Miptv 2016 news 4

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DAY

Thursday 7 April 2016

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MEDIA MASTERMIND

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Vivendi’s Dominique Delport told a packed auditorium that the big internet players are hungry to get into the content game

MEDAILLES D’HONNEUR

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Industry luminaries were honoured at the Carlton hotel last night where they each received the MIPTV Medaille d’Honneur

VICE MEDIA

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The global youth-media company announced a partnership with French pay-TV broadcaster Groupe Canal+ yesterday

VIRTUAL REALITY

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The challenge facing VR producers is to develop a new grammar for a fast-evolving medium where few rules exist

MIPTV BOOTH

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MEDAILLES D’HONNEUR

Comarex’s Marcel Vinay H (left), Tandem’s Rola Bauer, Disney’s Ben Pyne and ZEEL’s Amit Goenka receive the MIPTV Medaille d’Honneur from Reed MIDEM’s Paul Zilk at a gala dinner last night. Industry luminaries were invited to the prestigious event at the Carlton hotel to celebrate the occasion

WDR mediagroup’s Stefanie Fischer and Casablanca Media Partners’ Mostapha Mellouk

Miss Supranational 2015 winner Stephania Stegman

neWs 4

The official MIPTV daily newspaper Thursday 7 April 2016

Director of Publications Paul Zilk Director of Communication Mike Williams 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 Jordan Carel, 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 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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17-20 OCTOBER 2016 CANNES FRANCE

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THE WORLD’S ENTERTAINMENT CONTENT MARKET, GATHERING THE TV INDUSTRY’S LEADING PLAYERS.

31/03/2016 13:28

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MEDAILLES D’HONNEUR

Disney ABC Television Group’s Keli Lee with TLN Telelatino Television Network’s Aldo Di Felice

Disney’s Astrid Barbot (left), Tatjana Vucanovic and Evelyn Geraci

20th Century Fox International Television’s Marion Edwards with ProSiebenSat.1’s Ruediger Boess

Zee Entertainment’s Sunil Buch (left), Sandeep Hardasmalani, Sunita Uchil, Sarah Coursey, Sharmeen D’souza, Rajeev Kheror and Nitin Michael

Tandem Productions’ Marina Dodlek and Tim Halkin

TV France International’s Mathieu Bejot (left) and Herve Michel, with journalist Catherine Bejot-Edmond

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THE POWER OF FANS

THURSDAY 7 APRIL

OFFICIAL CONFERENCES & SCREENINGS

Producer Toolbox EUTELSAT ULTRA HD SEMINAR 9.30-12.30 | Sony 4K Ultra HD Theatre By registration

Producer Toolbox MIPTV TRENDING TOPICS 14.00-15.00 | Agora The Most Buzz-worthy trends of the market are discussed and analysed by a panel industry experts.

Panellists:

BEST OF FRESH TV 10.00-11.00 | Agora In partnership with Presenter: ■

Virginia Mouseler, CEO, The Wit, Switzerland

■ ■

Guy Bisson, Research Director, AMPERE ANALYSIS, UK Adam Flomenbaum, Executive Editor, Found Remote on The Drum, USA

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Julian Newby, Editor in Chief, MIP Publications, UK

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Catherine Warren, President, Fan Trust, Canada @FanTrust

Moderator: ■

James Martin, Head of Social Media MIP Markets, France @jamesmart_in

THEY MADE MIPTV! 11.15-12.00 | Agora Catch-up session featuring exclusive interviews of top executives & thought leaders in Cannes.

UHD SCREENINGS NON-STOP

BRAND NEW! DIGITAL SQUARE MEETS-UPS

13.30-14.30 | Sony 4K Ultra HD Theatre

Open to all registered delegates

Delegates are invited to drop in and see the ‘best of the best’ from MIPTV’s Ultra HD screenings. View and ‘Feel The Beauty’ and the true ‘WOW’ factor of some of the best visual programming available today.

Digital Square, Palais -1

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11.00-12.00 PRODUCERS MEET-UP: ASIA

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NEWS Time to embrace mobile- Is this the future of fiction? first content, Delport says

“C

A N N E S, we have a problem,” Dominique Delport said in his Media Mastermind Keynote yesterday.

The president of Vivendi Content and global managing director of Havas Media Group presented a list of the top 20 internet companies — none was European, all were American or Asian. He also said that huge players such as Apple, Google and Amazon were increasingly eager to get involved in the content game.

Though Delport did not believe the web threatened traditional TV’s existence — global viewing figures and ad revenues prove TV’s continued dominance — the inexorable rise of web video in all its forms demands action. “Fifty per cent of millennials’ video time is on mobile,” Delport said.

“There is still no premium content that is mobile-first.”

He added: “We need to support, promote and back European and Latin content platforms. It’s im-

portant both for diversity and for cultural relevancy.”

Vivendi is putting its money where its mouth is with the launch of Studio+, a “mobile first, mobile only” premium content studio dedicated to fiction series.

Delport outlined the 25 initial 10 x 10 mins series, which have been shot in 18 countries and five languages. Sixty series in total have been developed. The first 25 titles will be available in full at launch; after that, there will be one new series added a week, with only a short delay between seasons, to cater to the trend for binge viewing.

Studio+ will be available through an app developed by Canal+ and sister company Watchever. It will launch in 20 European and Latin American countries before the end of the year, and further afield in 2017. The aim, Delport said, was to reach a potential audience of 600 million people.

“This is a big opportunity to create value on mobile networks,” he said.

New Form Digital’s Kathleen Grace: “guerrilla shooting”

“ALL YOU need to make a

movie is a girl and a gun,” Jean-Luc Godard famously said. But how closely do web series follow Godard’s advice?

Do they embrace the same spirt of innovation, guerrilla attitude and iconoclasm? Yesterday’s panel session, Why Web Series Will Be The Nouvelle Vague In Fiction, set out to answer the question.

“In terms of production, I agree,” said Kathleen Grace of New Form Digital, the new digital-first production studio from Ron Howard, Brian Grazer and Discovery. “People are using smaller, faster, better cameras, and also guerrilla shooting.”

Sam Toles of Vimeo said there was no longer a barrier between creators, distributors and audiences: “In digital, these three worlds combine, and if you don’t have a touchpoint between creator and audience, it

Vivendi’s Dominique Delport: “back European and Latin content platforms”

will not be authentic,” he said.

All the panelists agreed that the web offered greater freedom in format and content — unless you are working with advertisers. And they thought that the rise of web viewing was already affecting TV formats, with stars such as Ellen and Jimmy Fallon tailoring their chat shows to be fed online in bite-size chunks. “It’s easiest to do in talk shows,” Grace said.

“But you’re going to see it cross over into other genres.”

The speakers also agreed that web video is not just for the young. Vimeo skewed to males in their thirties, Toles said.

Anne Santa Maria of Taronja Prod (Telfrance) added: “Today there is a bigger and bigger appetite for fiction. Broadcast audiences are older, yes, but they’re curious to explore, and they have devices. Our job is to make them curious about the new narratives. It will grow.”

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06/04/16 20:17

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Canal+ teams with Vice Media for French version of Viceland

BASSAGET HAILS QUALITY SURGE FOR WEB SERIES

Web Series Magazine’s Joel Bassaget Vice chief creative officer Eddy Moretti

V

ICE Media, the global youth media company, used its MIP Digital Fronts session to announce a new partnership with French pay-TV broadcaster Canal+. Under the partnership, Vice’s new TV channel Viceland will be made available exclusively to CanalSat customers across all platforms later this year.

The 24-hour channel will be programmed, developed and produced entirely in-house by Vice’s young creative team. Eddy Moretti, Vice’s chief creative officer and co-president Viceland, said: “After launching Viceland in the US and Canada in February — and later this year in the UK — it is a proud moment for the company that Viceland France, in partnership with Canal+, will be the first non-English language version of the channel.”

Jean-Marc Juramie, managing director of CanalSat, added: “We are very excited to be partnering with Vice, one of the most inspiring and engaging brands among a whole generation. We believe Viceland’s incredible storytelling and programming will bring a new audience to CanalSat, showing that millennials are eager to watch TV, provided we offer them content they like.”

For the rest of his session, Moretti talked about some of the new Vice shows making

their mark on across the company’s platformagnostic channel model. These include Gaycation, Huang’s World, Noisey, F*ck, That’s Delicious, Weediquette and Balls Deep. Explaining how these shows differ from more conventional TV content, Moretti said it was “about the fact that these shows are intensely personal to the people making the shows… you get a human point of view that appeals to a young audience.”

As the deal demonstrates, traditional media companies are keen to inject some of Vice’s creative energy into their veins — Viceland, for example, was launched in partnership with A+E in the US, replacing a history channel called H2. Moretti also talked about the company’s partnership with HBO in the US on a half-hour daily news show that will be available across various HBO services.

“Vice is a platform-agnostic ecosystem,” Moretti said, “so even as we move into TV we will always have digital extensions to complement our content”.

Addressing the business case for Vice, Moretti said mainstream brands like Unilever and Samsung are keen to work with Vice because of the company’s strong relationship with young audiences. He gave the example of Beyond The Frame, a partnership with Samsung exploring the future of virtual reality.

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WEB SERIES are reaching unprecedented levels of quality with productions getting better “day after day”, according to the editor of a specialist publication covering the sector.

Speaking at a special session at MIPTV yesterday, Joel Bassaget, editor of Web Series Magazine, a blog and supplement of French national newspaper Liberation, said: “This year there will be more and more high quality series coming out and they will get more and more attention.

“This is a phenomenon; the quality is getting higher and higher. Every day I see things which are better than yesterday.”

Bassaget was on stage to present a selection of some of the best web series from around the world in the past year.

Among the previews being showed were those of French horror series Gabriel and New Zealand comedy High Road, joint winners of the 2015 Web Series World Cup, an international competition set up by Bassaget to reward the best content appearing online each year.

Web Series Magazine posts rankings of web series from around the world, updated regularly.

NEWS

UHD content models ‘can lure millennials back to broadcast’

U

HD CONTENT has the power to attract m illennial viewers who are watching less broadcast TV in favour of online video platforms, says Vivicast president Stuart Smitherman.

Smitherman, speaking at The New Ultra HD Broadcasters session, said that in a world in which broadcasters are increasingly worried about losing millennial viewers to online, UHD is one innovation that will help bring them back.

Pearl.tv’s Dr Michael Sichler

“The reality is that millennials are watching more, not less, TV. What I want them to do is to watch it in UHD,” he said.

Smitherman added that broadcasters have a big advantage when it comes to attracting audiences to UHD. “Broadcast is the only way for content creators to show their 4K content in the resolution intended, with no spinning wheels and no degradation in picture quality because of bandwidth limitations.

“The picture quality of fashion content in 4K is quite stunning,” Smitherman said.

Earlier this year Vivicast unveiled plans to launch a UHD channel UHD-1 over satellite in north America with satellite operator SES. Vivicast has assembled over 2,000 hours of 4K content including genres such as fashion, music, film, lifestyle and documentary, which will be made available over satellite and US cable.

However, Dr Michael Sichler, managing director of Pearl.tv said that pipeline problems still remained in the delivery of 4K content.

Shopping channel Pearl.tv is already producing eight hours live UHD coverage per day, he says, and has to date produced 1,600 hours of material.

“We are producing such a big amount of data and the network infrastructure is too slow to handle transmitting that data from one office to the next. Today, we are physically carrying around SSD drives because it’s faster than using the network.”

To get around the bottlenecks, Sichler said: “The first thing we had to do was install two dedicated fibre connections from our base in the Black Forest, to Munich to get our video information to Munich and from there up to the satellite.”

Sichler also highlighted the need to significantly reassess how to light the faces of presenters and apply make-up.

Some presenters, he said, are wary that the high definition will highlight every blemish on their faces. Lighting from the bottom up is essential, he said.

Ultra-HD’s sharper focus on music DELEGATES at the Music: Hitting The Right Notes panel were treated to a dynamic and immersive selection of 4K Ultra-HD music concert footage, encompassing genres from classical, hip-hop and folk to opera, jazz and rock. Amos Rozenberg, CEO, Paramax Films, explained how his company took six 4K cinema cameras to the desert to film an opera, facing natural obstacles that included sand and scorpions. He said the industry was entering a “brave new world” with 4K HD, while adapting to a raft of new challenges.

“We are exploring new technology using new cameras — trying them with different optics so that certain objects

on low light need to be worked on. Now we know we have to use certain 4K optics, so there are a lot of different aspects to the production. Also, with post-production you face a lot of new problems in the grading but also in the export.”

Rob Overman, former music producer and critic, one of the founders of Brava, and now chief creative officer at Montreal-based Stingray, spoke passionately about his desire to bring music to the masses “if we use music in the right way”.

Stingray products, said Overman, are now available in 400 m illion households in 152 countries and the company has completed 30 acquisitions within nine years. He said the

firm was committed to buying and integrating as many good audio and video TV channels in order to provide a full package one-stop shop to TV operators.

Overman demonstrated the c om p a ny’s A mbia n c e 4K channel, which is dedicated to “slow music” — relaxing ambient sound and imagery that he said “enables you to dream a place you would like to be”.

Both Overman and Rozenberg highlighted their belief that the creative input of those operating 4K Ultra-HD cameras is as important as the technology itself. They also stressed their belief that 4K Ultra-HD music content ca n provide opportunities for young and

Paramax Films’ Amos Rozenberg

emerging artists. “Thanks to the technology,” Rozenberg said, “we can promote in a more artistic way.”

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miptv

Fullscreen’s masterclass on enriching Mattel’s toy story

DIGITAL SQUARE’S ICEBREAKERS FOR THE DEALMAKERS

Fullscreen’s Kevin McGurn with Mattel’s Balsam-Schwaber

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ULLSCREEN’s session at the MIP Digital Fronts was led by head of sales Kevin McGurn and vice-president business development Damon Berger. Mattel chief content officer Catherine Balsam-Schwaber was also invited on stage to discuss how the two companies work together to create brand experiences for the global toy company’s portfolio.

Berger kicked things off by saying millennials were getting harder to reach: “It’s not that millennials aren’t watching TV; they are, in unmeasured ways. That’s a conundrum for advertisers and brand marketers in the room.”

The result is new kinds of partnership between content and brands, such as Summer Break. Produced by AT&T, the show is now going into its fourth season. “We wouldn’t be surprised if it went into season five,” said McGurn.

Fullscreen helps Mattel’s stable of brands connect with audiences across digital and social media.

Examples include Monster High, “a cool series that looks at the kids of famous monsters,” said

McGurn. “We started with hero content, then ancillary content and fanned it out to drive tune-in and extend the fan relationship longer.”

Balsam-Schwaber discussed why Mattel went down the route of making flagship brand Barbie a YouTuber: “I was a complete Barbie girl. I played with her, imagined myself as a business person. What we tried to do is give her a voice.

We had some success in DVD movies, but she was always playing a character. We wanted to give Barbie a real identity, which we are only able to do as a vlogger. And through our partnership and work, we’ve had incredible success. That’s among the few places you see the true Barbie and how she imagines her life.”

Asked about Barbie’s relationship with Snapchat, she said: “We’re working on that. She’s a fashion icon. So for those who follow Barbie on Twitter, she travels around the world, is involved in Fashion Week. We’re finding her voice on social media, where every platform gets a little different slice of Barbie — and Snapchat will be the next evolution of Barbie in vertical video.”

Time to create the language of VR

THE CHALLENGE facing VR producers is to develop a new grammar for a fast-evolving medium where few rules exist. That was the conclusion of an afternoon session devoted to VR chaired by Matthias Puschmann, managing director at Berlinbased digital consultancy Vast Media.

While virtual reality technology is being launched thick and fast by companies such as Samsung, Oculus Rift, Sony and Google, in order for VR to be a success the medium needs to quickly evolve a grammar of storytelling, Puschmann told a packed Grand Auditorium.

Filmmaker Thomas Wallner from Canadian VR specialist Deep said: “VR is daunting for producers because they do not know how it’s done.” But he advised them not to wait for the toolset for VR production to be perfect but to get involved.

Wallner has been working on VR software plat-

Matthias Puschmann

form Liquid Cinema, currently being used by French broadcaster ARTE to experiment with VR. He advised producers not to be afraid to guide viewers through VR experiences. “Because there are no restrictions in VR about where viewers can look it makes sense to think carefully about how to direct their gaze so they don’t miss important things, like a big event or an important title, he said.

Manray Media’s Elena Capurro

THE DIGITAL Square has been hosting Meet-Ups this week, aimed at familiarising attendees with MIPTV and breaking the ice between producers. Sessions have been themed by territory, to gather together people with a common interest or goal.

Elena Capurro of new UK production company Manray Media was attending the Spain, Portugal and Latin America Meet-Up. “I’m a Spanish speaker and we are working on content for Latin America and Latin American organisations,” she said. “It’s good to meet other producers from Latin America, you never know when you might need somebody to help. If you’re filming in Latin America, as in any other territory, you’re always looking for good people. Half the time it’s not what you know, it’s who you know.”

She added: “It’s really relaxed and it’s not intimidating, nobody seems to mind if you come up and start a conversation.”

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06/04/16 20:09

NEWS

Dramatic developments fuel the rise of the financial fixers

Wild Bunch TV’s Carole Baraton

A

S DRAMAS have become more ambitious and expensive, the market has shifted decisively in the direction of international co-productions.

This, in turn, has spawned a new breed of fixer company, skilled in pulling together the money needed to make great ideas a reality. In Financing Drama: Filling The Gap, three drama financing experts gave

an insight into the way they operate, providing examples of their work and discussing the opportunities and challenges that exist.

Emmanuelle Guilbart, joint CEO and founder of About Premium Content (APC), which is backed by Nevision, said: “We are not a production company, we offer our services to independent producers at different stages of the process. That can be early development, pre-sales, distribution, accessing soft money.

We can also help producers pair with others in local markets. The important thing is that every project is different so we tailor-make our approach each time.”

An example is Valkyrien, a new show from Tordenfilm in Norway.

“We came in on that project at about the same time as NRK Norway. We helped with pre-sales, distribution and the commercial strategy, looking at every territory, evaluating all the possible options,” Guilbart said.

Justin Thomson-Glover, managing

director, Far Moor, offers a similar kind of service and calls his company “a boutique executive producer”.

Part of Endemol Shine, it is able to draw on the strength of the group’s distribution muscle, but is just as likely to be involved in the early set-up of a production. “We got involved with The Frankenstein Chronicles at a time when it was still struggling to get off the ground. We steered it towards certain broadcasters and helped set it up as a production in Northern Ireland, where it was able to access generous support,”he said.

Wild Bunch TV is a new division launched by film company Wild Bunch. At MIPTV it has been promoting two high-profile productions — Medici: Master Of Florence and Four Seasons In Havana.

Wild Bunch TV head Carole Baraton, also on the panel, said: “We are not a producer, we specialise in cofinance, sales and distribution.”

Branching out from film was not

that difficult, Baraton said.

“We’ve been in financing for 15 years so it was a natural evolution, especially now TV has become so creative. The production process is different in TV but the address book is the same. We talk to creators, producers and broadcasters about our ability to access production finance.”

Baraton says the new projects on its slate are exciting developments.

“Medici is an English-language drama with Rai on board as a partner and Frank Spotnitz as writer. Spanish-language series Four Seasons In Havana is part of a fresh new trend for Caribbean noir,” she said.

APC’s Emmanuelle Guilbart

PICTURED at the MIPDrama Buyers Cocktail, which con-

cluded the inaugural MIPDrama Screenings, is Wang Xia, deputy director general of the Beijing Municipal Bureau of Radio, Film & TV (third right), and members of her delegation; with Reed MIDEM’s Jerome Delhaye (centre left), Laurine Garaude (centre right) and Anka Redl (right)

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OTT service Pooq signs up big BBC package for South Korea

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OUTH Koreans are going to be entertained with hundreds of hours of the best of British content following a MIPTV deal between UK-based BBC Worldwide (BBCWW) and Pooq, the South Korean over-the-top (OTT) mobile TV service.

A joint venture of leading Korean broadcasters KBS, MBC and SBS with more than 400,000 subscribers, Pooq will offer live streaming and catch-up versions of the BBC World News network and CBeebies, the channel dedicated to pre-school kids.

Furthermore, viewers of Pooq’s subscription video-on-demand (VOD) and transactional VOD services will have access to more than 400 hours of natural history and drama shows from the BBC. These include iconic titles such as the international sci-fi hit Doctor Who, and War And Peace, the epic mini-series adapted from the

Claus Tomming, managing partner, Ink Global

DIPRENTE AND INK LAUNCH ANANSI SERIES

Lily James and James Norton in the BBC’s War And Peace

Leo Tolstoy novel.

“We’re always looking for new ways to reach our audiences.

With Pooq, our fans will now have greater flexibility in how they watch CBeebies and BBC

World News,” said Soojin Chung, BBCW W’s general manager of North Asia. “They will be able to take the channels with them to watch anytime, anyplace.”

Cannes help for future TV creators WANT to meet the millennials — the consumers of today and the TV creators and executives of tomorrow? They may well be already working the floor of the Palais, thanks to a student initiative by Queensland University of Technology in Australia and the University of Sunderland in the UK.

With Reed MIDEM’s support, 32 students — studying entertainment industries at Queensland and production at Sunderland — are in Cannes to observe the industry, learn the ropes on the stands and, maybe, offer some advice.

“We’ve been able to sit in on meetings and you really get to

see how it’s a people industry,” said Queensland’s Jamie Brown.

“The digital sessions are incredibly interesting.”

Abby Smith, also from Australia, said: “I got to meet the CEO of Studio 71, and to be able to speak to someone and realise how they’re turning it into a business model is amazing.”

“What really caught my eye is how social media is being used in TV, because we’re always having to think about including it in our projects,” said Abigail Booth of Sunderland.

“As brave as it is to say, I think we’re ahead with digital at the moment. Especially YT [YouTube], Twitch, we know it better because we’ve grown up with it.

We’re the ones you want to target, we can bring that if we work for you,” Thomas Robertson from Sunderland University said.

From left: Abby Smith (Queensland), Thomas Robertson (Sunderland), Jamie Brown (Queensland) and Abigail Booth (Sunderland)

BRAND management company Ink Global and South African production company Diprente have launched the kids’ animation series Anansi at MIPTV. The series is aimed at boys aged six to nine, and tells the story of an orphan who discovers that he is a medium for the ancient African spider god, Anansi. He allows Anthony to share his powers as they both face down the evil god, Tiger. “The combination of ancient African myth and modern urban, streetwise kids is unique, exciting and features stunning action, engaging storylines, superb graphics and just a touch of wacky humour,” Claus Tomming, managing partner of Ink Global, said.

ZEE IN GERMANY INDIAN TV giant Zee Entertainment is expanding into Germany with the launch of a free-to-air TV channel. Zee One goes live in July and will be run by Friederike Behrends, formerly of Magine. “We intend to capture the hearts of German viewers with Bollywood,” Behrends said.

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06/04/16 18:28

IN PICTURES

International Emmy Kids Awards MIPTV hosted the International Emmy Kids Awards in Cannes for the first time on Tuesday evening. All the nominees and presenters gathered at a gala and medal ceremony. The presenting partners were Shaw Rocket Fund, Jeemtv, WDR mediagroup, Majid Entertainment, TV Kids, Ernst & Young and Kids@MIPTV

Naser El Nasr (left) and Saad Al Hudaifi of Jeemtv with Reed MIDEM’s Paul Zilk

Leo and Cat Lewis accept the Kids: Factual award for My Life: I Am Leo

It’s a Bing thing! Mikael Shields and Nicky Phelan celebrate winning the Kids: Pre-school award for their series Bing

Nobuo Kawakami and Goro Miyazaki take the Kids: Animation award for Ronja, The Robber’s Daughter, with Saham, the soccer mascot of Jeemtv

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Beth Frey and Tony Ayres accept the award for the Kids: Series for Nowhere Boys (season two), co-presented by Majid Entertainment animated character Amoona and Miss Supranational, Stephania Stegman

Torbjorn Henriksen and Joakim Vedeler show off their award for Kids: Non-Scripted Entertainment for Best I Mest (All Round Champion)

Majid’s Mohamad Yehya (left); Reed MIDEM’s Laurine Garaude; and Majid’s Mohamad Al Yamahi

Mark de Cloe and Alain de Levita celebrate winning the Kids: TV Movie/ Mini Series award for their show Rabarber (Rhubarb)

German pre-school character Die Maus from WDR’s The Programme With The Mouse welcomes nominees and guests to the ceremony

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06/04/16 18:15

16-18 NOVEMBER 2016

GRAND FIESTA AMERICANA CORAL BEACH CANCUN

The 3rd annual

INTERNATIONAL LATIN AMERICA TV MARKET & SUMMIT www.mipcancun.com

miptv

NEWS The Football Republic populated by ‘authentic, opinionated’ fans

F

REMANTLEMEDIA’s UK digital arm, Shotglass Media, was in Cannes this week to discuss The Football Republic (TFR), a network of social-media channels available via platforms such as YouTube and Facebook.

Featured as part of MIP Digital Fronts, TFR consists of seven channels “created by football fans, for football fans”, said Kat Hebden, managing director of Shotglass Media.

Shotglass head of sport Neil Smythe said six of the seven channels are focused on specific clubs — Manchester United, Manchester City, Chelsea, Spurs, Barcelona and Real Madrid — “and everyone who works on these channels is a fan of the club in question. You can teach production, but you can’t teach passion.”

The TFR channels are not officially endorsed by the clubs in question, but Smythe argued that they play a key role along-

Opening up new horizons for vertical video: Julien Aubert (left) and Jean-Charles Granjon

VERTICAL VIDEO AWARDS ANNOUNCED

Shotglass Media’s Kat Hebden: “created by football fans, for football fans”

Shotglass Media’s Neil Smythe: “you can’t teach passion”

side the content delivered by the clubs themselves (via their own websites and channels) and other rights-holders: “We saw a gap in the market for authentic, opinionated services where millions of fans could engage in conversations about the club they love.”

Smythe also discussed the way in which FremantleMedia attempts

to measure the success of TFR. “We increasingly drill down into the data to look at engagement matrix,” he said. The commercialisation model involves linking brands to “a passionate audience of 18- to 34-year-old males.

We think there is an exciting opportunity to develop bespoke content with brands.”

TVN scores Legia Warsaw doc series POLISH broadcaster TVN, part of the Scripps Networks Interactive family, has expanded its offer with a new, original documentary series set to debut on its OTT platform, player.pl in April.

“With 30 episodes, (L)egend takes viewers behind the scenes of Poland’s Legia Warsaw football team. The club, which was founded 100 years ago, has won 11 Polish championships titles and is the all-time leader of the Ekstraklasa league, with millions of supporters in Poland and beyond.

“The identity and passion of the football club have never been presented in such an extensive and diverse way,” said Christian Anting, board member for digital and e-commerce at TVN. “By premiering the series

(L)egend: set to air on TVN

on player.pl, we give viewers around the world, regardless of location, a chance to learn about the unique history of Legia War-

saw. Projects like (L)egend are a great way to honour and support sports organisations, while expanding our offer.”

BIGGER Than Fiction’s Julien Aubert and Bluearth Production’s Jean-Charles Granjon have won the inaugural MIPTV Vertical Video Competition.

Aubert won the public vote for Slow Moscow, a vertical video featuring sloweddown dancers on a backdrop of an accelerated Moscow, while Granjon won the jury’s prize for Impact, a vertical film shot partially underwater in 4K. The MIPTV Vertical Video Competition awards producers innovating in new technologies and forms of storytelling. “The way we behave is mainly horizontal,” Granjon said. “But some subjects make sense in the vertical dimension. Diving is an obvious subject. When we escape conventional dimensions, like space, sea or sky, space isn’t horizontal any more.”

“Vertical allowed us to give a new perspective,” Aubert added. “The footage was posted as Snapchat stories, visible for 24 hours.”

Mobile-video platforms such as Snapchat, which look to be a millennial mainstay, are encouraging brands to create more vertical content for handheld devices. The two winning films will be screened today at MIPTV’s closing panel, Trending Topics.

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NEWS CORUS NETWORKS ARE TOP FOR KIDS IN CANADA CORUS kids’ networks YTV, Treehouse, Teletoon and Disney Junior have secured the top four spots with Canadian children aged two to 11, according to Canada’s broadcast-measurement company Numeris. The channels have also emerged in first place across all kids, tween and teen demos.

In the last quarter of 2015, Corus strengthened its position as Canada’s leading kids and family destination by redesigning and enhancing its portfolio to offer children and families distinct brands for each life stage.

The content strategy around kids included a new partnership with Disney/ABC Television Group, under which Corus secured the exclusive rights to Disney Channel, Disney Junior and Disney XD. The deal also expanded the distribution of Cartoon Network to almost five million households.

With a slate of hit series, Treehouse and YTV continue to lead the key kid demographics. On YTV, SpongeBob SquarePants, Nicky, Ricky, Dicky & Dawn and Some Assembly Required have fuelled ratings in the six to 11 demo. For nine- to 14-year-olds, Disney Channel is number two, behind YTV. Anchored by hit series from both Nelvana and Nickelodeon, Treehouse remains the number one pre-school channel in Canada for two- to five-year-olds.

Disney Junior has become the number-two channel for two- to five-year-olds, after Corus secured the exclusive rights to the content this past January. Thanks to its broader distribution, Cartoon Network also saw tremendous growth, with a close to 600% increase year on year for children aged two to 11.

The channel was the fastest growing speciality network in Canada this year.

K7 sheds light on Russia, Ukraine and Kazakhstan

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N IN-depth report cover ing the TV sectors in Russia, Ukraine and Kazakhstan was launched at MIPTV this week.

“The reason we’re launching the report now is to give people plenty of time to study it before Kiev Media Week in September,” said Keri Lewis Brown, managing director of K7 Media, which produced the report in partnership with Ukraine consultancy Media Resources Management.

The report said that, with a combined population of more than 200 million and an estimated 130 million TV sets in use, Russia, Ukraine and Kazakhstan represent a sizeable market with a taste for scripted formats, reality and shiny-floor entertainment.

Kazakhstan has a particular fondness for entertainment and movies.

K7 Media’s Keri Lewis Brown: “a healthy appetite for formats”

“All three countries are major consumers of imported content and, while they remain attractive markets for ready-made content, there is a healthy appetite for formats to be adapted locally,” Lewis Brown added. Examples include Russia’s adaptation of Dexter, Kazakhstan’s adaptation of Little Britain and Ukraine’s adaptation of De Kliniek.

“Due to long-standing investment in TV production in both Ukraine and Russia, there are well established and skilled industries in both countries with the capacity to work on large-scale, high-end projects,” Lewis Brown said.

Record views for Warsaw Shore on TVN’s player.pl The Warsaw Shore line-up

THE FIFTH season of Warsaw Shore has performed strongly on Polish broadcaster TVN’s OTT platform player.pl, it was revealed at MIPTV. The Polish broadcaster has reported more than 1.6 million views of the series since February 28, when the season’s first new episodes were made available immediately following its premiere on MTV Poland. Based on MTV format Jersey Shore, Warsaw Shore follows a group

of youngsters who have come to Warsaw to pursue their dreams.

TVN’s player.pl platform allows viewers to watch the show just after its premiere on the MTV Poland linear channel. Users may choose between a free-of-charge version with advertising and a paid option without ads.

Additionally, player.pl users can watch all the previous seasons of the show, including Warsaw Shore: Watching With Girls, a spin-off of the fourth season.

LRT TAKES 50 HOURS FROM STUDIO 100 MORE than 100 x 30 mins of content is on its way to Lithuania thanks to a deal between Berlin-based Studio 100 Media and LRT. The Lithuanian public broadcaster has taken the exclusive free-to-air rights for a range of classic titles, including CGI series Heidi (39 x 22 mins), Tashi (52 x 11 mins) and The Wild Adventures Of Blinky Bill (52 x 11 mins).

Studio 100 CEO Patrick Elmendorff said he hoped the deal would represent the “first of many co-operations with LRT”. He added: “It’s always great to win a new partner and we are convinced that Lithuanian viewers will enjoy our shows.”

CANNES DEBUT FOR HORYZONT

Horyzont Studio’s Mariusz Konopka

POLISH producer Mariusz Konopka is making his MIPTV debut this year in a bid to find investors and co-production partners for his growing business.

The CEO of Kunowicebased Horyzont Studio is in Cannes with Now And Forever, a 94-minute drama that has aired on Canal+ in Poland. He is also showcasing 40-minute documentary Lady Veronica And Her Boys, which has aired on Planete+ Polska; and the pilot episode of a planned drama series called Coach.

“I’ve started selling shows internationally and I want to build on that,” he said.

“MIPTV is one of the best places in the world to meet people like myself and broadcasters.”

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miptv

MTW pays Tributes to Cannes in actor-producer’s market debut

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FTER focusing solely on the US market, former US actor Michael Todd Wynn is making his debut at MIPTV as a producer to market his company’s portfolio of content internationally.

“My company, MTW Enterprises, has a bag of goodies, including feature films, formats, sitcoms and film shorts, that need exposure, and my colleagues

told me a great way to introduce them to the international market is MIPTV,” said Los Angelesbased Wynn.

“It’s led to several meetings, including one with UK-based Over The Rainbow Productions, which is happy to help develop a feature film currently in pre-production,” he added.

His slate of formats includes Tribute To Rock, which he described as a “competition-style reality

TV show” centred on gathering the winners of tribute band competitions worldwide and creating another super competition with them. They will include tribute bands for rock legends AC/DC, Led Zeppelin and Black Sabbath.

There is also Tribute To formats for other music genres, such as country music and pop.

“MIPTV looks like it’s going to get me in front of the right people I need to see,” Wynn said.

MTW Enterprises’ Michael Todd Wynn

Maire creates a buzz for quiz format Little Nemo’s Frederic Maire

EUROPEAN deals are still key to a successful entertainment format, according to Frederic Maire of production company Little Nemo.

He is in Cannes working on deals for his primetime quiz format Quizz Or Buzz. In the show two contestants answer multiplechoice questions and press buzzers. Some buzzers remove wrong answers, other buzzers remove one of the many €1,000 jackpots, while others still remove the main €100,000 prize.

It piloted twice on TF1 — most recently as The Last Buzzer, pre-

sented by Who Wants To Be A Millionaire host Jean-Pierre Foucault — and has sold to Turkey and Saudi Arabia. It won an accolade at the recent Gulf Radio And Television Festival in Bahrain, and there is one more deal that cannot yet be announced.

But Maire, its creator and current distributor, emphasised that the formats market is currently not taking chances. “I want [broadcasters] to be secure in the knowledge that the game is working well in a big territory,” he said.

John Rhys-Davies has signed up to present two Stellar Image shows

STELLAR HOPE RESTS ON JOHN RHYS-DAVIES STELLAR Image is in Cannes after signing award-winning actor John Rhys-Davies to appear in two upcoming television series. Rhys-Davies, who appeared in Star Trek: Voyager, the Lord Of The Rings trilogy, Bond film The Living Daylights and two of the Indiana Jones movies, will host both series.

The first of these, Visions, will explore a series of historical buildings and reveal some of the strange traditions, artistic and cultural links, and extraordinary people associated with them.

Stellar has also signed the actor to present a travel series, Destination:… (working title), which will reveal some of the hidden charms and depths of familiar places. The first series, Destination: Mediterranean, is currently in production.

The self-funded shows are the brain-child of Stellar executive producer Mike Reynolds, whose credits over a long-running career include behind-the-scenes documentaries of hit movies The Hunt For Red October and Ghost. Both series are set for completion by the end of the year.

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miptv

NEWS Vietnam’s Thaole brings slate of Sesame Street to East Asia

S

ESAME Workshop, the non-profit organisation behind Sesame Street, has closed deals to broadcast a slate of the Jim Henson puppet pre-school shows through its master licensee for content distribution in South East Asia and Taiwan, Thaole Entertainment, based in Ho Chi Minh City, Vietnam.

Cookie’s Crumby Pictures will be dubbed into Mandarin for Taiwan’s Eastern Broadcasting cable channel YoYo TV; ABSCBN, the Philippines’ media and entertainment organisation, will air Sesame Street on its Yey! digital terrestrial channel; and Thailand’s MCOT will dub and broadcast Elmo The Musical, Elmo’s World, Sesame Street, Super Healthy Monsters and Cookie’s Crumby Pictures on its family channel.

“Working with YoYo TV, ABSCBN, and MCOT allows us to encourage pre-schoolers to learn

Sesame Street travels to Asia

numbers from The Count, inner strength from Elmo, and kindness from Abby — laying the groundwork for important life lessons,” Sesame Workshop’s Gisela Abrams said.

Danie Sedilla-Cruz of ABSCBN said the broadcaster recognised Sesame Street’s strength as an international brand. “But more than that, we acknowledge the

values and teachings it can bring our young Filipino viewers,” she said.

“Sesame Street currently airs as the banner pre-school programme of Yey!, the first fulltime kids channel on a Philippines free-TV platform. We opted to broadcast it in its original language as a response to our audience’s need for English content.”

Thomas the Tank Engine goes global MATTEL Creations, the theatrical, television and digital content arm of Mattel, has confirmed an international line-up of new characters for the new CG-animated Thomas & Friends: The Great Race movie, with a trailer launched at MIPTV. The Great Race features 13 new engines from around the world, with 12 countries represented. The trains were developed and inspired by actual engines from each country, including Ashima from India, Racing Vinnie (Canada), Axel (Belgium), Raul (Brazil), Etienne (France) and Gina (Italy).

The special, produced by HIT Entertainment, a subsidiary of Mattel, and animated by Toronto’s Arc Productions, has a stellar voice cast that includes Bollywood actress Tina Desai, who

is Ashima. This marks the first time the producers have paired Thomas with such a strong female lead character.

Broadcasters who have already taken the release include PBS (US), DHX (Cana-

da), SuperRTL (Germany), Gulli (France), MiniMini+ (Pola nd), M i n i ma x ( E a st er n Eu rope), Media laa n ( Belgium), RTL Telekids (Benelux) with more territories to be announced shortly.

Raul of Brazil (Mattel Creations)

Etienne of France (Mattel Creations)

GREEN GOLD HERO BHEEM TAKES ON SKY DRAGON GREEN Gold, a leading provider of original kids content in India, is taking its popular character Chhota Bheem to a new level with 3D adventure series Super Bheem (15 x 22 mins).

Aimed at international buyers and set in a fantastical universe, Chhota Bheem, the star of 277 television episodes and 26 television movies, is to become superhuman. The Sky Dragon who guards the galaxies calls upon Super Bheem and his superhero friends when he can’t fight mighty villains alone.

“Chhota Bheem is one of the most popular characters in Asia,” Green Gold’s Bharath Laxmipati, said. “To date we have made the most of our original content, establishing a strong licensing and merchandising business — we are the first Indian animation company to have successfully monetised our IPs beyond television.”

Green Gold has secured pre-sales in south Asia but is keen to drive Indian animation into Europe, the Americas and the Middle East.“We have always produced our own work but we are now keen to find international co-production partners,” Laxmipati added.

Green Gold’s Bharath Laxmipati

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IN PICTURES

Announced at MIPTV: Polish actress Michalina Olszanska plays the lead role in Rock Films Studio-produced Russian mini-series Mathilde

ABC’s Surfing The Menu is co-hosted by MasterChef Australia poster boys, Hayden Quinn (left) and Dan Churchill

Strong man Hugo Girard hits the US’ dangerous neighbourhoods in Lagardere Studios’ At Your Own Risk

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miptv

Sarah Graham is the star of DCD’s new culinary series Food Safari

New Form Digital brings digital-native and traditional storytelling talent to Cannes at the MIP Digital Fronts screenings

French actress Tonie Marshall, producer of ARTE’s new drama series Cannabis, poses for the cameras

Jason Priestley and Cindy Sampson are in Cannes to promote the new Entertainment One procedural Private Eyes

English novelist and screenwriter Anthony Horowitz pens New Blood crime drama for BBC1

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miptv

NEWS Vet On The Hill is WTFN’s pet project for international sales

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TFN, producer of shows including Tony Robinson Down Under and Tony Robinson’s Time Walks, is in Cannes promoting Vet On The Hill, its new show for UK broadcaster More4 starring Australian vet Dr Scott Miller.

The show (10 x 60 mins) premiered on More4 last month and has been licensed to Network Nine (Australia), Iprima (Czech Republic), Casa (Canada), SIC (Portugal) and PCCW (Hong Kong) through WTFN distribution arm Fred Media.

WTFN is also reported to be close to securing deals in Germany, Italy and France. A series re-commission is also likely.

Miller said the show, which is set in the London suburb of Richmond upon Thames, follows his day-to-day life running his own veterinary clinic with the series clearly reflecting the British and their passion for animals. The show features clinics, home vis-

its, trips to the local farm and occasional celebrity appearances.

WTFN CEO Daryl Talbot said the British public has clearly taken to the show. “Scott is a very likeable and engaging person and the show has plenty of heart.

It’s clearly resonating with the British public and we’re confident it will become a fixture on their screens,” he said.

WTFN is aiming to

co-develop AngloAustralian formats overseen by head of international coproductions Shaun Gilmartin, who joined WTFN in 2 010 t o oversee the Tony Robinson projects.

Dr Scott Miller

MIPJunior funding boost for Pact PACT, the UK’s trade association representing the commercial interests of UK independent television, film, digital, children’s and animation media companies, has secured market funding from UK Trade and Investment (UKTI) to bring animation and children’s programming to MIPJunior in October.

Jon McVay, Pact’s chief executive, said the campaign to secure funding has been a challenge but worth the chase: “Once again we will have a Pact UK indies pavilion at MIPJunior which is a great opportunity for UK’s kids and animation SMEs,” McVay said. “You don’t have to be a Pact member to join — it’s on a first-serve basis and we also offer expert pre-market support

Pact’s Jon McVay

so our producers make the most of the event.”

McVay also announced a more rigorous Pact Export Accelerator

programme to help UK production companies go global.

“We have a strong, creative IP economy and we want to encourage UK indies to increase their company’s export revenue,” McVay added. “We are proud to be a thought-leader in how we offer practical support to UK producers who want to grow their business overseas.”

Pact continues to offer other invaluable support for programme producers including a first of its kind deal with YouTube to facilitate collaborations between the video platform and UK indie producers. Google-owned YouTube will digitise the content library of all Pact members, giving them an opportunity to exploit their content online.

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Locked Up (Imagina International Sales

WALTER PRESENTS STRAND ACQUIRES SPAIN’S LOCKED UP WALTER Presents, the non-English-language drama service run by GSN and Channel 4 in the UK, has closed a deal with Imagina International Sales for exclusive rights to Locked Up (13 x 70 mins), a thriller series set in a Spanish women’s prison.

Framed by her lover for corporate fraud, young Macarena Ferreiro is locked up in a high-security prison surrounded by tough, ruthless criminals. After her only friend and cellmate is brutally killed, Macarena becomes implicated in a hold-up that could turn her life around.

The series, which aired originally on Antena 3 in Spain to record ratings of 4.3 million viewers and a 22.4% share, is already in a second season.

Jason Thorp, CEO, GSN said: “The quality of drama production is rapidly on the up in southern Europe and Locked Up is a great example of that. We believe we’ve picked up an exceptional piece of television that British viewers will love.”

miptv

NEWS EONE AND HULU SIGN BOOK DEAL INDEPENDENT studio eOne has signed a deal that grants Hulu exclusive US streaming rights for The Book Of Negroes. The six-part mini-series is a story of loss,

courage and triumph starring Cuba Gooding Jr, Aunjanue Ellis, Louis Gossett Jr and Lyriq Bent. The series premiered at MIPCOM 2014.

ORF AND IRIB IN NATURAL DEAL A MAJOR wildlife co-production involving Austria’s ORF-Universum took an important step forward at MIPTV this week when Iranian Broadcasting Corporation (IRIB) reached agreement with ORF to start production on Wild Wonders Of Iran, a two-part blue-chip natural history special.

ORF-Universum’s Andrew Solomon (left); IRIB’s Dr Ali Asghar Pourmohammadi; ORF’s Dr Alexander Wrabetz; IRIB’s Changiz Hasani; Interspot Film’s Dr Heinrich Mayer and director Heike Grebe

1000 HEARTBEATS TO PHILIPPINES SINGAPORE-based Bomanbridge Media has sold family game show format 1000 Heartbeats to TV5 Network in the Philippines.

Bomanbridge is an Asian consultant to Sky Vision which represents the Hungry Bear Productions’ format worldwide. The first season will premiere in July with 60 x 60 mins from producer Viva Communications.

Drama deal for all3media sees Red Rock roll out to the US

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ISTRIBUTOR all3media International has secured an exclusive deal for Element Pictures’ and Company Pictures’ 80-episode drama Red Rock, which will now air on Amazon Prime Video in the US. The series, which made its debut on Irish commercial channel TV3 in early 2015, has also been picked up this week for broadcast by BBC Daytime.

Set around a busy police precinct in a seaside fictional town just outside of Dublin, Red Rock follows the Hennessys and the Kielys. When a body is found, a longstanding dormant feud between the two families is brutally reignited.

Steve Macallister, CEO at all3media International, said: “Red Rock’s production team have been very successful in creating an engaging, original ongoing drama which has the high production values, strong characters and well-crafted relatable storylines that will keep viewers engaged and entertained.”

In other news, all3media International has added Rumpus Media’s An OAPs Guide To Modern Life and An Immigrants Guide To… to its slate. Under the deal, the distributor has taken global distribution rights to the finished programmes and formats of both shows, which originally aired on Channel 4 UK. An OAPs Guide To Modern Life, fronted by comedian Barry Humphries, takes an irreverent look at life as an OAP,

while An Immigrants Guide to…. hosted by comedian Henning Wehn, sets out to answer the questions every prospective immigrant needs to know.

“They lend themselves fantastically well to local adaptation in multiple markets, bringing countries’ individual quirks, foibles and challenges into the comedy spotlight,” said Nick Smith, senior vice-president of format production at all3media International.

All3media’s Red Rock: “well-crafted relatable storylines”

Hit Spanish series heads to China HIT SPANISH TV series The Department Of Time is to be re-versioned for the Chinese market in what producer Onza Entertainment claims is a first for a Spanish scripted show.

Originally produced by Cliffhanger and Onza Entertainment and broadcast on Spain’s TVE, the format has been sold

by Onza Distribution to China’s Guan Yue International.

The comedy drama series is about a secret government institution entrusted with guarding the gates of time to prevent intruders from entering and changing the course of history.

Onza Distribution’s Jessica Ortiz (left) and Gonzalo Sagardia (right) with Yan He from Guan Yue International

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