though, the internet is the great level-

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ler: “The web has democratised content in ways we could never have imagined before,” Lawson continues.

“Downton Abbey’s popularity in the US is a good example of how that works. The show was initially on Masterpiece Theater. Then it moved to Hulu and its popularity exploded in a way that it was never going to do previously.” Lawson believes that any company working in multiplatform branded content needs to respect three rules: “Content strategy has to come from an eco-system where everyone is talking to each other, the brand essence has to be fully integrated, and finally you have to have original programming.”

According to Scott Button, co-founder and CEO of data-crunching specialist Unruly Media, understanding what works with your audience is perfectly possible, and increasingly important, as broadcast TV and digital media are increasingly joined at the hip: “Broadcasters have great DNA in programming and scheduling, and they are getting better at using data, but they need to partner with digital experts in order to get the most from digital’s ability to amplify and compliment broadcast content,” he says. “When we started Unruly in 2006, to be honest it was too soon for most brands, but broadcasters such as the BBC were keen to track which videos were getting the most views. Then a couple of years later brands started to notice what we were doing and asked us to monitor their videos, and now we’re working with around two thirds of the top 100 brands.”

Digital revenues may well have seemed trivial to many established media companies, but the underlying data harvest can be priceless: “Broadcasters have great data, and looking deeper into that, it’s possible now to track hundreds of millions of video streams and find the content and the moments that trigger share-ability, which of course is hugely useful to brands beOrla Roche cause if you’re having enough impact to make people share your content, you are also making an impression, and

Stories are the foundation upon which you engage in a conversation with consumers and ultimately have a relationship with them

The Mercedes Youdrive campaign

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FEATURE people remember you, and ultimately they are more likely to buy your product. We help by pinning down what really hits viewers. You cannot reduce creativity to a set of rules, but you can predict how much success a video will have with surprising accuracy.”

Unruly’s expertise in predicting what clicks with audiences was behind campaigns like Evian’s Roller Babies, Old Spice’s The Man Your Man Could Smell Like, Dove’s Beauty Sketches (the most viewed advert of all time) and Mercedes’ #YouDrive campaign: “The Mercedes campaign aimed to target a younger audience by asking X-Factor viewers to tweet what they wanted to happen in the next video,” Button says. “It got 3.8 million views, won a Media Silver Lion in Cannes [at the Cannes Lions International Festival of Creativity], brochure requests soared by 140%, and sales of the AClass rose to 6.2% of the hatchback market.”

According to Orla Roche, digital director at Jameson

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Tube. But what is unique about Jameson First Shot is that it not only gives directors a platform to tell their story, but it documents their personal journeys from entering the competition to making their films and beyond. Its the human story and this story is the trigger that starts the conversation. The content from Jameson First Shot has generated almost 14 million views to date, but the most important thing is the engagement of the audience. We have quadrupled the subscriber base year on year and that is very important for us because it is about building a community of like minded consumers who have a passion for the craft of film.”

Despite the growing popularity of content marketing, there is not, at least now, a rush of brands going straight to established TV producers: “In some instances brands do come straight to us, but generally speaking they still prefer to go through an advertising agency,” Branco

Zumba on Tele5 by Endemol Beyond

Whiskey, content equals stories: “And stories are the foundation upon which you engage in a conversation with consumers and ultimately have a relationship with them,” she says. “Jameson is a brand that has deep roots in storytelling from the legendary tales of John Jameson’s passion for his great tasting whiskey, to the modern-day people at the distillery and their passion for the craft of making Jameson and carrying on John Jameson’s legacy.”

The brand also has a passion for other crafts, including that of filmmaking: “We founded the Jameson First Shot project with Kevin Spacey and Triggerstreet productions. Jameson First Shot gave up-and-coming scriptwriters and directors an opportunity to tell their story in a short-form film format starring Kevin Spacey (2012), Willem Defoe (2013) and this year Uma Thurman (2014),” she says. “Every year three films are made under this initiative and shared with the world on You-

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Sherer, Endemol’s executive director of commercial affairs, says. “But what we are seeing increasingly is that those brands are not just looking for reach, they also want a digital marketing approach, which is why we launched Endemol Beyond, a global network for premium digital content production and distribution.”

Endemol Beyond has recently worked on projects for Zumba and San Pellegrino: “For Zumba we teamed up with Tele5 in Spain to create Zumba classes during Big Brother. The participants were wearing Zumba clothing, and when the show wasn’t on air there were micro-shows aired several times per day. I’m happy to say that the results exceeded the client’s expectations,” Sherer says.

“For San Pellegrino, we created www.finedininglovers. com, a bespoke and very complete editorial platform for people who love good food. It’s a long-term project and it has also done very well, performing above expectations and attracting more than 300,000 unique visitors.”

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