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Wednesday 6 April 2016

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EMMY KIDS AWARDS

WHAT HAVE YOU DONE TO BE IN THIS HOUSE ?

MINI-SERIES /3x52’

6 The International Emmy Kids Awards were held in Cannes for the first time last night. Winners are announced inside

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Tandem’s Rola Bauer, ZEEL’s Amit Goenka, Disney’s Ben Pyne and Comarex’s Marcel Vinay H will each receive the MIPTV Medaille d’Honneur at a gala dinner in the Carlton tonight. Amit Goenka will also receive a Medaille on behalf of his brother Punit Goenka

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MIP DIGITAL FRONTS

DIRECTED BY HERVÉ HADMAR

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MIP Digital Fronts sessions include Fullscreen’s showcase on brands and fans and Vice Media on its multiplatform expansion

MIPTV BOOTH

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CONTENTS

Rebuilding after October floods

NEWS 6 The International Emmy Kids Awards; keynotes; conference reports; Cannes in pictures; market and industry news

REED MIDEM made a €50,000 donation to help with rebuilding at La Frayere Primary School after the October 2015 floods. Pictured below are: Reed MIDEM’s Paul Zilk (left); Gerard Robert, director of the school; Mayor of Cannes David Lisnard; and teacher Aline Brauer

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New home for MIPCancun MIPCANCUN has announced expansion plans for 2016, moving the third annual international Latin America TV Market and Summit to the Grand Fiesta Americana in Mexico’s tropical city located on the Caribbean Sea. The three-day networking event will take place on November 16-18, with the all-new Digital Summit and Creative Summit bringing together industry players, thought leaders and key programming executives to forge ground-breaking partnerships and shape the future of the Latin American and US Hispanic markets.

“Last year the number of participants had tripled since our inaugural event in 2014,” Reed MIDEM’s Ted Baracos said. “We are expecting similar growth in 2017 as MIPCancun offers an

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unparalleled opportunity to reach the full range of Latin America and US Hispanic TV buyers and the region’s key production and programming executives.”

Baracos pointed to MIPCancun’s unique event format facilitating pre-scheduled one-to-one meetings, helping to garner a 97% distributor satisfaction score last market.

“The one-to-one meeting table holder package guarantees meetings with programme buyers from 22 Latin American countries,” he said.

“Each personalised agenda includes 25-minute meetings with up to 25 buyers, a dedicated meeting table, access to all networking events and MIPCancun conferences and three nights’ accommodation in an ocean-view hotel.”

MIPCancun has already confirmed buyers from leading channels including Azteca, Canal 22, Direct TV, Discovery, Disney, Fox, Google and HBO. Confirmed international distributors include Azteca, A+E, all3media, BBC, Cisneros, Fox and FremantleMedia.

For more information: www.mipcancun.com

The official MIPTV daily newspaper Wednesday 6 April 2016

Director of Publications Paul Zilk Director of Communication Mike Williams

The MIPTV Newsroom is located on level 3 of the Palais des Festivals

EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Nigel Willmott Reporters Ben Cooper, Neil Crossley, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Assistant Hannah Stephens 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 Media Photographers Christian Alminana, Olivier Houeix, Patrick Frega, Phydrass Haidar, Michel Johner.

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Co-ordinator Yovana Filipovic Production Assistant Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Christine Mendes: christine.mendes@reedmidem.com / +33 (0)7 78 35 38 45 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 © 2016, Reed MIDEM Market Publications. Publication registered 2nd quarter 2016. ISSN 1967-5178.

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15-16 OCTOBER 2016 CANNES FRANCE

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THE LEADING SHOWCASE FOR KIDS PROGRAMMING, UNITING THE WORLD’S MOST INFLUENTIAL BUYERS, SELLERS AND PRODUCERS. 31/03/2016 13:28

NEWS The International Kids Emmys Awards THE INTERNATIONAL Emmy Kids Awards took place in Cannes for the first time last night. Nominees, delegates and kids characters walked the purple carpet into the Carlton to applaud the winners in six categories.

The winners are: Animation – Ronja, The Robber’s Daughter (Japan); Factual – My Life: I Am Leo (UK); Non-scripted Entertainment – Best i Mest (Norway); Preschool – Bing (UK); Series – Nowhere Boys Series 2 (Australia); and TV Movie/Mini-series – Rabarber (Netherlands).

“Producers of children’s programming have a great responsibility towards their viewers and the broader audience and we are honoured to be recognising and showcasing the world’s best at MIPTV,” said International Academy President, Bruce L. Paisner. “We congratulate all the winners for their outstanding achievements and for setting the high-quality standard we all expect for kids.”

Some 200 international industry executives attended the event, held at the Carlton hotel.

The International Emmy

Kids Awards presenting partners are: Shaw Rocket Fund, Jeemtv, WDR mediagroup,

Majid Entertainment, TV Kids, Ernst & Young and Kids@MIPTV.

Dina McPherson and Gian Christian for Get Ace (Australia)

Madoka Katsumata and Daisuke Tebayashi for Shimajiro’s Wow! (Japan)

Paulo Halm, Rosane Svartman, Claudia Sardinha and Fabricio Santiago for Young Hearts (Brazil)

Lili Cabrera and Valerio Veneras for Mr Trance (Colombia)

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The future of Mattel lies in the art of storytelling, Dickson says

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IC H A R D D ick son, president and chief operating officer of toymaking giant Mattel, told MIPTV delegates that the future of brands lies in content and media.

Speaking during his Media Mastermind Keynote yesterday, Dickson admitted that Mattel had slightly lost its way since its foundation 70 years ago. But using the Barbie brand as a case study of what is now happening at Mattel — the 2016 MIPTV Brand Of The Year — he demonstrated how knowing the art of storytelling will be key to reaching the children of millennial parents.

“This is the first generation of kids who think like producers,” he said. “They expect their toys to come to life in any dimension.”

This inspired the launch of Mattel Creations, a division devoted to multiplatform content production, last month.

“Kids are able to discover and make choices and, since media has become more influential compared to other components

Mattel’s Richard Dickson: “the first generation of kids who think like producers”

Baggelaar’s HD drama masterclass

BILL Baggelaar, senior vice-

president of post-production technologies at Sony Pictures, gave an instructive keynote talk in the Sony 4K Ultra-HD theatre yesterday. His subject was the challenges and opportunities involved in producing weekly episodic drama in Ultra-HD HDR. Ultra-HD/4K is about improved resolution, while HDR (High Dynamic Range) is about enhanced colour palette. But Baggelaar stressed that neither is about “technology for technology’s sake. The purpose is to convey stories in a more compelling and creative way, or tell

Sony Pictures’ Bill Baggelaar: “lens-to-living-room strategy”

in their lives, including toys, they are unaware of limitations,” Dickson added. “They are natural hackers, eager to find solutions to any obstacles they encounter. Today, they can curate their own experiences and configure their own rules in the world.” This means that children expect more from toys such as Mattel’s Barbie dolls, Thomas & Friends and Hot Wheels, Dickson said.

Content is not the company’s primary focus, but it is essential to the corporation’s strategy for staying relevant to current and future young consumers. Barbie, the iconic skinny blonde doll, for example, now has 18 different skin tones, as well as a variety of eye colours, face structures, hairstyles and body shapes. The interactive Hello Barbie doll was launched to meet demand from young girls who expect to be able to communicate with their toys. “These moves have given global relevance to the brand,” Dickson said.

These changes not only triggered more than 5,000 media stories about Mattel, but they have also provided a platform for developing Mattel Creations stories.

“The dynamic world of kids today is good for our brands,” Dickson said.

stories we were unable to do in the past.”

Baggelaar said Sony had been engaged in a “lens-to-livingroom strategy” with regard to UHD/4K/HDR for a number of years. For this reason, he said that the shift towards producing weekly episodic drama in these enhanced formats had not been that difficult. Arguably the biggest challenge involved data storage.

To illustrate the benefits of UHD/4K/HDR he showed a clip of Sony’s new TV series Mad Dogs, which has been streaming on Amazon. He pointed out a number of colour effects in the show that would not have been possible prior to HDR.

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NEWS Major brands sharpen focus on online content creation

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ESTERDAY’s Brands & Online Video Lunch Summit featured representatives of MIPTV Brand Of TheYear Mattel, Turkish Airlines, the Swedish Postcode Lottery and Mondelez International, all of whom are moving into content creation.

Mattel’s chief content officer, Catherine Balsam-Schwaber, said her job is complicated by the fact that her company owns so many massive brands — Barbie, Hot Wheels, Thomas The Tank Engine, Bob The Builder, Monster High and

American Girls, to name but a few.

“We have to think and produce in a very multiplatform way, and we have to match each brand with the right platform and the right content,” she said. “Plus we create a wide range of content ranging from pure entertainment through to rapid iteration digital content, such as unboxing videos, which get hundreds of millions of views.”

Laura Henderson, global head of content and media monetisation at Mondelez International, outlined the conditions that are forcing brands to rethink their

marketing strategies. “Getting the attention of the audience has never been harder, and people are increasingly empowered by the wealth of choice they have.

On top of that, the cost of reaching them has risen exponentially, while our budgets have only gone up incrementally,” she said.

This is why Mondelez, which makes snack brands including Oreo, Ritz and Trident, is moving towards becoming a content creator and IP owner, Henderson said. She added: “The aim is to make money from it, which will allow us to invest more

Mattel’s Catherine Balsam-Schwaber (left); Swedish Postcode Lottery’s Ase Ericson; Mondelez International’s Laura Henderson; Turkish Airlines’ Neset Dereli; with moderator Kate Bulkley

The Brands & Online Video Lunch Summit

Welcome to ‘era of information’ BY 2018, 80% of all internet

traffic will consist of video, delegates were told at yesterday’s Brands As Creators: The Future Of Online Video Strategy conference.

YouTube’s Susan Agliata said: “Four hundred hours of video are uploaded every minute. In any given month, an average of seven million creators upload 29 million videos, which are watched by 50 billion people. So, as everyone here is well aware, the world has changed and we have moved from the era of broadcast to the era of information.”

and be even more ambitious in the content we make. I’m not saying our commitment to the 30-second spot is over, but a percentage of our budget will be re-directed towards content creation.”

Ase Ericson, head of TV and events at the Swedish Postcode Lottery, admitted that, while TV is effective, she is looking at other platforms to expand her campaigns. “The audience figures are good, but we want them to be better and so we’ve launched two apps based around our first in-house format, Odd One Out. Not only do they pull in a very different and much younger crowd, but we are also starting the process of monetisation by placing advertising within them,” she said.

The Odd One Out format has been optioned in eight countries at MIPTV.

Agliata said that YouTube currently has one billion users, whose viewing time is growing at around 50% per year. And 50% of that viewing is now done on mobile devices.

“The interesting part of those stats for brands is that mobile viewers are twice as likely to feel brand affinity,” she added.

“But brands need to realise they need to think and act like a native YouTuber and produce content that is discoverable, relevant and consistent in order to get attention.” In other words, they also need to find the viewers’

sweet spot by being entertaining, educational and inspiring.

Tubular Labs’ Denis Crushell said his company helped its clients to make informed decisions based on the available data “so they can see what works and what doesn’t”.

He added: “But before that can be done, the data has to be clearly understood and shared throughout the company in order to spot the opportunities.

There’s nothing worse than having a silo-ed set-up where the data analysis is kept away from the wider operation.”

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YouTube’s Susan Agliata: “think and act like a native YouTuber”

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NEWS

It’s not enough to share the love, viewers want to feel it HERE’s a good reason why Married At First Sight is the most-watched relationship format on the planet and has smashed ratings in the 80 or more countries to which the US version of the show has been sold.

“Everybody’s looking for that pot of relationship gold at the end of the rainbow,” FYI’s Toby Faulkner told delegates at yesterday’s Focus On Germany session, Real Love: Dating, Marriage And Real Reality. A+E Networks’ FYI is one of the 24plus broadcasters to have said “I do” to the social-experiment format from Denmark’s Snowman

Productions, which serves as a prime example of the escalating demand for “real reality” lovedriven shows.

“Married At First Sight is not only different and fresh, but it’s almost a doc,” Faulkner added. “For audiences, that’s interesting and much more relatable to than a shinyfloor dating show. People can imagine themselves going through those experiences in real life.”

Snowman’s Michael von Wurden, who admitted he hated the idea of Married when a production assistant first pitched it to him, said the hardest thing for broadcasters was casting: “You have to be extremely open and courageous

because handing over your love life to experts is very scary. The best people are the ones who don’t want to be on TV but have a real desire to find love.”

Red Arrow International’s Henrik Pabst, who distributes the format, said Married’s wide appeal across demographics, genders and territories boils down to a strong idea carefully executed.

“Whether you’re 59 or 15, it’s great television,” he said, sharing the startling statistic that 47% of the people that the show has married around the world remain consciously coupled.

For K7 Media’s Keri Lewis Brown, the format’s charm is

that it comes from a place of hope rather than conflict: “It genuinely tries to match people up. With most dating shows, there’s more entertainment in conflict but, with Married, you really care about the couples and want them to succeed. That’s the gamechanger.”

The panel also deconstructed another successful Snowman format — Kiss Bang Love — that plays with similar emotional ingredients. Noisy, provocative and fun, the show uses “kissing compatibility” to match contestants.

Red Arrow pre-sold the show to nine territories before it debuted on ProSieben in Germany, where it achieved a 47% increase over its slot average. When asked how easy it was to adapt the format to local markets, Pabst said: “It’s pretty straightforward. It’s kissing.

As far as I know, there’s only one way of doing that on the planet.”

K7 Media’s Keri Lewis Brown: “game-changer”

Red Arrow International’s Henrik Pabst: “It’s great television”

Snowman’s Michael von Wurden: “a real desire to find love”

FYI’s Toby Faulkner: “not only different and fresh, but it’s almost a doc ”

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German drama is on the move EXPORTING content globally is the “next big leap” for German drama producers, a leading broadcaster has said.

Speaking at a MIPTV conference session yesterday, Susanne Mueller, executive director for feature films at German public broadcaster ZDF, said that drama makers are becoming more outward-looking and their content is reaching audiences overseas.

Addressing delegates at Beyond The Hype: German Drama Series Going Global, part of the Focus On Germany series of events, Mueller said: “The next step is to

take productions outside of Germany. Our creators have developed a lot and learned a lot from the international market; they’ve learned how to work in teams and work in modern ways.”

Mueller said that German companies are increasingly involved in international co-productions, including a number of successful dramas in Scandinavia and elsewhere in Europe, and over time more broadcasters are asking for German drama content.

“We’re in a new position now,” she said. “Countries have been reluctant to take German con-

tent in the past but now with the fragmentation of channels it is becoming more possible.”

She was joined on stage by UFA Fiction CEO Benjamin Benedict, who praised the German TV and film industry’s progress over the past decade and said that a “highly developed and professional” wave of dramas was emerging.

Also addressing delegates were ZDF Enterprises’ executive vicepresident and chief operating officer Fred Burcksen and Guido Pugnetti, head of marketing and TV product management at Italy’s Rai Cinema.

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ZDF’s Susanne Muller, speaking at the Beyond the Hype session

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FROM OUR NEW HOME AT MIPTV CONGRATULATIONS TO ALL NOMINEES & WINNERS!

NEWS Canada making waves as VR takes the TV industry by storm Minority Media’s Isabelle Bourduas

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ANADA’S contribution to virtual reality (VR) entertainment was h igh l ighted during the conference session VR Creators Making Waves In Canada yesterday.

Three Canadian VR specialists, from Deep, Turbulent and Minority Media, discussed their achievements in this new form of immersive entertainment that has taken international TV by storm.

Thomas Wallner, co-founder and CEO of Deep, explained the ground-breaking nature of its Liquid Cinema technology and how its work with broadcasters like the Franco-German channel ARTE has inspired the company to raise its game in VR. “We’ve even invented a new term, ‘forced perspective’, to explain how our technology allows us to tell stories better in VR. The technique allows us to live-render everything so that you can follow the gaze of the viewer in real time.”

Just another way of telling our stories

VIRTUAL reality technology

may break the fourth wall, but it won’t kill the television industry, according to Thomas Wallner of Canada’s Deep.

“I think we’re just adding another flower to the bouquet here. I don’t think we’re going to supplant things,” he said.

Wallner is one of the speakers at the Virtual Reality Experience Showcase today, where MIPTV delegates can find out more about it — and most importantly, see some footage.

“VR and especially cinematic VR is an extension of film, TV and cinema, so it’s still basically about telling stories,” Wallner saidd. “Traditional producers and broadcasters really understand story, and how to tell

Thomas Wallner talking at MIPDoc earlier this week

Isabelle Bourduas, senior vicepresident at games development studio Minority Media, showed how Time Machine VR became one of the first-ever games to be produced totally in VR. The company has also worked with TV conglomerate A+E Networks to produce Fall Into Me – Billionaire, a digital web series told in VR. “We learned that VR allows the viewer to live the emotions, while [traditional] TV tells you the story. VR is requiring us to learn how to tell stories all over again,” Bourduas said.

An album of photographs from the World War I discovered in an abandoned house in Montreal was transformed from 2D images by Montreal digital production agency Turbulent into a 3D world that immerses the viewer into life during the Great War. Claire Buffet, partner and chief creative officer at Turbulent, said games technology Unity was used first to figure out which aspects of the producers’ vision for the photographs would work in VR. “If technology is used well, it can create ground-breaking projects,” she added.

them to audiences. What they should realise is that this medium is an extension of this tradition.”

He added: “What we can do at this showcase is help people understand how this content is produced. It’s not as intimidating as they think.”

The programme starts with Getting Started With VR, followed by The VR Experience With Orange. It concludes with a Visionary Keynote from Ted Schilowitz, a futurist at 20th Century Fox. The technology is maturing and impressive commercial applications are appearing — and Apple, Alphabet, Facebook and Sony have all made big investments in it. But whether it will transform the TV industry is not yet clear.

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Summit explores a bewildering digital playground for children

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WildBrain’s John Robson

IGITAL distribution is exciting for the kids industry,” said John Robson, managing director of digital distributor WildBrain.

“There’s a lot of pre-school consumption, and room for kids specialists.”

Robson was speaking at yesterday’s Future Of Kids’ TV Summit, which explored the challenges of the digital landscape for kids, and tried to map the bewildering — and ever growing — array of SVOD and AVOD platforms.

“All platforms have their own styles, and what Amazon is looking for is different from everyone else,” said fellow panelist David Michel, president of

Cottonwood Media. “In fact, Netflix and Amazon shocked everyone by commissioning programming at higher quality than expected.”

Robson agreed that you need to develop product at a price that’s appropriate for the platform. “We’ve taken Brum, an animated series from the early 1990s, and redeveloped it for YouTube. We launched four weeks ago, and we’re putting up one new episode a week.

Some fans protest, but it’s doing well. And part of the reason why DHX relaunched Teletubbies was because they could see how popular the original was on YouTube.”

“We’re in a transition period,” Michel said. “And I think it’ll be a long one. At the moment, for producers, it’s great. We can sell to different platforms in different territories. But I don’t think this will last.”

Keeping up with the digital natives AINE BEHAN of CortechsConnect used the Research Gurus session to examine ways of helping kids with focus problems.

“Education and learning is central to the future of kids’ entertainment,” Behan said, speaking at the Future Of Kids TV Summit. “Six- to 12-year-olds are digital natives, we combine neuroscience with fun, healthy gaming to improve kids’ focus.

Broadcasters, distributors and the larger animation companies can use our platform to get a competitive edge and create a new revenue stream.”

Katie French, head of audience, children’s and learning at the BBC, said kids leave linear television for online because the online platforms meet their needs so well in terms of content, choice, control and access.

“As kids migrate from TV to

tablet to mobile phone, they are able to assert increasing control of what, when and where they watch. The BBC is good at understanding its audiences, but can do more to be easy to use.”

Independent consultant Alice Cahn of CahnWorks said research showed that contrary to popular belief, children aren’t just watching the fun stuff.

“They also seek out content that helps them tackle fears, anxieties, anger, and the complexities of human relationships,” she said.

“Research shows that kids want to know this stuff. Particularly when posed in terms of games and mystery.” While Cahn said that there is no evidence for developmental changes caused by digital lifestyles, French says that early research suggests that kids using social media suffer anxiety caused by fear of missing out.

CortechsConnect’s Aine Behan

CHALLENGES OF CROSS-PLATFORM MOHAMAD Yehya of Majid Entertainment in UAE, talked about how his company has turned a pan-Middle Eastern kids’ magazine formed in 1979 into a fully-fledged cross-platform play, with an Arabic linear television channel, social media, and — launching this year — an SVOD platform and app.

Majid is using well-known characters that parents recognise to create a safe place for kids which prioritises comedy over action.

China’s Sean Chu, founder and CEO of WeKids, said WeKids and its kids-focused App BuddiesTV are the largest kids’ content distributors in China. “We have more than 3,000 episodes of first-class kids content acquired from the West, and we are acquiring more here in Cannes,” Chu said at the Future Of Kids TV Summit. “With our new investor Xiaomi, which has more than 100 million active smartphones and 10 million smart TV/OTT boxes in China, we will have the advantage to be the leader in this new form of B2C kids business.”

Julien Borde, head of SVOD at France Televisions, has more than 40 kids’ channels on YouTube, getting 400 million views in 2015. He is also launching an SVOD service later this year and is looking for adventurous interactive shows, hybrid formats like live-action/animation hybrid Roy from Jam Media, and dialogue-free shows.

The Kids Summit sessions were moderated by Jesse Cleverly and Miles Bullough of Wildseed Studios, and the event was supported by Majid Entertainment.

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NEWS FIGHTING THE GOOD FIGHT FOR WRITERS THE IMPORTANCE of the Writers Guild of America, West (WGAW) in ensuring the wellbeing of its writer members was highlighted by WGAW independent film executive Kay Wolf, at the Working With American Writers/How To Make The Deal panel yesterday.

Wolf began by talking about the vital role played by the union in negotiating with studios, independent producers, networks and new media/digital companies to establish writers’ compensation benefits.

Other subjects covered included the protection of writers’ financial and creative rights, as well as the importance of portable pension and health benefits. She also focused on the need to determine and protect writers’ credits. Without credits, writers would be ineligible for compensation and residuals, she said.

“A lot of our members rely on residuals to remain professional writers,” she added, referring to the case of an accountant who was only able to remain in his new career as a writer between projects because of residuals revenue from his first movie project.

“The project — a Mike Myers’ movie — only did so-so at the box office,” Wolf said. “But it did so well in ancillary markets that he was able to stay a writer and did not have to become an accountant again. And that was due solely to residuals.”

WGAW’s Kay Wolf

‘Time, place and device have no meaning’ for young consumers

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ENE Rechtman, head of international at Walt Disney-owned digital content creator and network Maker Studios, told MIP Digital Fronts delegates that this has been “a crazy year”.

With traditional media players launching digital channels and famous YouTubers writing books, he said “this is the year when convergence is finally happening and it’s accelerating. Time, place and device have no meaning any more for young people when it comes to watching content.”

One thing that has not changed, however, is the importance of brands. Rechtman said Maker is focused on “building brands and franchises because the audience is out there searching for them”.

Maker’s chief content officer of international, Luke Hyams, talked

YouTuber Callux

about the way digital celebrities such as PewDiePie and KSI have become bigger influences

on teens than music stars. While recognising the desire of media companies to harness the appeal of digital stars, he said: “You can’t just take YouTubers and plumb them into traditional TV formats.

The way we work is by treating them as creators not celebrities.

That’s how you elicit an emotional response from the audience.”

Maker attracts 10 billion views every month and has more than 650 million subscribers. It has 55,000 independent creator partners, one of whom — Callum McGinley, aka Callux — was on stage with Rechtman and Hyams. Callux revealed two projects entitled Local Legends and BMP. Trailers for each will be presented to his 1.4 million subscribers and the one garnering the best response will be produced with Maker Studios.

India emerges as formats powerhouse IS INDIA the new formats paradise? This was one of the key questions raised in Sunday’s MIPFormats Producers’ Toolbox.

Moderator Anil Wanvari of IndianTelevision.com said India’s TV content-creation business is worth some $620m, of which around $500m consists of Hindi general entertainment. While soaps, drama, Bollywood films and songs account for a major chunk of the spend, about $90m is spent on TV formats.

Wanvari said the proliferation of OTT and VOD platforms had opened up new opportunities for formats. And the digital opportunity is set to grow with the impending launch of 4G mobile services.

OML’s Ajay Nair was upbeat about YouTube: “We’re about to launch six new shows, four of which are formats, with the support of brands. As most youth are on mobile devices, brands are willing to support any fruitful engagement they can have with them.”

GoQuest’s Vivek Lath announced

IndianTelevision.com’s Anil Wanvari (left); OML’s Ajay Nair; GoQuest’s Vivek Lath; Greymatter Entertainment’s Rahul Sarangi; and Zee TV’s Yogesh Karikurve

the launch of GoQuest Formats, which is looking to acquire formats from around the world to market globally. He said music and dance shows have been rating well in India. “And formats targeting millennials will have legs,” he added.

Greymatter Entertainment’s Rahul Sarangi, spoke about his music format The Remix, which was produced in Vietnam for VTV. “We are going into production in China too,” he said.

For foreign companies wanting to explore the format opportunity in India, Sarangi said a local partner was vital: “India is a very different country. The cultural sensibilities and nuances have to be born in mind when creating, developing and selling a format in the country.”

Zee TV’s Yogesh Karikurve talked about the potential for factual-entertainment formats, which is a genre in which Zee TV is currently investing heavily.

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NEWS

Japan is Country Of Honour

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ABITO Yoshida (centre), deputy director general of the Information and Communications Bureau at the Japanese Ministry of Internal Affairs and Communications, praised his country’s long tradition of making television and animation at a ceremony to declare Japan Country Of Honour at MIPCOM 2016. Yoshida, pictured here accepting the official declaration from Reed MIDEM’s television division director Laurine Garaude and entertainment division director Jerome Delhaye, said the accolade was a “great honour”.

He added: “I’m so proud that so many Japanese programmes have been created and have entertained people all over the world.”

Takashima shows spirit NHK’S fantasy series Mori-

Reiko Takashima: “I love international drama”

bito: Guardian Of The Spirit is something of a departure from the historical drama for which it is renowned — just as the character Torogai, a wild-haired, ancient shaman, is a departure for actor Reiko Takashima.

“There’s a lot of special makeup, and this was the first time I’d had it, so I was a bit anxious about how I could get into my role,” she told MIPTV News.

“I spent a lot of time looking at images beforehand to develop ideas. I felt this interesting character was a big opportunity.”

Torogai has a pivotal role in Moribito, which tells the story of a female warrior who saves the life of a prince. She becomes his bodyguard and the two embark on a perilous quest. Torogai becomes their link to the spirit world, which is very present in the story.

“It was a very physical role,” Takashima said. “She’s a very tough character — very physical — and there is a lot of running and action. I thought that, if an older actor had taken it, it might be too physical for them, too difficult. But at the same time, a younger actor wouldn’t suit.”

The production has created a distinctive fantasy world populated with spirits, warriors, emperors and slave traders.

“For two years, we researched all over Asian countries about cultures, foods, weapons and costumes,” said NHK Enterprises’ senior executive director of drama progammes, Hiroshi Kataoka. “We tried to remix them into the drama and create another Asia. It’s a special Asia for this series.”

NHK took the decision to shoot in 4K, which Kataoka said was creatively stimulating: “4K technology is a very strong tool for directors. It’s very exciting and challenging. By using it I can control a large variety of colours in the image. If I had enough time in post-production, I could do anything. But schedules are so tight.”

Moribito is adapted from an epic 12-book saga by respected children’s author Nahoko Uehashi. The scale of the source material has led to a three-season run and a threeyear shooting schedule.

Both Takashima and Kataoka are hoping it will catch the international zeitgeist. “I love international drama,” Takashima said. “In particular, I love British drama so much. If I can help British people to love Japanese drama, and to reverse the roles, that would be fantastic.”

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05/04/16 21:17

miptv

Studio+ offers edgy dramas for premium mobile service

I

N RESPONSE to the explosion in the consumption of short-form content, but the lack of quality scripted product in that format, Vivendi is set to launch a premium service created specifically for mobile screens.

Studio+ will offer exclusive series for smartphones and tablets, along with a dedicated app designed to offer smooth and intuitive browsing through titles, seasons and episodes.

On its launch in France, 25 original series (10 x 10 mins) will be available. Each series is budgeted in the region of €1m. The new content will be launched in France next September before rolling out in Europe and Latin America, according to Studio+

president Manuel Alduy.

Studio+’s ambitious editorial policy will see it work with both established and up-and-coming tal-

ent from the worlds of television and film. Its launch slate includes Amnesia, a drama starring Spiral star Caroline Proust; action series

Brutal, starring David Bell; and thrillers Kill Skills and Madame Hollywood, starring Dre Davis.

More than 60 projects across all genres, from sci-fi to romance, are now in development and/or production.

Studio+ will roll out in some 20 countries across Europe and Latin America this year, with other continents scheduled for 2017.

Vivendi Contents president Dominique Delport

Studio+ president Manuel Alduy

Studio+ CEO Gilles Galud

YouTube star adds shine to Endemol ENDEMOL Shine Beyond has continued to roll out digital innovations to its growing global audience in a bid to capture online viewers.

The digital production arm of Endemol Shine Group has extended its global reach with a number of international rollouts and the launch of a new channel collaboration with YouTube sensation Michelle Phan.

Among the international rollouts is a Brazilian version of its specialist Legends of Gaming channel for Brazil. It is the fifth launch of its kind, following similar expansions into the US, Germany, France and Chile.

Speaking at a special session at MIPTV, Endemol Shine Beyond UK’s director of digital content, Randel Bryan, said that gaming content is “booming” as a genre and gaining an increasingly diverse audience base globally.

“Gaming content is mainstream and the industry is growing,” he said. “We’ve brought together some of the biggest names in gaming; it’s an entertainment spectacle.”

Also appearing on stage at the session was hit vlogger Michelle Phan, with whom Endemol has launched premium lifestyle network Icon. The network features Phan, who has been dubbed the “First Lady of YouTube”, presenting the latest trends in fashion, beauty, food and travel to viewers across a range of platforms and outlets.

It was launched in March last year, going live in the US and UK simultaneously, followed by rollouts in mainland Europe throughout the year.

As well as presenting on the network, Phan also sources new talent and works with fellow digital creators to produce original

programming to appear on Icon.

Speaking after the session, she said: “I spend the weekend surfing the YouTube ‘black hole’ to find diamonds in the rough; there is so much beautiful content out there, but most creators

YouTube star and Icon presenter Michelle Phan

17

don’t have the resources to dedicate much time to it.”

“I quietly follow people and watch how they engage with their audience before approaching them to work with us and our partners.”

Endemol Shine Beyond has established creative hubs in nine countries worldwide since it was set up in 2013.

miptv

NEWS WEBEDIA SHOWS THE WAY WITH RACONTE DEAL TALENT developed on digital platforms such as YouTube could rejuvenate the entertainment industry, according to a MIPTV session focused on the business models of digital publishers including France’s Webedia, which is now harnessing its top digital talents to create new TV shows.

Digital media company Webedia, which has over 50 websites and 90 million unique users, is now focusing on rising talents such as French YouTube star Andy Raconte, who has 2.4 million followers watching her online comedy brand.

Raconte is now working with Webedia on a sitcom about “a girl who is super rich and wants to be famous every day”.

Raconte said: “The aim is to tease it on my YouTube channel and the audience will watch it on TV.” She is one of a growing number of digital talents who have created big audiences on YouTube and nurtured them through social-media platforms.

Many are attracting the attention of digital-media companies and broadcasters.

In Brazil, digital platform Digital Stars has developed talents such as Nilce and Leon, who run technology and gaming channel Coisa de Nerd.

The channel, which is watched mostly by 24-35-year-olds, has four million followers and has expanded internationally, with a strong following in countries such as Japan. The duo have revealed that they are now working on a TV series.

YouTuber Andy Raconte, now working on her own sitcom series

Critical Content and Machinima in cross-platform co-development link

C

RITICAL Content, the new name for Relativity Television, has unveiled a co-development deal with leading MCN operator Machinima.

The partners will develop platform-agnostic concepts that can work on linear television as well as digital platforms, possibly including distribution via Machinima’s many2many programming service.

The content developed under the partnership will include both traditional network-financed projects and projects financed by advertisers and other third parties. Critical Content and Machinima will work to maximise the production, marketing and ancillary exploitation value of IP. “Machinima’s content is smart, loud, different and always well-executed. That’s exactly the kind of stuff we love and make at Critical Content,” said Critical Content CEO Tom Forman. “We look forward to collaborating with a proven digital innovator.”

Machinima CEO Chad Gutstein added: “Machinima succeeds in bringing the best gaming and fandom entertainment to millennial audiences because we work with the most talented people in the world. We are excited to see the

Critical Content’s Tom Forman (left); Machinima’s Chad Gutstein; with Critical Content’s Andrew Marcus

amazing creativity that will result from combining Machinima’s digital strength and reach with Critical Content’s TV prowess.”

Critical Content has more than 50 projects in production for more than 30 different networks. Series include Limitless, Catfish, The Woodsmen and Car Matchmaker. Machinima reaches 170 million viewers each month.

Joe and Caspar set to hit the US road THE STARS of a hit online and DVD travel film are in Cannes to celebrate their first TV signing following a deal between BBC Worldwide and UK channel E4.

Joe Sugg and Caspar Lee made their MIPTV debut yesterday following the announcement last week that travel film Joe And Caspar Hit The Road is to make its first TV appearance on E4.

BBC Worldwide has sold the feature-length film, which was spun off from Sugg’s YouTube channel and features himself and housemate Lee traveling around Europe in a camper van. The YouTube stars have amassed over 11 million subscribers to their channels between them, with over one billion total video views.

Lee told MIPTV News: “The core of the show is our comedy and friendship. It’s a lot of fun, we just want to entertain people. We’re really excited about the show in the US; it’s our second biggest market by audience numbers.”

The film, which was produced jointly by Sugg and Lee’s company Raucous Productions and Oyster Productions, was originally shown online and only made available on DVD. Raucous and Osyter are now working on a

18

Caspar Lee (left) and Joe Sugg

follow-up to the film, commissioned by BBC Worldwide, which will see the pair travel around the US. Filming on Joe And Caspar Hit The Road: USA is due to start this summer.

Sugg said: “We’ve learnt so much about the process and we are really excited to get back into production on this.”

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4K ULTRA HD SCREENINGS & SESSIONS Sony 4K Ultra HD Theatre - Palais 4

Wednesday April 6 09.30-10.45

Music: Hitting the right notes, in Ultra HD Paramax Films/Stingray/United4All

11.00-12.15

Ultra HD: The new Ultra HD broadcasters Pearl TV/Vivicast Media/Harmonic Inc/Insight TV

14.30-18.30

Eutelsat – Ultra HD Seminar by invitation only

IN PARTNERSHIP WITH

Thursday April 7 09.30-14.30

Eutelsat – Ultra HD Seminar

13.30-14.30

Non-Stop 4K Ultra HD Screenings

NEWS ZOOM TV SET FOR TAKEOFF IN POLAND

FreemantleMedia in major move into growing Asian SVOD market

F PIKE’s Jerzy Straszewski (left); CTNP’s Ewa Michalska; with PIKSELs Wlodzimierz Zielinski

POLAND’s 13.5 million TV households will be introduced to Zoom TV, a new free-to-air advertising-funded network, during the second half of this year, its founders told MIPTV News.

Conceived by PIKSEL (the Polish Foundation for the Development of Electronic Communication), Zoom TV will be a 24-hour digital terrestrial platform also available via cable, satellite and internetpowered IPTV platforms.

Its mission is to offer more locally relevant content to viewers. And Poland’s National Broadcasting Council granted the licence to the Cable Television Networks & Partners (CTNP), which was set up by PIKE, (the Polish Chamber of Electronic Communication), a division of the PIKSEL organisation, to operate Zoom TV. According to Jerzy Straszewski, PIKE’s president, at least 30% of the Zoom TV content will be produced by the estimated 100 local cable TV stations to ensure relevance, especially regarding news and factual shows. The remainder will include international content of all genres.

“In Poland, people know much more about what’s happening internationally while they know very little about local matters,” Straszewski said to explain the need for Zoom TV. “It will be a very positive brand. But with so many security issues hitting the news, people would also like to know more about what’s going on in their immediate environment.”

remantleMedia International (FMI) has announced a series of deals with key SVOD platforms across Asia.

The deal involves over 1,000 hours of content on platforms such as iflix, Doonee and iQiyi Taiwan.

Iflix has acquired over 400 hours’ worth of drama, comedy, factual documentary and lifestyle and will stream all genres to its subscribers. It has picked up scripted series Merlin, Blue — starring Julia Stiles — and British comedy The IT Crowd.

It has also taken a number of FMI documentaries including Oliver Stone’s Untold History Of The United States, and the acclaimed CNN series The Sixties and The Seventies. In lifestyle, iflix has taken shows fronted by TV chefs Jamie Oliver and Nigella Lawson, and Hairy Bikers.

Thailand-based Doonee has taken 300 hours of entertainment and lifestyle programming including American Idol, Britain’s Got Talent and X Factor UK, plus multiple series of Kevin McCloud-fronted property show Grand Designs, a selection of Jamie Oliver titles including Jamie’s Food Revolution, Jamie’s 30 Minute Meals and Jamie And Jimmy’s Food Fight Club.

Streaming giant iQiyi Taiwan has acquired over

Baker Paul Hollywood (left) with SNI’s Phillip Luff

350 hours including American Idol, Britain’s Got Talent and The X Factor UK, Project Runway and Project Runway All Stars.

FMI senior vice-president of sales and distribution, Asia Haryaty Rahman said: “The consumer viewing habits have completely changed in Asia.

Over the last few years, we’ve seen a year-onyear growth in our revenues from sales to OTT platforms and we’re expecting the percentage of deals to these partners to continue to rise.”

American Idol (FMI)

SCRIPPS Networks International (SNI) launches Hollywood City Bakes (10 x 30 mins) with baker Paul Hollywood at MIPTV, part of a drive to create lifestyle shows around known talent. The series from Reef Television will be seen on Food Network in over 100 countries.

SNI’s managing director, UK & EMEA, Phillip Luff said the show was just the beginning of a wider relationship with Hollywood, star of UK hit The Great British Bake Off. Hollywood said: “In City Bakes you get the real me, passionate and keen to have a laugh.”

Deals see Rainbow spread across world

WINX CLUB — the hit property from Italian family entertainment specialist Rainbow — will be seen by millions of children across India, thanks to a deal with leading broadcaster Sun TV network. The India deal adds to a huge global audience for the animation series, which targets girls aged four up to teens. In total, Winx Club boasts over 15 million viewers each day across 150 broadcasters worldwide.

“Winx Club is a hit wherever it’s shown and I’m sure Indian fans will be just as enthusiastic,” said Andrea Graciotti head of sales TV Series, movies & co-production at Rainbow Group.

Another deal for Rainbow sees Brazil’s TV

20

Cultura take two new Rainbow shows, due to broadcast at the end of this year.

Regal Academy is a new animation series about a normal girl who finds herself in fairytale land where she discovers that Cinderella is her grandmother. Maggie & Bianca Fashion Friends is Rainbow’s first all live-action show about an American girl who wins a scholarship at the Milan Fashion Academy. The first series is complete and the second is under way.

Rainbow has also signed a book deal for Maggie & Bianca Fashion Friends with Italian publisher Mondadori Libri.

miptv

Roots reimagined for the young

S

TARS of A+E Studio’s new version of the classic mini-series, Roots walked the red carpet to the MIPTV Opening Night party in Cannes yesterday, following the show’s world premiere at the Grand Auditorium; Anna Paquin, Jonathan Rhys Meyers, Anika Noni Rose and newcomer Malachi Kirby, who plays Kunta Kinte, represented a star-studded Roots cast which also includes Forest Whitaker, RegeJean Page, Matthew Goode, James Purefoy, Mekhi Phifer, Tip “T.I.” Harris, Emayatzy Corinealdi and Chad L Coleman.

Executive producers Mark Wolper, son of the late David Wolper who produced the original 1977 series, and LeVar Burton, who played the original Kunta Kinte, joined the actors to launch the saga of American slavery at MIPTV. Based on Alex Haley’s 1976 novel describing the life of Kunta Kinte, an 18th century Gambian man who is captured and sold to a Virginian plantation owner, the Roots “reboot” (4 x 120 mins) expands the story after the Civil War. “I am absolutely targeting a younger audience

– that is the only response to the show that I care about,” Wolper said, underlining the importance of bringing the experience of the transatlantic slave trade to a new generation.

“It is really important for people to remember that we are all connected. This is not just the story of African-Americans, this is the story of America,” said Rose.

“It is because of the huge success of the original mini-series that researchers continued to explore this area in Africa,” said Wolper.

“They consequently unearthed unprecedented information that we have now been able to dramatise.”

Jonathan Rhys Meyers, who plays uneducated slave owner Tom Lea, said his role was consistently villainous over the four-part series.

“Emotionally it was quite complicated as the story is so horrifying – it felt quite different to anything else I’ve done because it is attached to such culturally important material that is also incredibly relevant now,” Meyers said.

“When we were shooting scenes in a plantation house outside New Orleans, I was always aware that similar atrocities had most likely happened where I was standing; it

Mark Wolper (left), LeVar Burton, Anna Paquin, Jonathan Rhys Meyers and Anika Noni Rose

21

was very disturbing…but in a good way,” Paquin added.

“Ancestry. Identity. Hope. These themes made Roots a huge worldwide success,” A+E executive vice-president Barry Jossen said in his introduction to the World Premiere TV Screening of Roots on Monday evening. “The Kinte family, combined with its emotional charges of resistance and empowerment captivated global audiences. Through the power of TV, the meaning of the word Roots and how we see ourselves had been changed forever.”

He added: “These emotional story and thematic elements could not be more relevant today. This encourages us to believe the same culture-defining success will happen again – with more records yet to be set – by our new vision of Roots.”

Directed by four different directors, Roots is due to simulcast in the US on May 30 over four consecutive nights on History, A+E and Lifetime.

Distributed internationally by A+E Studios International, the films are produced in association with Marc Toberoff and The Wolper Organization.

601_RM CONF_N3_TV-P1

THE POWER OF FANS MIPCANCUN PRESENTATION & BREAKFAST FOR BUYERS 8.30-9.30 | Buyers Club

MUSIC: HITTING THE RIGHT NOTES, IN ULTRA HD 9.30-10.45 | Sony 4K Ultra HD Theatre

Industry Spotlight A TASTE OF AUSTRALIA: SURFING THE MENU

Speakers: ■

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René Delwel, MD, United, The Netherlands @bigreno Rob Overman, Artistic Director Stingray Europe, Stingray, The Netherlands Amos Rozenberg, CEO, Paramax Films, France @paramaxfilms

8.30-9.30 | Verrière Grand Auditorium

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Breakfast presentation by

Chair:

Speakers:

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Chris Forrester, Journalist and Industry Consultant, UK

Dan Churchill, Co-host, Surfing the Menu: Next Generation Tony Iffland, General Manager, Content Sales, USA & Canada, ABC Commercial, Australia Hayden Quinn, Co-host, Surfing the Menu: Next Generation

THE NEW ULTRA HD BROADCASTERS 11.00-12.15 | Sony 4K Ultra HD Theatre Speakers: ■

Peter Alexander, CMO / SVP, Harmonic, USA @palexand00

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Dr Michael Sichler, CEO, EnStyle / pearl.tv, Germany

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Stuart Smitherman, President, Vivicast Media, USA

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Mariam Zamaray, CEO, Insight TV, The Netherlands

Chair:

KIDS PUBCASTERS BREAKFAST

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Chris Forrester, Journalist and Industry Consultant, UK

9.00-10.30 | Verrière Californie By invitation Host: ■

Jeroen Depraetere, Head of Television and Future Media, EBU - European Broadcasting Union – Eurovision, Belgium @jdepraetere

SCREENINGS SHOWCASE: THE BEST OF WEB SERIES 9.45-10.15 | Grand Auditorium

BRAND NEW! DIGITAL SQUARE MEETS-UPS

Speaker: ■

Joël Bassaget, Journalist, Web Séries Mag / Libération.fr, France @Web_Series_Mag

Open to all registered delegates

Digital Square, Palais -1 9.00-10.00 FIRST TIMER NETWORKING BREAKFAST 11.00-12.00 PRODUCERS MEET-UP: SPAIN, PORTUGAL & LATIN AMERICA 13.30-14.30 COFFEE & MIGNARDISES 15.00-16.20 PITCHING SESSION: OOYALA, WILDMOKA & ROCKZELINE

news_wednesday.indd 1

MEDIA MASTERMIND KEYNOTE 10.30-11.00 | Grand Auditorium KEYNOTE SESSION: DOMINIQUE DELPORT, PRESIDENT OF VIVENDI CONTENT & GLOBAL MANAGING DIRECTOR, HAVAS MEDIA GROUP Moderator: ■

Dominique Delport

Kate Bulkley, Media Commentator, KG Bulkley, UK @KateComments

05/04/2016 10:29

601_RM CONF_N3_TV-P2

WEDNESDAY 6 APRIL

OFFICIAL CONFERENCES & SCREENINGS

Producer Toolbox FINANCING DRAMA: FILLING THE GAP 10.15-10.45 | Agora Speakers: ■ ■

■

Carole Baraton, Head of Wild Bunch TV, Wild Bunch, France Emmanuelle Guilbart, Joint CEO & Founder, About Premium Content, France

FRESH TV FICTION 13.30-14.15 | Grand Auditorium In partnership with Presenter: ■

Virginia Mouseler, CEO, The Wit, Switzerland

Justin Thomson-Glover, Managing Director, Far Moor, UK @endemolshine

Moderator: ■

SCREENINGS

Marlene Edmunds, Chief Executive/Founder, Marlene Edmunds Media Consulting, France

WHY WEB SERIES WILL BE THE NOUVELLE VAGUE IN FICTION?

VIRTUAL REALITY VIRTUAL REALITY EXPERIENCE SHOWCASE 14.30-16.00 | Grand Auditorium

11.00-11.30 | Agora

Part 1 – Getting started with VR: All you ever wanted to know about VR but never dared to ask

Speakers:

Speakers:

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Kathleen Grace, Chief Creative Officer, New Form Digital, USA @kmgrace Anne Santa Maria, Producer, Taronja Prod (Telfrance), France @asm7575 Sam Toles, Head Of Global Content and Distribution, Vimeo, USA

Moderator: ■

■ ■

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Kay Meseberg, Coordinator 360/VR, ARTE, France Stéphane Rituit, Producer Co-Founder, Felix & Paul Studios, Canada Thomas Wallner, President and Cofounder, Deep, Canada @DEEPdispatches

Moderator: ■

Joël Bassaget, Journalist, Web Séries Mag / Libération.fr, France @Web_Series_Mag

Matthias Puschmann, Managing Director, VAST MEDIA, Germany @matthiascp

Part 2 – The VR Experience with Orange (Content Division) Speakers: ■

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Morgan Bouchet, VP Digital Content & Innovation / Head of VR, Orange, France @morganbouchet Guillaume Lacroix, Senior VP, TV & Video Partnerships & Services, Orange, France

Host: ■

Amber J. Lawson, MIPDigital Fronts Emcee

11.15-11.45 | Grand Auditorium

Speakers: ■

Catherine Balsam-Schwaber, Chief Content Officer, Mattel, USA

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Damon Berger, VP Business Development, Fullscreen, USA

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Kevin McGurn, Head of Sales, Fullscreen, USA

MIPTV GALA DINNER: MÉDAILLES D’HONNEUR From 20.00 | Carlton Hotel Doors open at 19.30 By invitation

12.00-12.30 | Grand Auditorium

Speakers: ■

Eddy Moretti, Chief Creative Office, VICE Media, and Co-President of VICELAND, USA

news_wednesday.indd 2

05/04/2016 10:29

NEWS LIONSGATE’S FEED THE BEAST HEADS FOR THE UK’S AMC

Lionsgate’s Peter Iacono and AMC International’s Harold Gronenthal

PRODUCER/distributor Lionsgate has licensed upcoming 10-part drama Feed The Beast to AMC’s UK pay-TV channel, available exclusively on the BT platform.

The show, a co-production between Lionsgate and AMC in the US, is the latest in a line of Lionsgate-distributed shows to be picked up by AMC’s UK channel.

Others include Mad Men, Weeds and Manhattan.

Lionsgate’s president international TV and digital distribution, Peter Iacono, said the deal was illustrative of “the long strategic partnership that exists between the two companies”.

His comment was echoed by AMC Networks International’s executive vice-president and general manager Harold Gronenthal, who said Lionsgate’s shows had been “key to developing the new channel in the UK.” Feed The Beast is based on the Danish show Bankerot. It stars David Schwimmer and Jim Sturgess as two best friends who take one last shot at their dream of opening a restaurant. The writer/showrunner is Clyde Phillips (Dexter, Nurse Jackie).

Red Arrow targets Mad Rabbit for dramas with global appeal

Mad Rabbit’s Kari Skogland (left) and Red Arrow’s Jan David Frouman

R

ED ARROW Entertainment Group has invested in Mad Rabbit, a new production joint venture with Canadian director and showrunner Kari Skogland. Based in Toronto and LA, Mad Rabbit will produce high-end drama for the international market.

Skogland has directed some of TV’s most successful drama series including House Of Cards, The Walking Dead, The Americans, Vikings, Boardwalk Empire and The Borgias. Development will be led by LA-based

Elsie Choi, a former development executive for Bruce Willis, whose credits include Fifty Dead Men Walking.

Jan David Frouman, chairman and CEO of Red Arrow Entertainment Group, said: “Kari and Elsie, together with Peter Sussman, are exactly what we look for in partners: smart, absurdly talented and thoroughly likeable in every way. We think that Mad Rabbit is a great opportunity for both our global scripted business, and our group as a whole.”

Buyers dig new archaeology docs

All3media’s Rachel Glaister (left), At Land’s Caterina Turroni, Dr Estelle Lazer, Knowledge’s Lawrence Tapley and Lion Television’s Richard Bradley

ALL3MEDIA’s Lion Television has licensed Meet The Roman Empire to Canada-based Knowledge following a raft of global pre-sales including SBS (Australia), AMC (Central and Eastern Europe), TVO (Canada) and Top TV (New Zealand), alongside a global DVD deal with Discovery Communications.

This is part of Lion’s expanding slate of archaeology-based documentaries presented by historian and classicist Professor Mary Beard. This

24

MIPTV the UK production company launches a new one-hour special titled Pompeii: Life Before Death in association with At Land Productions and distributed by all3media International.

Aired in the UK last year, At Land’s Caterina Turroni said the show garnered a 20% share with four million viewers in a mid-week slot on BBC One: “This high-level production follows revelatory scientific discoveries at the ongoing excavations in Pompeii: it’s a conversation with the past,” she said.

“We have used the fresh evidence to create a 3D map of Pompeii with CGI — it’s an amazing dramatic reconstruction.”

University of Sydney’s Dr Estelle Lazer said new research has revealed how indiscriminate the disaster was. “Working on this project was a total adventure; we now know that Vesuvius simply destroyed a random sample of the distributed population — victims were both young and old,” Lazer said. “In this preserved ancient town, we really do have a sense of the lives these people lost.”

miptv

Leading industry figures from three continents are honoured in Cannes

Tandem/StudioCanal’s Rola Bauer ZEEL’s Punit Goenka

M

IPTV 2016’s prestigious Medailles d’Honneur have b e e n awa r d e d to five leading TV executives. They are Rola Bauer, partner, Tandem Productions, Germany and StudioCanal executive; Punit Goenka, managing director & CEO, ZEEL (Zee Entertainment Enterprises Limited), India, and his brother, Amit Goenka, CEO, international broadcast business, ZEEL; Ben Pyne, president, global distribution, Disney Media Networks, US; and Marcel Vinay H, president, Comarex, Mexico.

They will receive their awards in a ceremony this evening; Amit Goenka will receive a second medal on behalf of his brother.

The Medailles d’Honneur are awarded to senior executives who through their talent, leadership and passion have made a significant contribution to television and the development of the international television community.

Golden Globe- and Emmy-nominated producer, Rola Bauer has been the driving force behind

ZEEL’s Amit Goenka

a string of international drama hits, including The Pillars Of The Earth, Crossing Lines and Spotless.

Commenting on her award, she said: “It’s very cool. I’m probably being recognised for what I’ve done in co-productions over the years and the irony is my first one was in 1985. So It feels as though the path I chose in 1985 was the right one. And it’s awesome to be recognised by my peers.”

As the driving forces behind ZEEL, India’s most valuable listed entertainment entity, Punit and Amit Goenka have become the first Indian TV executives to receive Medailles d’Honneur.

Punit took charge in 2008 and has enhanced ZEEL’s performance and kept the company at the forefront of the TV business in India.

He is listed among the top 100 CEOs in India and has won many business leadership awards.

Amit is responsible for spearheading ZEEL’s foreign expansion. Today, ZEEL is available in 169 countries and reaches over 959 million viewers worldwide.

Responding to their awards, Pu-

Disney’s Ben Pyne

nit Goenka said: “Receiving such an honour from MIPTV is as much a personal recognition as it is a tribute to our highly creative and dedicated teams across the globe at ZEEL.” Amit Goenka added: “It is a great honour and privilege for us to receive this prestigious award and to be named among such a stellar group of luminaries from the global entertainment industry.”

Amit Goenka will also collect the award for his brother.

Ben Pyne, president, global distribution, Disney Media Networks, took over his current role in June 2007 and has been with Disney for a total of 24 years.

A well-known figure in the international TV business, he has chief responsibility for the global distribution and sales of Walt Disney Company content.

This includes all feature films, TV series, kids’ programming, made-for-TV movies, mini-series, news documentaries, TV animation and direct-to-video content — and their distribution to all platforms.

In addition, he oversees domestic

Comarex’s Marcel Vinay H

distribution of the company’s TV content within the US. Marcel Vinay H has held leading roles with companies such as TV Azteca, Telecadena and Televisa, overseeing sales, telenovela production, pay-TV channels, acquisitions, and distribution across Latin America.

A pioneer in LatAm content distribution, he was recently named as president of Comarex, where he looks after TV Azteca content.

“I am not retiring yet because I love this business and I love being part of Comarex,” he said.

“But looking back, I really wish I could share this medal with all the amazing executives I’ve worked with, because they were the ones who took a risk on what I was selling.”

Laurine Garaude, director of Reed MIDEM’s television division added: “It is a tremendous honour to present these five outstanding personalities with the MIPTV 2016 Medailles d’Honneur, which acknowledges how they have each made such a significant contribution to our industry, and whose exemplary leadership qualities are an inspiration to the sector.”

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05/04/16 18:51

NEWS FOX PICKS UP WOWOW MINISERIES FOR SCM JAPANESE pay-TV network WOWOW has inked a multi-series broadcast deal with Fox Networks Group Asia (FNGA) that will see five WOWOW mini-series premiere on FNGA’s flagship Chinese movies channel SCM, beginning next month.

The deal marks the first time that SCM will broadcast mini-series and follows the network’s recent interest in producing original Chinese mini-series.

The five series, which are part of WOWOW’s branded original-drama series label Drama W, will air on SCM in Hong Kong, Singapore and Malaysia, as well as in 12 other countries across South-East Asia.

The shows included in the deal are Stars In The Deep, Shingari, Cocoon Of Stone, Enka-Gold Rush and Presumption Of Guilt.

BOOMDOG TO REBOOT THE GOOSE GAME MADRID-based The House of Formats has licensed game-show format The Great Goose Game to Mexico’s Boomdog Films.

“We are following the current trend of bringing back much-loved historic formats, with new games, set designs and a 360º digital platform,” said House of Formats’ president and CEO, Valerio Boserman.

The original format, El Gran Juego De La Oca, was created by Jocelyn Hattab in Madrid in 1993. It went on to become a staple of the airways in 20 countries across Latin America. “The format involves physical games, a giant board game and other amazing sets,” Boserman said.

Boomdog Films is headed

by Alejandro Rincon.

Walter set to present Keshet’s bakers, beauties and gigolos Just another four gigolos: Keshet International’s Milk & Honey

K

ESHET International has sold two Israeli series to Channel 4 UK’s foreign-language drama on-demand service. The shows will be broadcast on Walter Presents, which was launched by Channel 4 in January this year.

Milk & Honey is about four friends who set up an escort service for women. The service is a

success, but the friends struggle with their new identity as gigolos.

The Baker And The Beauty, which was produced by Endemol Israel, holds the country’s record for the highest rated first season of a scripted series. A romantic comedy, the show tells the story of the improbable romance between a humble baker and a star model.

Commenting on the deal, Keshet

International’s managing director of distribution, Keren Shahar, said: “I’m thrilled these universally appealing comedies have made Walter Presents’ special selection of high-end scripted series from all over the world. The existence of this accessible platform demonstrates the increasing demand for foreign-language series in the UK.”

Jim Jam and YLE go for Kit‘n’Kate FRANCE’s Ankama Animations has sold its new pre-school show Kit‘n’Kate (32 x 5 mins) to Finland’s YLE and Jim Jam for Poland, the Benelux, the Middle East and Africa.

Produced by Toonbox Animation Studio, a Russian-Cypriot outfit, Kit‘n’Kate follows the adventures of two kittens who learn how to make good choices while having fun in their playroom. With the help of their parents, they learn how to make the right decisions that lead to a happy ending.

The 2D series is part of a transmedia project that includes apps for tablets and mobile phones, physical and digital books, and online videos.

Frederic Puech, senior vicepresident of animation at Ankama Animations, said: “We look forward to working with Jim Jam and YLE as we introduce Kit‘n’Kate to preschoolers in these key territories.”

The series has already

26

been picked up by EBS South Korea, ICFLIX for its SVOD platform in all MENA countries, and The Walt Disney Company Australia for Disney Junior Australia and New Zealand.

Kit‘n’Kate (Ankama Animations)

miptv

Dark drugs saga set to feed craving for more Nordic noir

A Servant Of The People (Kvartal 95)

ECCHO WINS RIGHTS TO POLITICAL SATIRE SWEDEN-based distributor Eccho Rights has clinched the global distribution rights to Servant Of The People, a political comedy series by Russian production studio Kvartal 95 that has been a massive hit in Ukraine.

Available as a completed show as well as a format, it centres on the fate of an ordinary history teacher who ends up as the president of Ukraine.

It is the protagonist’s fight against corruption at all levels that has made the show a hit in the politically sensitive state.

“But it is obvious that the need for honest politicians at the helm of states resonates with people all over the world,” said Vladimir Zelensky, Kvartal 95’s CEO/creative producer. “That is why we’re confident the format has great potential in the global market.”

C T R E S S A l exandra Rapaport is in Cannes to promote Gasmamman, a Swedish crime thriller which continues the Nordic noir tradition of productions such as The Bridge and The Killing. Likened to a Scandinavian version of Breaking Bad, the series focuses on mother-ofthree and accountant Sonja Ek, who takes over the family’s illegal marijuana business after her husband is murdered in a botched drug deal.

Rapaport, who starred in the Oscar-nominated Danish film The Hunt and appeared in other crime series such as The Sandhamn Murders, is also co-producer. The series aired on the C More channel in Scandinavia, in November, and is now airing on the Kanal 5 channel. Filming for the second season begins later this month,

Birgitta Wannstrom (left), and Alexandra Rapaport

while writing for the third season is already under way.

“The response has been overwhelming from both audience and critics,” Rapaport said. “We pitched it as Breaking Bad meets Erin Brockovich, but it’s actually closer to The Sopranos really. It’s faster than The Sopranos and of

course it’s a strong woman in the lead,” she said.

Gasmamman producer Birgitta Wannstrom said she and Rapaport are at MIPTV to raise awareness of the Endemol-distributed series. “We’re very proud of Gasmamman, it’s the best in Sweden since The Bridge,” she said.

Money-spinning formats from IFG

IFG’s Fredrik Ivansson

SWEDISH startup IFG is in Cannes with three new reality formats — Game Changers, Bionic Creators and The App. Promising to “transform viewers’ actions into revenue”, IFG’s model is based on devising for-

mats that have a built-in commercial opportunity. “Every format we produce will in turn produce a new product or service, while strengthening existing revenue streams,” said IFG CEO Fredrik Ivansson. “Take The App, in which eight people compete to build an app. They are given all the business and technical help they need to create a marketable product, and the show’s viewers — or fans, as we prefer to call them — also engage in the development process. The winning app is then launched on to the market.”

The winning contestant will receive 25% of any profits generated from their app, with the rest shared between the production company, IFG and the various distribution platforms. “It’s a win-win situation for all involved,” Ivansson said. “It’s the sharing econo-

27

my brought to content.”

Front and centre of the IFG approach are the fans. “They control the element of choice, both in time and interest,” Ivansson said. “They can choose to watch the format for three minutes or 30 minutes, and on any platform that suits them.” The company’s platform-agnosticism is also “revolutionising licensing and rights”, he added.

Ivansson said the market’s reaction to IFG’s model had been positive. “Most people are really excited about the new revenue streams that we can generate, and they also like the fact that the fan comes first. Linear TV companies are in danger of going down like the Titanic unless they start thinking about how to monetise their content in a way that reflects the realities of today’s market. We believe our model offers a way forward.”

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NEWS Bergling in Cannes to promote story of his life as DJ Avicii

T

IM BERGLING, the Swe d i sh ele c t r on ic dance music (EDM) DJ and producer famously known as Avicii, came to Cannes to raise awareness for Stories, a 60-minute documentary tracking his life as one of the world’s much sought-after recording and live music superstars.

The film should make riveting viewing for EDM fans, as well as enthusiasts of the international music scene, as it follows Bergling’s evolution from an aspiring 18-year-old musician to today’s multi-award winning DJ phenomenon.

It is also newsworthy as plans for the documentary come shortly after the Grammy Award-nominated Bergling officially announced plans to retire from live concert tours.

Talking to MIPTV News, he admitted his career has had its ups and downs. “For me, the whole experience has been one awesome journey, but it has also been a difficult one. I’m an introverted person and am happy as long as I’m making music, but the constant touring and being under the spotlight never came naturally to me.”

Stories is being directed by Levan Tsikurishvili and produced by

Tim Bergling, aka Avicii

Sweden-based OPA People Production, with BBC Worldwide handling global distribution apart from Sweden.

This is not the first documentary about his work that Bergling has participated in. In 2013 Tsikurishvili also directed Avicii On Tour, which followed the mu-

sician during an Australian tour.

“I’m retiring from touring because there are so many things I want to do, including making films,” Bergling added. “And this is my biggest film project to date.

But I’ve also accepted touring is not going to be for me for 20 more years.”

Landmark in indie music documentary LANDMARK Media Productions, in partnership with WiND Media Group, is developing a 10-part indie music documentary series that seeks to build on the popularity and success of musicbased scripted series such as Empire and Nashville.

The series, called The Label, chronicles the successes and failures of artists and entrepreneurs.

“It is a story about music, people, egos and artistry, and presents a first-person view into how these

parts come together and fall apart as music is made,” said Peter Hartogs, CEO and executive producer of Virginia-based Landmark.

“What makes it so compelling is that it captures the authenticity of the characters and their journey.”

The show is being presented to buyers in Cannes. “We’re already getting strong interest from US broadcasters and MIPTV is the perfect place to be, to introduce the series into the international

marketplace, “ said Hartogs.

The series follows the team at Turn The Page Records as they look to nurture and develop new artists. They are supported by Grammy-nominated recording artist Petey Pablo, who is working with them to tap into North Carolina’s vibrant music scene.

Landmark — founded by former CNN staffers Michael Watts and Peter Hartogs — co-produced Boomtowners for Smithsonian Channel.

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FORMAT FOR THE NEXT SUPERGROUP AMERICAN Supergroup (ASG) co-creators Kevin Wayne Waldrop and Gary Wayne Bridges launched their new international format, Supergroup, at MIPFormats this week.

Rights are available for all territories, excluding the US, and will be managed by agency CAA. Supergroup is a music competition programme showcasing the creation of a new band. Guided by music experts, 25 finalists are selected to form five groups of five members each. Audiences interact with, and vote for, contestants (bands) via social-media platforms.

There will also be a judging panel comprising music experts with a proven track record: either a member of a multi-platinum selling band or supergroup, from any genre; or an entertainment industry insider: manager, record executive, producer etc.

The US version of American Supergroup is currently in production and will premiere on a US network with eight episodes in the second quarter. The show is being filmed in Nashville with executive producers Barry Josephson and co-creators Bridges and Waldrop.

Bridges said: “American Supergroup will take America’s top musicians, put them together in the best combination and deliver the most powerful musical group ever. We are thrilled to air the show in the US and are confident it will be at hit with music and television fans.”

IN PICTURES

Cecile Bois plays Candice Renoir in the police series of the same name, brought to Cannes

by Newen Distribution

TV executives and the stars of their shows took time away from the Palais this week to face the cameras

Sam Homewood (left) and Adam MC Kola are in Cannes with FremantleMedia who presented the network of social-media channels, The Football Republic, at MIP Digital Fronts

Novelist Harlan Coben returns to Cannes with his production company Final Twist, newly launched with Nicola Shindler

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A+E’s epic four-part series Roots was the MIPTV World Premiere TV Screening.

Pictured are: actors Anna Paquin (left); Anika Noni Rose (second right) and Jonathan Rhys Meyers (right); with executive producers Mark Wolper (second left) and LeVar Burton

Produced by Lux Vide for Rai in Italy, and distributed by Wild Bunch TV, Medici: Masters Of Florence is one of the shows selected for the inaugural MIPDrama Screenings.

Pictured are: creator, writer and executive producer Frank Spotnitz (left); Wild Bunch TV’s Carole Baraton; with Lux Vide’s Matilde Bernabei and Luca Bernabei

Ex-professional footballers Gianluca Vialli and Lorenzo Amoruso star in FremantleMedia’s reality format Football Nightmares in which they work to restore the confidence of local amateur teams

Cast members Mamie Gummer (left), Richard Coyle, Tom Riley and Alix Poisson are in town for the BBC drama series The Collection

31

548_MBI screen_N3_TV

MIPTV 2016 Pick up your copy of Screen International at MIPTV 2016 for insightful information on: How the digital players are shaping the European drama landscape

Profiles of the hottest new broadcast and digital high-end dramas

How the film and TV crossover is evolving and impacting both industries

To arrange a meeting please contact Pierre-Louis Manes +44 (0) 776 823 7487

Pierre-Louis.Manes@screendaily.com

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miptv

NEWS Electus-MTG link-up brings hit reality series to Baltics

L

A-BASED producerdistributor Electus International has signed a deal with Moder n Times Group (MTG) to distribute multiple hit series to the Baltic region.

The deal was brokered by Max Richards, Electus International’s manager of sales and acquisitions for central and eastern Europe, and totals more than 70 hours of content.

The shows include, for Latvia: Dating Naked season three (10 x 60 mins), a social experiment that provides daters with a radical experience; World’s Funniest Videos: Top 10 Countdown (30 x 30 mins); Bet On Your Baby seasons one and two (8 x 60 mins each); and Online Dating Rituals Of The American Male (6 x 60 mins).

For Lithuania: Get Out Alive With Bear Grylls (8 x 60 mins), an extreme adventure realitycompetition series.

And for Estonia: World’s Funniest Videos: Top 10 Countdown (30 x 30 mins) and Almost Ge-

From left: Max Richards, manager, sales and acquisitions for central and eastern Europe, Electus International, and John Pollak, president, Electus Studios & International Distribution

nius (32 x 30 mins), a sketch comedy series in which the best viral videos from around the world are paired with talented comedians, who are inserted into the action.

“It’s really good to be partnered with a great company like MTG

and we’re really thrilled to do such a high-volume deal with so many good titles,” Max Richards said. “We have a lot of great formats that we’d like to get going, especially in my territories in Eastern Europe.”

Blue Skye thinking on Ultra-HD wildlife

Blue Skye Entertainment’s Jo Parkinson

CANADA-based Blue Ant Media and Smithsonian Networks have joined forces to launch Blue Skye Entertainment, a new UK-based company exclusively focused on 4K wildlife and nature content.

Jo Parkinson heads the new busi-

ness, developing and distributing over 200 hours of factual content annually under the new 4K brand channel, Love Nature.

“We have a big pipeline of content,” Parkinson said. “And with our global ambitions, we can’t achieve success alone — we are here to forge new key partnerships, as well as show our extensive portfolio of natural history and wildlife programming.”

Parkinson said Love Nature not only wanted to create innovative content, but also to connect viewers to the animals and ecosystems that make the shows happen: “We support a number of grassroots conservation initiatives right across the world, including the Jane Goodall Institute,”

she said. “We are also pioneering a ground-breaking naturalhistory project in Zambia by partnering with UK production company Plimsoll Production to set up a “live” camp with a 50-strong team, 20 Ultra-HD cameras and military grade thermal imaging technology to film and tell stories 24/7.”

Parkinson emphasised that 4K is the next big leap forward in television. “We are very lucky to have the creativity, expertise and pioneering spirit around 4K production — it’s truly immersive,” Parkinson said. “And it’s a perfect fit for filming wildlife: now our audiences will no longer be in the room but rather in the picture.”

ARABIC SESAME STREET LEADS LICENSING PUSH DUBAI- headquartered Spacetoon, the free-to-air kids’ channel that broadcasts in Arabic to 22 countries and more than 130 million viewers, and its licensing arm, ALC, have announced major broadcast and licensing deals.

Spacetoon, one of the best-known children’s media brands in the Middle East and North Africa, recently launched its first co-production, Mia, a 3D CGI comedyadventure series for two- to six-year-olds with a strong environmental and educational message. The licensing campaign for Mia across MENA markets will be managed between France’s Cyber Group Studios, Malaysia’s Lalune Light Studio and Spacetoon.

ALC has been building on the success of a number of properties now seen on Spacetoon, notably the first Arabic-language version of Sesame Street for 25 years — Iftah Ya Simsim. Deals in stationery and apparel have recently been signed for the Bidaya Media-owned property.

Also, ALC and Ink Group, a brand-building company headquartered in Copenhagen, recently joined forces to become Ink ALC. Fayez Weiss al Sabbagh, president of Spacetoon Kids TV, said: “I am certain that the merger between Ink and ALC, supported by Spacetoon TV, will enjoy great success in licensing thanks to its access to over one billion consumers across three regions.”

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NEWS MULATA SETS UP SHOP IN FRANCE MULATA Films has opened an office in France, marking the start of an alliance between the company’s office in Argentina and French producer Fabrice Lambot, who acts as local manager.

Mulata Films France was made possible by the support of INCAA (Argentina’s National Institute of Cinema and Audiovisual Arts), which was involved from the start. The new office will initially facilitate deals with European production companies looking to co-produce, and import formats from Argentina.

Mulata Films’ Pablo Destito (left) Maite Echave, Fabrice Lambot, and Pablo Giles

HBO ASIA LANDS 3D SCI-FI SERIES AFTER a deal signed at MIPJunior last year, Russia’s Mirsand and Spain’s Imira Entertainment has sold Alisa Knows What to Do! (24 x 26 mins) to HBO Asia. The series is based on Russian sci-fi novels about 12-yearold Alisa in the late 21st century. The TV rights belong to Moscow-based Bazelevs Productions, whose distribution arm Mirsand has licensed Imira to distribute the show in Asia-Pacific and other territories including Latin America, Spain, Italy and Portugal.

Alisa Knows What To Do! (Imira)

Wizart’s Snow Queen will reign again for Discovery Kids LatAm

The Snow Queen 2

M

OSCOW-based animation studio Wizart has announced that Discovery Kids Latin America has acquired the rights to The Snow Queen 2 and will air the animated feature in Spanish across the region later this year. This new deal, closed at MIPTV, is a result of the successful launch of the first animated feature The Snow Queen, which also aired on Dis-

covery Kids Latin America. The network anticipates the sequel release this year.

Flavio Medeiros, director of programme sourcing & acquisitions for Discovery Kids said: “We look forward to the launch of the new instalment of this extraordinary movie, which is already a proven success among our young audience. Discovery Kids prides itself on offering the best content for children in the pay-TV indus-

try in Latin America and we are very happy to count The Snow Queen 2 among this select collection of properties.”

Wizart producer Yuri Moskvin said Latin America continued to be a key territory for the animation studio where the company is building its presence, on TV and theatrically. “We are thrilled to continue our partnership with Discovery Kids Latin America on the sequel, and hope to continue to collaborate on the new instalments of the franchise in the future,” he said.

The animated feature already has presence in over 70 countries including the UK, South Korea, Pola nd, Israel, t he Middle East, the Baltic States, Serbia, Montenegro, Slovenia, Croatia, Macedonia, Kosovo, Russia and CIS.

Spain numbers grow in Cannes

A RANGE of Spanish newcomers are at MIPTV this year.

Sociograph Neuromarketing, a communications consulting group is developing a new audience-measurement system based on electrodermal data.

Sociograph’s Daniel Ramos Morales said the system measures the reactions of audiences in real time using a device which records data from finger sensors.

“The system can eliminate subjective data and record reactions which are common to everyone in an audience,” Morales added.

It is already used by some of Spain’s biggest media companies including Telefonica and Mediaset. It is expected to be used testing pilots to measure reactions to characters, plotlines, music or advertising.

Producer Daniel Froiz from Galicia’s Matriuska Producciones is also at MIPTV for the first time in search of international coproduction partners for drama

project The Caterpillars (12 x 52 mins), about a mother who trys to bring back her son who is in a coma following a car accident.

The show’s pilot is already fully financed with money from broadcaster Television de Galicia.

Barcelona-based brand and copyright protection company Red Points is also making its MIPTV debut, with a unique anti-piracy technology which can locate and take down pirated content. Its software was recently used to help protect pirated feature The Hateful Eight in the Spanish market by removing illegal copies of the film from circulation.

Another newcomer itsOk.co, a producer based in Madrid specialising in creating and developing unscripted formats for TV and digital platforms. One example is The Fitting Room, a streetbased game show in which contestants answer questions while wearing celebrity-themed outfits.

Daniel Froiz from Matriuska (left); with Sociograph’s Elena Martin Guerra and Daniel Ramos Morales

Red Points’ Max Stepan and Stephan Anescot

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miptv

New German drama series NSU charts the rise of the far right

G

ERMAN producer and distributor Beta Film has unveiled a powerful new drama portraying the rise of German neo-Nazism in the 1990s.

NSU German History X covers a real-life scandal that has rocked the German intelligence establishment, with allegations of conspiracy, cover-up and even complicity by the security services in a wave of anti-immigrant violence and murder at the hands of far-right extremists.

Produced in association with Telepool, it charts the rise of extremist group National Socialist Underground (NSU), which emerged out of the disorder and tension following the fall of the Berlin Wall.

Set over 13 years and split into three two-hour parts, the drama, which has already made its debut in Germany, shows the brutal violence carried out by three NSU members against migrants and a series of unsuccessful attempts by police authorities to investigate.

NSU German History X director Florian Cossen (left) with producer Gabriela Sperl and Beta Film’s Jan Mojto at the trailer screening and discussion

Allegations of interference and misdirection by security forces have prompted action at the highest levels of the German government and led to the ongoing high-profile trial of one of the NSU members around whom the drama revolves.

Beta Film chief executive Jan Mojto led an extended trailer screening of NSU at MIPTV on Sunday, followed by a discussion with Florian Cossen, who directed one of the three parts of the show, and producer Gabriela Sperl.

Speaking at the event, Sperl said that NSU revealed a “dark side” of modern German society and contained disturbing parallels with the current political climate throughout Europe in 2016.

“It’s very important that we make people aware of what’s happening because so many people have tried to hush this up,” she said.

“Nobody looked into the rightwing for these crimes. It took us years to research this and the deeper we got into it the more we realised we were looking at something really big.”

EarthTV sees weather clearly in 4K BERLIN-based digital production company earthTV has updated its production system and now offers broadcasters 4K Ultra-HD content. The company has also created the first ever 4K weather programme, Weather Today, based on its three-day weather forecast.

In addition to displaying weather information, the programme delivers real video footage of how the next day will look. Claudius Lohmann, joint CEO of earthTV Network, said Weather Today was the first hourly updated 4K programme running 24/7.

“This update comes as a natural evolution of the ever-improving technology of image clarity,” he

said. “And since the world is our studio, we continually embrace innovative technologies to create the best possible virtual experiences of our camera locations.

“With 4K, we are able to offer

EarthTV’s Claudius Lohmann (left) and Nikolaus Lohmann

35

content solutions that fit media’s needs better and reach a wider and more diverse range of clients.

4K also has more display space for more information and data.”

EarthTV also announced it was entering into an agreement with Austria’s feratel media technologies to integrate 149 HD feratel cameras into its flagship programme, The World Live.

In addition, earthTV offers a ski-weather programme to be licensed for next season, starting in November 2016.

The company has also entered into an agreement with Earth Networks (EN) in the US which will provide access to EN’s 1,000 cameras across the US.

GLOBAL SCREEN BREAKS OUT PRISONERS MUNICH-based Global Screen has picked up the international rights to Prisoners (6 x 50 mins), the story of a young woman is who jailed for the murder of her father. Set in Iceland, the series is directed by Ragnar Bragason (Metalhead, Children) and produced by Reykjavik-based Mystery Productions in co-operation with the Icelandic National Broadcasting Service (RUV) and theatre and film company Vesturport.

Principal photography is scheduled to start next month. Alexandra Heidrich, Global Screen’s head of TV sales and acquisitions, said Prisoners’ mix of “dark family dynamics, prison life and gripping personal histories” would appeal to the international market. “We strongly believe in the potential of this highly atmospheric drama,” she added.

NHK TEAMS WITH AUTENTIC FOR TSUNAMI DOC GERMANY’s Autentic and Japan’s NHK are extending their co-operation. They will co-produce Inside The Tsunami, which is based on testimonies from the survivors of the March 2011 Tohoku earthquake and tsunami. The two companies already collaborated on 88 Hours – The Fukushima Nuclear Meltdown and Human Body (aka Human Life) . Human Body was broadcast last year in Japan and Germany, and 88 Hours has aired on NHK and will be seen on Speigel TV Weissen in Germany in June.

“We are extremely proud of this partnership,” Autentic’s managing director, Patrick Hoerl, said. “Scientific productions from NHK enjoy a unique position worldwide.”

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A who’s who of formats in Asia, including channels, slots and airdates. Published for annual event ContentAsia Formats (1 Sept 2016). Updates @ Mip TV, Mipcom & ATF.

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NEWS Hirachand helps Indian content creators broaden their horizons

H

IRACHAND DAND is sporting two hats at the market; one job is to introduce more Indian producers to markets like MIPTV, to help them reach more international buyers.

As president of the Indian Council of Impex for Films & TV Programmers, Dand wants to help Indian content creators look beyond their country to regions like Europe and Latin America.

“I’m mobilising the members of our association who aren’t getting the exposure they deserve outside India,” he said. “Some of the big players are far ahead in the game, but there are many smaller ones with great products that are excellent in quality and technically superb that we believe should be seen beyond India.”

With his second hat as chief operating officer of Mumbai-based Madhu Entertainment & Media, Dand has brought to Cannes two new feature films in a catalogue of 70 movies and 2,000 hours of TV programmes.

The new fare includes Chalk N Duster, a 140-minute film that tells the story of old school friends reuniting to fight injustice when they learn their favourite former teacher is in trouble. The second

Madhu Entertainment’s Hirachand Dand

movie is Perariyathavar (Names Unknown), a fictional drama in the Malayalam language.

“We really believe there is big

demand for Indian content internationally, and we’re even trying to organise an Indian film festival in Latin America,” Dand added.

BTVP stand offers best of Brazil BRAZILIAN TV Producers (BTVP), the export division of the Brazilian Association of Independent TV Producers, in partnership with the Brazilian Trade and Investment Promotion Agency (Apex-Brasil), is organising the participation of Brazilian producers at MIPTV for the 11th time. Brazilian firms attending under the BTVP umbrella include Alopra Estudio, Boutique Filmes, Due Producoes, Elo Company and Suma Filmes.

MIPTV 2016 is a key moment

in the industry calendar for Boutique, whose show The Zoo Of Zu is a finalist in the pre-school category of the International Emmy Kids Awards. It’s also a landmark event for Rio de Janeiro-based Due Producoes, which sold its factual tourism series Enjoying Rio at the corresponding event last year. This year it is back with plans to extend the franchise to cities including Buenos Aires and Paris.

Elo will be in Cannes with Boy And The World, an animated fea-

ture film directed by Ale Abreu, who was Academy Award nominated in 2016. It will also present the documentary The Space In Between — Marina Abramovic In Brazil, which was recently in official competition at the South

By Southwest Festival.

Suma will be highlighting the series Drag Up and the documentary Jou! Alopra’s highlights for this year’s market will include animations Hydro And Fluid and Great Little Ones.

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108 MEDIA TEAMS UP WITH VIVA RED IN CHINA VENTURE DISTRIBUTOR 108 Media has launched a joint venture with mobile app developer Viva Red in China.

Operating out of Hunan, 108 China’s first offering will be SeeMe, a free-todownload on-demand app that will offer over 800 hours of online TV and film content.

Users will have the option of gaining unlimited streaming access to subscription or download services and some content will be offered free of charge with advertising.

The range of genres includes kids, live action, animation, lifestyle, documentaries and independent films from around the world.

The SeeMe app will be distributed by two of China’s leading telecommunications companies — China Mobile and China Telecom — as well as major broadcasters.

The app is currently in Beta testing and will be available in China later this year.

STUDIOS LAUNCH IN COTE D’IVOIRE PARIS-based post-production and dubbing company, Cinekita — which celebrates its 20th anniversary this year — has opened new studios in Abidjan, Cote d’Ivoire, a city fast becoming a hub for audiovisual business in Frenchspeaking sub-Saharan Africa. The studios aim to service regional broadcasters and producers, as well as provide an entry point into the local market for foreign distributors.

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NEWS PBS Nova signs with Lion TV to unearth China’s imperial secrets

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BS NOVA and Lion Television have announced an output deal that will see Lion Television develop and produce a number of archaeologybased documentaries for the PBS strand. The initial agreement covers three films, with more in the development pipeline, and will strengthen an already successful co-production relationship. The first titles to be announced are Building Secrets Of The Forbidden City – a special access film about the restoration of Beijing’s stunning Imperial Palace, produced in conjunction with China’s CICC. A second film, Secrets Of The Chinese Chariots, will replicate and battle-test some of the oldest chariots ever found in China.

Nova is PBS’s flagship science documentary strand, focusing on stories from the frontlines of science and engineering, medicine, ancient history and archaeology. Its multi-awardwinning content reaches a broad audience across the US, and ranges from full-length documentary films to short-form digital and social media.

Lion Television, part of all3media, is one of the UK’s leading independent producers, with offices in London, Glasgow and New York. The company is renowned for its specialist factual content with a strong reputation for international co-productions, and particularly for producing specialist factual content in China.

Richard Bradley, managing director of Lion Television, said: “We are delighted to be

Lion Television’s Richard Bradley with PBS Nova senior series producer Melanie Wallace

teaming up with Nova, one of broadcasting’s most trusted and prestigious documentary strands. We’ve already built a great partnership and are looking forward to working together to bring more exciting and revelatory stories to a worldwide audience.”

Paula S Apsell, Nova’s senior executive producer and director of the WGBH Science Unit said: “We at Nova are thrilled to be working with Lion on such an excellent line-up of films. These are sure to inform and excite our viewers and online visitors with scientists’ new understanding of our ancient past. We look forward to working together on these and many more excellent programmes.”

WeKids launches Cyber’s China move

CYBER Group Studios has granted WeKids exclusive distribution rights in China to over 130 half-hours of three of its main animated

Cyber Group Studios’ Marie Conge (left); WeKids’ Sean Chu; Cyber Group Studios’ Pierre Sissmann and Emmanuel Dereau; and WeKids’ Daniel Victor

series; Zou (156 x 11 mins, HD/CGI), Zorro The Chronicles (26 x 22 mins, HD/CGI) and Mini Ninjas (52 x 11 mins, HD/2D-CGI).

Cyber Group is partnering with WeKids to introduce its top animation properties to the Chinese market. WeKids acquired the rights to distribute the shows across TV broadcasters and VOD platforms throughout the Chinese mainland, Hong Kong, Taiwan and Macau.

“We are very pleased to have entered into an agreement that will see our properties distributed in mainland China by such a renowned partner as WeKids,” said Pierre Sissmann, chairman and CEO of Cyber Group Studios.

Sean Chu, founder and CEO of WeKids added: “We are so happy to have the opportunity to bring big properties into China. These TV series are beautifully made and I look forward to their success.”

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MILLIMAGES DEAL UNLEASHES KUNG FU BROTHERS FRENCH animation producer and distributor Millimages has joined forces with Chinese animator Benlai Pictures on its latest creation Kung Fu Brothers.

The project (78 x 7 mins) is an animated hybrid featuring a combination of live action, stopmotion animation and 3D work based around the characters of a witty and rebellious rabbit, Bunny, and Doggy, a loyal, enthusiastic but over-sensitive dog.

Aimed at six- to 12-year-olds, Kung Fu Brothers is the sequel to the multi-award winning series of shorts Kung Fu Bunny, created and directed

by Vincent Li and produced by Chinese studio JJJOY.

Uyoung’s Clara Zheng Yang (left), with Millimages’ Roch Lener and Grace Lee

Millimages and Benlai have signed a co-production agreement on the $7m series and will co-distribute the show. According to Millimages’ CEO Roch Lener there has already been a lot of interest in the show because of its high profile at film festivals.

Lener said that he expected the series to be in production by the end of the year.

French producer Millimages is recognised as an established leader in European children’s entertainment, with over 1,000 half-hours of animated TV and feature films.

The company is currently producing the second season of Molang, which was sold to over 120 countries, and a 3D CGI animation Pirata & Capitano.

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NEWS HAYMILLIAN TO HELP ALL MEDIA’S TRAVEL PLANS MEDIA localisation specialist Haymillian has teamed up with Moscowbased film and TV distributor All Media to enable its content to be accessed outside Russia.

The companies have entered into an agreement, which was sealed at MIPTV, that will see foreign-language versions of selections of the All Media slate being produced, starting with an English-language version of comedy The Kitchen.

Haymillian managing director Aida Martirosyan said: “We are delighted to partner with All Media and help them extend their international reach.

Our media localisation and access services will allow audiences that do not speak or understand Russian to fully enjoy and consume the unique blend of content genres offered by All Media.”

Among the All Media slate is content from Wild Bunch, StudioCanal, Myriad Pictures and eOne.

PINY’S CREATIVE KIDS TRAVEL TO NEW CHANNELS A DEAL announced at MIPTV by Madrid-based Anima Kitchent and toy manufacturer Famosa will bring kids animation PINY: Pinypon Institute Of New York (52 x 11 mins) to screens in Mexico and Russia. The series, aimed at six- to eightyear-olds, features the adventures of group of creative friends at a city design and fashion institute. It will debut on the Russian free-to-air kids Carousel channel, and, in Mexico, on Televisa’s Canal 5.

International sales quest gives Ukrainian drama new impetus the conflict with Russia,” said Kateryna Vyshnevska, the UKbased development and co-production executive of Ukraine’s Film.UA Group.

“In the past, the combined investment of Ukraine and Russia was enough to finance a series,” she said. “But lately the need to seek international sales has forced us to go beyond the kind of soapy television drama we used to make and produce shows of international quality. And as our storytelling and production values improve, we’re starting to tackle stories hitherto off-limits in Russia and Ukraine.”

The Red Bracelets (12 x 46 mins), an edgy comedy-drama about a teenage cancer ward, is one of the results.

“On the surface, it’s a series about illness and death, but in fact it’s about friendship and first love,” said Vyshnevska. “But it was a hard sell for both Ukraine and

Kateryna Vyshnevska

“I

N TH E LAST five years Ukrainian television drama has improved beyond measure, partly as a result of

Russia because disabled people are not seen or spoken of there.

It’s adapted from the Catalan format, and we’re co-producing it with AVK Production in Russia – very happily, in fact. We’re very proud of it.”

The Red Queen (8 x 52 mins) is another series with production values worthy of an international drama, Vyshnevska said.

“It’s the story of Regina Zbarskaya, the first Soviet supermodel and a KGB spy. It’s set in the 1950s and 60s, which is a topical epoch. It has love, betrayal, glamour and Cold War intrigue.”

The show aired in 12 parts on Russia’s Channel One last month, and won a 25% share. An international version is being cut to eight one-hours.

“We’re also inspired by the international success of Downton Abbey,” she added. “It shows us how a local story can have universal appeal.”

Sharllotte’s potential earns prize FOR THE third year Reed MIDEM has awarded a prize at the Suzdal Animation Festival in Russia for the animated series with highest international potential. The winning project from Master-Film is Sharllotte And Frogson, and the prize includes registration for MIPJunior 2016 in October.

The 3D series is in production, available in Russian and English versions, and the first six-minute episode is complete.

The stories follow young detective Sharllotte and her friend, a frog called Frogson, who help animals and solve mysteries using geography, botany and mathematics skills. Targeted at ages five to nine, the series aims to teach children to pay attention to their surroundings and develop observation skills.

Sharllotte And Frogson (Master-Film)

Master-Film’s Alexander Gerasimov said: “Such a high professional assessment from experts means that the project has real chances in the world market. We hope that participation in MIPJunior will be a good start. There we plan to find partners for co-production and further distribution.”

Reed MIDEM’s Alexandra Modestova, added: “Cute and clever Sharllotte has all the

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chances to repeat the success of the previous winner – Alisa Knows What To Do! — which sold to several countries, including North America, Middle East, South Asia and Africa.

We believe that a universal story and humour – Sherlock Holmes in a skirt and Dr Watson in the image of a cheerful frog – will allow this Russian project to gain a favourable position at the international market.”

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NEWS SMALL WORLD FOR JIANGSU’S SUPER COMBAT TEAMS CHINESE provincial broadcasting giant Jiangsu this week agreed a joint distribution deal with Small World IFT to distribute Jiangsu’s Super Combat Teams, the awarding-winning game show in which viewers download an app that allows them to vote from home in real time simply by shaking their smartphones.

“It sounds easy,” said Xiang Li, director of Jiangsu Satellite Channel, which debuted the show in January 2015.

“But it took months to develop the technology to the point we could be sure that six million people could vote at once without crashing the system.”

“This is a fun, big-ass studio stunt competition show,” said Tim Crescenti, president of Small World IFT. “And it’s an important format because the audience interact with the screen in real time, so they can’t avoid the ads.”

“Super Combat Teams is a format that will flourish with strong international collaboration,” added Li. “We look forward to building a successful partnership with Small World IFT as they debut this hit show.”

Jiangsu’s Xiang Li (left) with Small World IFT’s Tim Crescenti

Fierce TV rivalry spurs growth in Chile’s global drama sales

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RAMA from Chile is scoring big, with Mexican distributor Comarex reporting sales of Young At 40, produced by 13 Sud Media, to 20 countries across Europe, Asia and South America since January.

“Chile is really quite a special country in that there are four relatively big TV stations and so the competition between them is intense, and consequently they have had to up their game as producers,” Marcel Vinay Jr, CEO of Comarex, said. “We are also seeing a lot of interest in Neighbourhood Kings from the same company, which we’re selling as both finished product and as a format.”

Neighbourhood Kings is a feelgood show about a footballer who falls victim to the trappings of success, but who then has to get his act together in order to play in the national team. Vinay Jr also sees an emerging regional

appetite for high-quality drama.

“As OTT services and companies like Netflix and HBO become more popular in South America, we are seeing a clear division in the audience, between those who still like the classic diet of simple

stories, and a much more sophisticated type of viewer who appreciates quality series,” he said.

Comarex is also distributing the Mediaset format Matter Of Respect in Asia, Africa and South America.

Neighbourhood Kings (Comarex)

First look at Germany for CJ E&M

KOREAN producer-distributor CJ E&M and German producer Tresor TV have signed an exclusive first-look option deal at MIPTV. Tresor TV will have exclusive access to CJ E&M’s new formats, which it will develop for the German market. In addition, the partners will co-operate on CJ E&M library formats.

Axel Kuehn, Tresor TV managing director, said: “Over the past months we have learned that CJ E&M has one of the freshest and most innovative format catalogues. We are also impressed by the number of new formats they are launching each market. We feel very honoured that CJ E&M has chosen us to have a first look on their new formats for the German market.”

CJ E&M head of international

sales and acquisitions Jangho Seo added: “Tresor TV has a very strong presence in the German TV market and we are thrilled to have a such a great partner. We believe Tresor TV is

the best partner for CJ E&M in order to launch a strong foothold in Germany. We are very excited about our new journey and CJ E&M will contribute all our best resources to Tresor TV.”

Tresor TV’s Peter Schweizer (left); CJ E&M’s Diane Min; Tresor TV’s Axel Kuehn; and CJ E&M’s Jang-Ho Seo

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