Miptv 2017 news 2 by MIPMarkets

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DAY

Tuesday 4 April 2017

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CANNES SERIES FESTIVAL

The first Cannes Series festival was announced here yesterday. It takes place alongside MIPTV, starting in 2018

MASTERMIND KEYNOTE

6 x 52’ | FOLLOW THE TRACKS

Amazon Studios’ Roy Price introduced new international original content during a Media Mastermind Keynote

MASTERMIND KEYNOTE

NBC’s Paul Telegdy and Meredith Ahr used their Media Mastermind Keynote to talk about being “owners not renters” of content

DIGITAL FRONTS

OFFICIAL SELECTION 2017 FRENCH COMPETITION

Acrobatic troupe Dunking Devils gave a performance at Jukin Media’s Digital Fronts session

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‘BRILLIANT TIMING’ WASHINGTON POST

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CONTENTS NEWS

FEATURES

8 MIPTV day one Opening Night Party; stars in Cannes; first-day deals; conference and keynote reports; and more...

67 What are the kids watching? Kids are leading the charge into the future

PRODUCT NEWS 51 A round-up of what’s for sale in Cannes

PRE-LA SCREENINGS SHOWCASE Disney Media Distribution and Lionsgate have signed up for the inaugural Pre-LA Screenings Showcase at MIPTV. The event is from 09.00-09.45 today, and forms part of the MIPDrama series of events. 73 Once upon a brand… Why brands team up with producers

77 A clearer view Consumption of 4K UHD is at an all-time high

Ahead of a screening of Canal+’s Engrenages (Spiral), A New Investigation, the cast met the international press in Cannes. Pictured are: Fred Bianconi (left), Caroline Proust, Audrey Fleurot and Philippe Duclos

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The official MIPTV daily newspaper Tuesday 4 April 2017

The MIPTV Newsroom is located in the Gare Maritime

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, Neil Crossley, Nigel Willmott Reporters Stuart Braun, Ben Cooper, Andy Fry, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designers Véronique Duthille, Yovana Filipovic, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Patrick Frega, Phyrass Haidar, Olivier Houeix, Michel Johner Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Printer Riccobono Imprimeurs, Le Muy (France). ADVERTISING CONTACT IN CANNES Silvia Ferreira: +33 7 78 35 43 99 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offi ces located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2017, Reed MIDEM Market Publications. Publication registered 2nd quarter 2017. ISSN 1967-5178. Printed on PEFC Certifi ed Paper.

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17/03/2017 10:25

IN PICTURES Opening Night Party

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India’s Srinidhi Shetty, Miss Supranational 2016, graced the opening-night red carpet

After the MIPTV World Premiere TV Screening of Riviera, stars and industry executives walked the red carpet into the MIPTV Opening Night Party. The MIPTV News photographers were there to meet them

MIPTV welcomed cast and crew from A+E Networks’ drama series Knightfall

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IN PICTURES

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Richard Short and Caroline Dhavernas, stars of Entertainment One’s new medical drama Mary Kills People

Digital star Chris Horsley is in Cannes with Zoomin TV

Hidetoshi Nishijima is in Cannes for Kansai TV’s new series risis the first e er MIPTV sian orld Pre iere TV creening

Julia Stiles visits MIPTV for the World Premiere TV Screening of Sky Vision’s Riviera, a drama set in the South of France

Turkish actors Bulent Inal and Ozlem Conker are in town to promote their series, Mistco TV’s The Last Emperor

Actor Kirill Karo (left) and Andrei Dzhunkovskiy, director of Better Than Us, a series selected for MIPDrama Screenings

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NEWS “You don’t just plant a flag and automatically have a studio”

“The game changer is sometimes the rule breaker”

AT A much-anticipated Media Mastermind Keynote, Roy Price, vice-president of Amazon Studios, talked about Amazon’s original content development. The audience was also treated to a new clip from Amazon’s latest series, Jack Ryan, based on the Tom Clancy book about a I agent s fight against terrorism.

NBC Entertainment’s Paul Telegdy and Meredith Ahr

PAUL Telegdy, president, alternative and reality group, NBC Entertainment (NBCE) and Meredith Ahr, president of Universal Television Alternative Studio, NBC Entertainment used their Media Mastermind Keynote to talk about NBCE’s recent success in building in-house entertainment hits like The Wall, Little Big Shots and World Of Dance. Telegdy said the company’s senior management had pushed its executives to think as long term as possible. “They encouraged us to think like owners not renters of content,

to reposition the company in the value chain by creating original entertainment formats,” he said. The engine room of this strategic shift had been the Universal Television Alternative Studio, launched in 2016 and headed by Ahr. Explaining her division’s approach, Ahr said: “You don’t just plant a flag and automatically have a studio. Right out of the gate, we doubled down on development, worked at making ourselves a premier partner for producers and focused on attracting and developing top-tier talent.”

Amazon Studios’ Roy Price

“We are about to embark on the golden age of content” THE MEDIA industry is entering a “golden age of content” with unprecedented levels of data-driven development unlocking fresh talent and formats, Ivana Kirkbride, chief content officer at strea ing service go90, has said. Delivering a MIPTV keynote on Monday, Kirkbride said leveraging data was “key” to giving younger audiences “what they want when they want it”. “We live in a world where algorith s in uencers and social edia are setting the tempo,” she said.

“Our customers are increasingly

watching SVOD services” THE SECRET of a successful modern media strategy is to pay close attention to changing media consumption patterns. That was the message from a Media Mastermind Keynote by Modern Times Group (MTG) president and CEO Jorgen Madsen Lindemann at the Grand Auditorium on Monday. Lindemann has refocused MTG from an owner of free-to-air networks to an investor in new sources of IP, such as eSports, gaming and boxing. “What we are trying to do is capitalise on media trends such as the rise of eSports, which has seen a rapid rise in Sweden, now outstripping traditional sports viewing,” he said. In 2015 MTG invested heavily in digital media house Splay

With Amazon Prime growing subscribers by 20 million in 2016, and Prime Video expanding to 240 countries, Price said content development was aimed at growing the subscriber base. For this reason, Amazon’s investment of $160m (€150m) to $200m on the factual series, The Grand Tour, is money well spent, said Price. “The game changer is sometimes the rule breaker. The most important thing is to get artists at the top of their game who are inspired to do something new,” said Price, explaining backing for the likes of Oscar-winner Manchester By The Sea. The strategy underlines a “multilocal” development push, with successful German, Japanese and Indian content part of a $3bn spend in 2016.

MTG’s Jorgen Madsen Lindemann

go90’s Ivana Kirkbride

Networks, which aims to connect brands with influential online stars with the creation of new advertising products designed for social-media platforms. “Our customers are leaving traditional TV and are increasingly watching SVOD services, so we need to make sure that we are IP builders in these millennial markets.”

“These insights will inform what we do next. We’re looking for new formats, new talent and data-driven development. We all know that we are in the golden age of television, but we are about to embark on the golden age of content.” Discussing go90’s content strategy, Kirkbride said that the company had found a “sweet spot” in the premium mid-form video ranging from eight minutes to 30 minutes, which she said was the “perfect link between those regular downtime-watchtime periods”.

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NEWS

MIPTV and Cannes Series

to combine for 2018 event

T Amazon Studios’ Joe Lewis

‘DON’T BE A DATA SLAVE’ WARNING TO PRODUCERS THE CONFERENCE session Does Data Trump Creativity? asked whether SVODs are in danger of letting audience data drive programme design. “We use data to measure who watches a show and how much they watch,” Joe Lewis, head of comedy, drama and VR at Amazon Studios, said. But when it comes to creating or picking up shows, it would appear that staying ahead of the curve requires gut instinct, experience and a slight sense of risk. “Data comes into its own for marketing a show,” said Jenna Santoianni, executive vice-president television series, Sonar Entertainment. “But being a slave to it takes you down a rabbit hole.” Danish showrunner Kasper Barfoed says he’s open to hearing numbers in early development, and after transmission “to tell me who I’m talking to” — but not during writing. “Once I’m working, I’m working,” he said. All three appeared skeptical of the idea of making drama “designed by data”. Three out of three. That’s statistically significant ight

HERE will be a new festival in town in 2018 and it will be called Cannes Series, it was announced at MIPTV yesterday. Cannes Series will showcase the best international TV series and will be open to the public, with over 200 free screenings. The new project means that in April 2018 the international television community will have access to the world’s leading entertainment business and networking event, MIPTV, at the same time as the premiere festival devoted to TV series. “The market will reinforce the festival, and the festival will reinforce the market,” David Lisnard, mayor of Cannes and the cofounder of Cannes Series, said. Fleur Pellerin, the former French minister of culture and communication, is president and cofounder of Cannes Series. She promised glamour and big audiences, married to the highest creative standards. There will be a Grand Jury Prize, a Prix du Public and a short-form digital series

David Lisnard introduces Cannes Series with Cannes Series managing director Benoit Louvet (left), Fleur Pellerin, Paul Zilk and Maxime Saada

competition, as well as important links with training and with the industry. “Cannes has been home to the international TV world for 52 years,” Reed MIDEM CEO Paul Zilk said, referring to the arrival of MIPTV in the city in 1965. “During that time thousands of television programmes have been debuted here in Cannes.”

He continued: “This is the right step at the right time in the right place to launch Cannes Series, I’m really happy that MIPTV will be a partner.” In addition, Canal+ will partner exclusively with this festival, the company’s managing director, Maxime Saada, said, noting, “there is no festival in the world that works without a market”.

Digital Fronts vaults to new level ACROBATIC basketball troupe Dunking Devils, stars of a hugely popular series of usergenerated videos on platforms such as YouTube, appeared live on stage at the Grand Auditorium Digital Fronts session at MIPTV on Monday to perform their unique brand of gravity defying stunts. The troupe performed live vaults and basketball-style slam dunks on stage in front of amazed MIPTV delegates. Meanwhile UGC content specialist Jukin Media announced that it has turned the Dunking Devils’ viral videos into a new spin-off in its People Are Awesome strand — People Are Awesome Fly Guys. Jukin Media founder and CEO

Dunking devils in action at MIPTV

Jonathan Skogmo said that its UGC content brand People Are Awesome has 15 million fans

worldwide and features “ordinary people doing extraordinary things”.

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NEWS SIX FINALISTS FOR MIPTV KIDS SERIES PITCH

Rewind chief calls for rethink on immersive technology fears

S The MIPTV Digital Short Form Series Pitch: Kids Content session

A SPECIAL session to allow creators of kids content to pitch to the market was held at MIPTV on Monday. Six fi nalists were given the chance to appear on stage and pitch their content, after being selected by a jury made up of senior kids content experts. The event was part of the inaugural MIPTV Digital Short Form Series Pitch, launched this year. Each show originated from a different market, with fi nalists hailing from China, the US, Argentina, Russia, Spain and New Zealand. Among the fi nalists were Spanish producer AltContent with Action!, the story of a group of kids who become fi lmmakers; and Left Pocket Animation Studios from China, with Mini Mind Warriors, a show about tiny monsters who take control of human brains. Also being pitched were US show Paper Girls, produced by Global Tinker; the second series of Girl Viking’s children’s sci-fi web series Reset; Loz Perez Osos, from Argentina’s CienPies Contenidos, which tells the story of a family of teddy bears who star in a reality TV show; and Russian kids show Chameleons, about a tribe of chameleons which comes into contact with humans. The pitch session was followed by a special networking event between producers and acquisition executives.

OL ROGERS, CEO and founder of Rewind, the UK-based Virtual Reality production agency, said he hopes MIPTV s V one will confir that the technology is an ally, not an ene y of the TV industry. “VR is still very new and one of the key things we keep hearing is that it will take away fro the fil and TV industries. It will not he said. “It is an opportunity for the industry to distribute their stories in another new ediu . V is standalone we want the fra e that sur rounds the TV and o ie screen to elt away to tell a ore powerful story. This year’s MIPTV features a VR Zone in the Palais base ent where a record nu ber of VR-related exhibitors have taken space to de onstrate the ad antages i ersi e tech nology can bring to creators and distributors. “It is a a ing that MIPTV is dedicating such a large area to V to show what this new e diu can do ogers said. “There has been

Rewind’s Sol Rogers

scepticis because any people ha e tried to co pare V to TV. e continued “ y the ti e delegates lea e MIPTV, I hope they would have experienced any of its a ours fro ideos to re al ti e engine true V to understand its strength and weaknesses, and to use it along with current production techniques and for future stories.

The VR Zone at the Palais

Japan sets an Olympic target for 8K P is on a ission to ha e ltra and broadcasts in at least of apan s TV ho es in ti e for the su er Oly pic and Paraly pic a es in Tokyo Masayuki Suga, deputy director at Japan’s Ministry of Internal ffairs and o uni cations. e added that penetration in TV ho es should reach by during a presen tation called apan s oad Map or ltra nd eyond. uga was outlining his go ern ent s plans to collaborate with retailers and e uip ent anufacturers to raise consu er awareness of and s benefits if they are to hit the predicted targets. “ e ust a oid confusion a ong the public as viewers will need to purchase new equipent onitors set top bo es antennae to en oy he said. “In Japan, the private and public sectors are working together to pro ote and to establish a co on goal for the stakehold

Masayuki Suga: aiming to raise consumer awareness

ers including broadcasters. Our target year is when we hope enthusias for the Oly pic and Paraly pic a es will be shown ia and iewing. In anuary and licenses were issued to broadcasters and the first full co ercial broadcast via satellite is forecast to go live in ece ber . ong the apanese broad casters testing the new syste s are public broadcaster NHK and Sky Perfect JSat Corporation.

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Ministry of Economy and Industry

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NEWS

IP Studios launches in Cannes with big-budget action series

Elisabeth Billiemaz, president of Les Gaulois

CREATIVES WANT TO MEET THE TV PRODUCERS MULTI award-winning advertising agency Les Gaulois is partnering with MIPTV for Tuesday’s focus on brands. The motivation behind the agency’s move is based around the way that media is evolving, and the fact that 63% of consumers are disappointed with the ways that brands try to engage them. “On top of that 86% of consumers consider that content is very important to brands,” said Elisabeth Billiemaz, president of Les Gaulois. “So for us, it’s important to be here and to start to forge relationships with producers because the TV sector is huge, and MIPTV is an ideal place to do that. It offers us an opportunity to speak to the very best content producers.” Billiemaz is also hoping to find new ways to engage consumers: “Great content touches people emotionally and it can also be genuinely inspirational, and of course we want to be part of that process. And as an advertising agency we need to find new editorial lines, and to do that you have to be at the centre of the content production industry. I’m particularly impressed by what Studio+ is doing, producing series with 10 episodes of 10 minutes, and of course it’s an area that we see as very promising for the brands with whom we work.”

P STUDIOS is a new multiplatform production house based in London and Abu Dhabi that is being launched at MIPTV. Founded by Mohamad Yehya — a director, producer and media consultant with extensive experience in the Middle East — the company draws on its in-house expertise to create a wide range of bespoke programming, from drama to lifestyle, entertainment, factual, kids, digital, branded entertainment and sports. A suite of innovative new IP Studios content is receiving a soft introduction at MIPTV before major announcements and releases later in the year at MIPCOM. This content includes a big-budget action series called 7, which features major Hollywood names alongside Arab stars. The series follows the missions of highly-trained special operatives who unite to fight corruption and political espionage. The Englishand Arabic-language series is the

Mohamad Yehya, founder IP Studios

first hybrid production of its kind. Other line-up highlights include Jihadi Hunter, which sees a decorated ex-soldier returning home to England from war-torn Syria with the son he rescued from radical Islamists; and The Crimsons, which examines the rise of

the Shah in 16th-century Iran to understand the country in the present day. On the decision to launch IP Studios in Cannes, Yehya said: “We really believe in MIPTV. We want to meet industry people to get their feedback.”

Club culture channel goes for global market CLUB TV, a Japanese clubculture channel that launched in 2015, is at MIPTV to expand its reach into European and global markets. The channel, which records and packages live club and festival events across Asia, Europe, South America and be-

yond, and provides information about the latest DJs and clubmusic trends, has attracted 1.8 million monthly viewers on Japanese cable systems and internet TV in less than two years. Eriya Kawachi, director of Club TV, says the channel offers a

Eriya Kawachi (left) and Ryo Hirano, global acquisitions manager, Club TV

unique global perspective on club culture, covering clubs and festivals from Octagon in Seoul to Tomorrowland in Brazil and Mysteryland in The Netherlands. “Our goal at MIPTV is to find a platform to broadcast Club TV as a 24-hour channel in their line-up,” said Kawachi. As opposed to existing club channels in Europe, for instance, that only present dance music culture from the continent, Club TV uniquely covers multiple territories. High Japanese production quality is another unique selling point, according to Kawachi — the content is on display at the Club TV stand. With deals already being negotiated with Vivacom in Bulgaria and Ostkom, Latvia, Club TV will continue to reach out to global broadcasting platforms.

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NEWS

CITVC offers Golden Ribbon to global documentary-makers

ITVC, the commercial arm of Chinese public broadcaster China Central Television, is in Cannes with a slate of new shows and a documentary initiative called Golden Ribbon, which offers substantial grants to global documentary producers. Commenting on the slate, Shen Jianing, the new general manager of the CITVC Programs Exchange Center, said headliners include China’s Mega Projects II from CCTV-Documentary: “With episodes such

CITVC’s Shen Jianing (left) signs the deal with Pre TV’s Nikolaus Wisiak

as China’s Longest Highway and China’s Most Sophisticated Bridge, it highlights some of China’s great achievements in infrastructure over the last 30 years. “Also, we’re pushing the sixepisode documentary Aerial China (season one) in 4K. It’s China’s largest aerial documentary to date, taking the audience on a stunning tour of China’s natural scenery.” In addition, said Shen: “We’ve also got high production dramas such as The Advisors Alliance, Tribes And Empires: Storm Of

Prophecy, and animation as well, such as My Little Monkey King.” Shen said that creative alliances continue to be important to CITVC’s business: “We work with leading international partners, including new-media partners, that have strong brands and positions in their own markets.” At MIPTV, for example, CITVC signed a range of partnerships with SPB TV, Pre TV and NHNZ. The first sees a package of CCTV documentary content licensed to SPB TV for use in Russian-speaking terri-

Shen Jianing signs the deal with NHNZ’s Kyle Murdoch

tories where it will be shown in a branded China Hour section. The second is a co-production deal that will see CITVC and Pre TV work on a two-part documentary series about The Great Wall of China. The third is a partnership with NHNZ on a 12-part series called Secrets Of China that will explore some of the country’s most famous ancient and modern iconic locations. Golden R ibbon g ra nts of US$30,000-US$100,000 will be awarded to between five and 10 documentaries about the Silk Road or other subjects related to humanities, nature and history, for reversioning. The deadline for applying is May 30, 2017, with the final decision announced on August 26, 2017, in Beijing.

Shen Jianing signs the deal with SPB TV’s Kirill Philippov

Nigeria the ‘go-to place’ for African talent

NIGERIA is rich with talented

content producers and creatives keen to work with partners from within Africa and outside, the head of the national body overseeing broadcasting has said. Speaking to MIPTV News, Is’haq Modibbo Kawu, director general of the National Broadcasting Com m ission (NBC) of Nigeria, said that the country is the “go-to place” in Africa for its wealth of writers, directors and producers, and for the opportunities presented to outside investors. Kawu is in Cannes to meet foreign companies and creatives interested in working on coproductions and partnerships

within Nigeria, which is in the middle of its national digital switchover. He said: “We want to create a platform for all the creatives who are doing a lot of great work, and help them create relationships with the wider world. We are here to learn and be influenced in a positive way. This is the biggest content gathering in the world; it’s a huge opportunity for us to create the perfect platform for producers.” NBC oversees a range of nationwide initiatives to encourage nascent content makers and writers, including workshops in the three largest Nigerian cities and networking op-

Nigerian National Broadcasting Commission’s Is’haq Modibbo Kawu

portunities between creatives and potential investors. The Nigerian government has set a target of 70% of content in Nigeria’s post-switchover era to be produced domestically, with the remainder intended to come from producers within Africa

and, Kawu said, from “extracontinential productions”. The digital switchover began in December, starting with the country’s major urban hubs, and is being rolled out in phases throughout the wider provincial areas.

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NEWS

Multi-screen audience measurement ups pace

Why matchmaking meetings can really benefit producers

AT C H M A KING meetings at MIPTV run like a well-oiled machine. The producer submits projects online in advance, broadcasters pick those they want to discuss, and a time is scheduled. But matchmaking meetings aren’t just for small companies, or newcomers to MIP markets. MIPTV News asked two experienced producers why they keep coming back. “They’re particularly useful for projects in early development, because you get an immediate idea of broadcaster interest,” said Laura Vehkaoja, executive producer of Yle Factual Docu-

Yle’s Laura Vehkaoja

mentaries. “For our doc Bosnia Saudigovina: Islamic Country In The Heart Of Europe?, we got three meetings, and in each one broadcasters are clear specific and tell you what they think. They also tell you what they are looking for next.” David Hooper, managing director of UK factual entertainment distributor Espresso Media International, values the chance to meet commissioners face to face. “It’s good to come to matchmaking meetings regularly because people change jobs. My strategy varies, according to the projects I’m working on. I might discuss one show, or several, depending on who I’m seeing.”

ORE broadcasters are collaborating with next-generation media operators as multiscreen audience measurement increasingly becomes a reality, said Eurodata TV Worldwide’s Sahar Baghery during the session One TV Year In The World: Cracking Audience Trends. Baghery, Eurodata TV’s head of global media research and content strategy, said digital strategies are now essential as broadcasters make programmes available for multiplatform viewing. She cited international media corporations’ relationships with Snapchat, the multimedia-messaging app popular among millennials, as a prime example of how TV content could be created, delivered, accessed and engaging for 21st-century digital media. “Snapchat has become a place to experiment and offer dedicated content,” she said. “Broadcasters can now leverage content for mobile devices and provide shortform shows based on the same enres you can find on T . With the number of monthly active users jumping to 300 million-plus last year from approximately 180 million in 2015, Snapchat has nabbed original

Espresso Media’s David Hooper

Eurodata TV Worldwide’s Sahar Baghery: “digital strategies essential”

content made by several international broadcasters, including A+E Networks. NBCUniversal recently invested $500m (€469m) in Snapchat, which successfully filed for a New York Stock Exchange listing with a $24bn valuation. Bagher y sa id Snapchat’s relationship with the traditional media giants sums up why demand is growing for the fourscreen (TV, desktop computers, tablets and sma r t phones) audience measurement offered by Eurodata TV.

NOMINEES for the International Emmy Kids’ Awards assembled yesterday as the Awards were announced by the International Academy of Television Arts & Sciences (IATA). “In these times of fake news, it is important to introduce children to high-quality programming,” said Michael Loeb, CEO of WDR Mediagroup. “The nominated programmes represent the very best in children’s content.” There are 28 nominees from 13 countries, in seven categories, ranging from pre-school to TV movies. The winners will be announced at tonight’s red-carpet ceremony at the Martinez hotel. Presenting partners of the Emmy Kids’ Awards are Ernst & Young, Shaw Rocket Fun, TV Kids, WDR and MIPTV.

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ZDF Enterprises‘ President and CEO Alexander Coridass and VP ZDFE.drama Robert Franke (left) with the main cast of BEFORE WE DIE Marie Richardson, Alexej Manvelov and Adam Pålsson (far right) as well as COO Fred Burcksen, producer Maria Nordenberg and Director ZDFE.drama Sarah Eichenlaub.

ZDF Enterprises celebrates its MIPTV highlights with over 400 guests at the traditional ‘Sundowner’

resident and CEO Alexander Coridass and COO Fred Burcksen launched the spring market at a jam-packed event location with an entertaining sales trailer that included the firm’s drama highlights MALTESE, BEFORE WE DIE and TEMPEL; the factual hit BIG PACIFIC, which has just had its World Premiere Screening at MIPdoc and is no.1 of the screening top 30; the game show formats 4 FOR FAMILY, YOU CAN’T FOOL ME! as well as the latest addition to the successful DANCE ACADEMY brand, the feature film DANCE ACADEMY – THE COMEBACK, the children’s animation series LEXI AND LOTTIE and the fun live action series MISTER TWISTER.

Alexander Coridass (President and CEO, ZDF Enterprises, right) with Nicola Serra (Partner and Managing Director, Palomar SPA), Norbert Himmler (Program Director, ZDF) and actress Rike Schmid, who plays the female leading part in the drama series MALTESE.

Oliver Grundel (Director ZDFE.junior, ZDF Enterprises) with Eva Pfaudler (Head of Acquisition and Sales, Bavaria Film), Irene Heschl (Head of Film, Series, TV Movies, ORF), Kevin Amour (Director of Strategy & Content, Linear TV, ProSiebenSat1 Media) and Bettina Kunde (Consultant, Edel Germany).

Gruppe 5 Filmproduktion’s Managing Director Stefan Schneider (right) with Bilderfest’s Managing Directors Marcus Uhl and Dietmar Lissy.

Valentina Molella (center, Executive Director Rome Office , ZDF Enterprises) with Rai’s Giorgio Buscaglia and Daniele Cerioni.

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Prof. Regina Ziegler (Film Producer and General Manager of Ziegler Film) with Dr. Herbert G. Kloiber (Managing Director of Tele Muenchen International), Susanne Müller (Executive Director Feature Films, ZDF) and Herbert Kloiber jr. (General Manager of TMG).

Celebrating the enormous success of BIG PACIFIC at MIPdoc and MIPTV: Anya Durling (Head of Development and Marketing, NHNZ), Kyle Murdoch (Managing Director, NHNZ) and Nikolas Huelbusch (Director ZDFE.factual, ZDF Enterprises).

ZDF Enterprises VP ZDFE.junior Arne Lohmann (second from left) with Frauke Bräuner (Editor Children’s Programs, ZDF), Gabriele Walther (Managing Director of Caligari Film) and Dominique Neudecker (Senior Manager Series Acquisition and Production, Disney Channel).

Katharina Pietzsch (Director ZDFE.junior, ZDF Enterprises, right) with Ben Butterworth (Director Snapper Productions), Christophe Goldberger (Executive Director Spain Office, ZDF Enterprises) and Gabriele Walther (Managing Director of Caligari Film).

Sebastian Krekeler (Director ZDFE.drama, ZDF Enterprises) with director and writer Jarmo Lampela (YLE).

Ralf Rueckauer (VP ZDFE.factual, ZDF Enterprises, second from right), with Thian Nguyen-Trung (Senior Manager, Strategy and Business Development, Amazon Video), Mirjam Laux (General Manager Video Subscriptions Germany, Amazon Instant Video) and Gruppe 5 Filmproduktion’s Managing Director Stefan Schneider.

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NEWS SNEAK PEEKS OPEN WINDOW ON DOCS FROM EASTERN EUROPE

Finding formats that can play primetime’s generation game

K7 Media’s Tom Burton

THE SCOPE and quality of documentary output from Eastern Europe was highlighted at a special MIPDoc showcase. Tom Burton, marketing manager of K7 Media consultancy, told delegates at the Sneak Peeks From Eastern Europe event that “these territories have been leading the field for decades”. Burton screened clips from blue-chip Ukrainian natural history special Antarctica: The Journey To The End Of The Earth (MK Distribution), and from Anatomy Of A Start-Up (TVP), a slick investigation of young Polish entrepreneurs. These were followed by Ark Of Lights And Shadows (TBC) about early 20thcentury natural-history photographers and aviators Martin and Osa Johnson, and TVN Turbo’s investigative documentary Return To Chernobyl (TVN), a follow-up to their 2015 documentary Chernobyl Trespassing, tracking new attempts to seal the site after the nuclear disaster of 1986. One of the most entertaining clips was United Media Group’s Healer Hunt (Signal Media) whose presenter investigates traditional medicines by trying them out on himself, in an attempt to separate the pointless from the potentially fatal.

IPFORMATS delegates were treated to a session on Sunday afternoon in which the production teams behind hit game shows 5 Gold Rings and The Wall provided insights into why the two formats have proved so popular with audiences. Glenn Hugill, managing director of Possessed UK and creator of 5 Gold Rings (managed internationally by Talpa Media), explained how game shows encounter a problem in primetime because they rarely appeal to all age groups. “As soon as the questions get too di ficult ost a e show or ats start to al ienate some of the viewers,”he said. 5 Gold Rings, which has aired in the UK and Netherlands and has just been picked up by France 2, gets around this by keeping uestion di ficulty the sa e throu hout but changing the way questions are answered. Contestants stand on a circular floor and answer visual questions using rings that get smaller and smaller: “You can win by using imagination and common sense,” says Hugill. “This has created a really strong play-along dynamic at home.” NBC senior vice-president alternative programming Enrique Guillen explained how The Wall had become a big hit for NBC, securing a second season of 20 episodes. The show has also been produced for TF1 in France by Endemol Shine, which handles the international format. The Wall sees

Possessed’s Glen Hugill

contestants able to win life-changing sums of money depending on the way a large ball drops down an 11-metre money wall. “One of the reasons the show works is that the idea of your fate hanging in the balance is so universal,” said Guillen.

LatAm drama: from pretty to gritty

YESTERDAY’s MIPDrama Latam Screenings featured the pick of the new wave of gritty drama from South America, chosen by The WIT CEO Virginia Mouseler. “We are seeing a lot of new series being produced in South America that are made up of fewer episodes, and, in terms of topics, much darker compared to traditional telenovelas, which is why we are using the phrase ‘black is the new pink’, meaning that the sentimentality of traditional telenovelas has been replaced by thrillers that often have a biographical element,” Mouseler said. “And these work particularly well internationally when the subject is well known.” El Comandante is exactly that, a biopic about Venezuelan president Hugo Chavez and his rise to power: “The series was produced by SPTV and premiered on RCN in Colombia on January 30, and then broadcast the next day across South America on TNT,” she added. “Another series, this time one that falls into

The Wit’s Virginia Mouseler

the field o narco politics and that has clear international resonance, is Surviving Escobar – Alias JJ, produced by Caracol. The series deals with the capture and incarceration of Popeye, Pablo Escobar’s main enforcer who was convicted of the murder of 250 people and spent 23 years in jail.”

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NEWS Nordic formats going online to sharpen region’s creative edge

UNDAY’s Best Formats From The Nordics screening confir ed that the re ion remains a prime mover in harnessing creativity to new technology to create boundarypushing concepts. “It certainly feels like the Nordics keep taking the world by storm with new inventions, fresh thinking and new business models,” said moderator and screening curator Jan Salling, CEO of Denmark’s Missing Link Media, who introduced 11 new primetime formats to MIPFormats delegates. Salling picked out three shows – Selfmade, Gamerz and The Fashion Hero – as illustrative of a growing trend. “Online first, linear second: if you’ve not already noticed this is the new way of launching formats, then wake up now,” he said. Selfmade is a “democratic” mu-

Missing Link Media’s an Salling: “online first linear second”

sic talent competition, which recently launched on Kanal 5 Sweden. The action is driven from the goselfmade.com digital

platform and community, with a weekly wrap broadcast every Friday night on Kanal 5. Gamerz is billed as the world’s

Showcase puts accent on innovation FORMATS account for 15-20%

of French TV exports, making The French Touch: Formats Showcase at MIPFormats ideal for broadcasters seeking innovative concepts, said moderator Mathieu Bejot, executive director at TV France International. “The French are not always arrogant,” Bejot joked. “And it is not the first country that co es to mind when it comes to cracking a di ficult ar et. owever that tough view has spurred French format producers to target international broadcasters directly. “And they are here today looking for partners,” he added. The five French producers showcasing formats included Effervescence Label. Executive vice-president Laurent Rob-

ert Thibierge introduced Take Your Chance, a quiz show that is already on France 3 and is described as having “more answers

than questions”. Pernel Media’s Incognito Celebrity, which is being developed by Warner Bros. for the US, invites famous

Moderator Mathieu Bejot (left) and The French Touch producers

first talent co petition or professional players of the Countertri e first person shooter video game. “It’s getting harder and harder to come up with something truly unique in the TV industry, which is constantly looking for new heroes, new stars and new business models,” Salling said. “Gamerz is that new way.” The Nordic version of the interactive show will premiere on Twitch, YouTube and Facebook in May, followed by a European version in September and a US version by the end of the year. Beauty World Search’s The Fashion Hero is actually a Canadian format. “But in an effort to expand the Nordic foothold, we’ve decided to include Canada in the Nordics,” Salling joked. Again, The Fashion Hero is an online first proposition in this case, an online casting for new models to serve as brand ambassadors for top fashion designers. “The show is spearheading a global movement to celebrate diversity and change perceptions of beauty,” Salling said, introducing the show’s sizzle. “The era of superficial beauty is finally bein replaced by something real.”

people to take on tasks related to their talent but in far-flung places where no one knows who they are. The other participating production fir s included lair Production, Talk To You and Bigger Than Fiction.

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NEWS

PBS and ARTE unveil epic chronicle of Vietnam War

Stevie Salas

TALES OF ROCK’S UNSUNG NATIVE AMERICAN STARS “WHERE else in the world could a guy go and learn how to produce television, and have these opportunities?” asked Stevie Salas at the Canadian Documentary: When Creative Talent Takes Over panel, presented by Canada Media Fund and Telefilm Canada. He was the only non-Canadian speaking, but the Native American rock star had executive produced the Sundance-winning Rumble: The Indians Who Rocked The World with Montreal-based Rezolution Pictures and Canadian state funding. The feature doc, which took five years to make, uncovers the hidden history of Native American contributions to rock, blues and jazz, despite attempts to suppress or erase their influence. “It’s a nightmare making a documentary film,” Salas said. “But it was a special film to make. I wanted to do something bigger and better to leave the planet with, and thanks to Rezolution Pictures we’ve managed to change history. Also being discussed were Viceland’s tour of derelict America with skater Rick McCrank, Abandoned (distributed at MIPTV by A+E Networks), and actor-turneddirector Marc Labreche’s meditation on creativity and ageing, Rhino’s Cry, which is in production with Groupe Fair-Play of Quebec.

IPDOC buyers are a tough bunch, so it was a surprise when a n aud ience member was moved to tears at a MIPDoc special screening of clips from The Vietnam War, the new series made by award-winning fil a ers ynn ovic and Ken Burns. In the Q&A after the screening, the American delegate, visibly oved than ed ovic or the epic 18-hour documentary because its a ers too the ti e to interview Vietnamese combatants and civilians as well as US soldiers, politicians and activists. “To get all sides on this war is very important,” he said. “I was 13 when the war ended, and I didn t now how to eel. as it ood that it was finally over or bad because we lost?” Beth Hoppe, PBS chief programming executive and general manager, general audience program-

Filmmaker Lynn Novick

ming, said this multi-perspective view made the project different from those that had gone before. t too years to a e and uses a vast selection of never-beforeseen archive material, as well as popular music from the time, and an original score. “Many have tried to tell this important story said ovic . The generation that lived through the war is ready to have a conversation that hasn’t happened before.

To o bac and fi ure out what happened.” Bruno Patino, editorial director, ARTE France, said this was a story of modern times. “We were very happy to come on board early on he said. e loo or big stories that are very meaningful and help people to understand the way the world wor s. ARTE’s cut runs to nine hours. nternational also has a hour version.

Sideways tackles taboos and trolls

Sideways’ Juan Solera

HIGH-end documentary sales agency and producer Sideways Film has launched a series of shows to international buyers at MIPTV and MIPDoc including a second outin or its dar and challenging Taboo strand, focusing on the subject of death. on istia a s five part series Taboo nd n The nd eath ta es a closer loo at euthanasia suicide and near-death experiences. Sideways’ sales and acquisitions

manager Juan Solera revealed that the first Taboo series Taboo tolen hildhoods a controversial four-part examination of child abuse, has been licensed to at eo or their ispanic audiences and other international broadcasters. He said it proved that dar er sub ect atter could be treated sensitively and reach wide audiences. Also on Sideways’ MIPDoc and MIPTV slate is Reportage, an 11-part series which investigates different aspects of life in conflict ones. nother new show is Journey Into Space, a 4K 3D series about s plans or the future of space exploration, loo in at topics ro anned missions to Mars to asteroid capturing. The series is narrated by atric tewart. ise The Trolls about the

world o internet bullyin has been ac uired by orway s Germany’s ZDF, ABC Australia, YES Israel, TVR in Romania, T pain in the Philippines and Crime and Investigation Channel for Spain/ Portugal. Meanwhile Trophy Hunters, an investigation into the world of big-game hunting directed by Des Henderson, is being developed as an hour lon T fil and a eature doc with T bac ing the project along with presales to orway srael oland Romania, Canada and Spain. n anuary the ondon based documentary and factual sales agency added a new o fice in arcelona as a way of circumventing the potential lac o access to uropean undin or fil a ers once the UK leaves the European Union.

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miptv

NEWS TV CHEF FOLLOWS FLOYD’S FRENCH FOOD ODYSSEY

TV chef James Martin explores the world of French cuisine

TV CHEF James Martin is in Cannes promoting his new food travel series in which he journeys through France in homage to his culinary hero Keith Floyd. James Martin’s French Adventure (20 x 60 mins) retraces the journey across France that extrovert bon viveur and TV chef Floyd took 30 years ago. Martin’s journey starts in Provence and continues onto Perigord, Burgundy, Alsace, Pays Basque and Brittany, stopping along the way to celebrate the best in French cuisine while Martin produces his own version of the iconic dishes he finds on location. The show, distributed by DCD Rights, sees Martin travel 3,500 miles in the same Citroen 2CV which Floyd himself once owned and which he used for his original trip. “The car is exactly how Keith had it, dents and all, and it still smells like Oddbins inside,” oked artin, who said he first fell in love with food at the age of eight when on family holidays in France. “ eith was the first T chef that took programmes away from the matriarch behind a cooker and he made shows more fun. He never came across as the world’s greatest chef he would be the first to admit that — but he was a great communicator.” The series is a Blue Marlin production for ITV and the format has already been commissioned for a second series showcasing a different national cuisine.

Inter Medya marks 25 years of expansion with rebrand

iversification and expansion will be the priorities for the future at Inter Medya as the company marks its 25th anniversary, the Turkish distributor’s founder has said. Inter Medya founder and chief executive Can Okan said a fresh look and name change marked a continuing evolution for the distributor and its subsidiaries. The company, founded in 1992, was known as ITV Inter Medya. Okan said: “In line with the culture and strategy of our company, we have developed our brand appearance evolutionarily in the sense of continuity. Inter Medya continues its legacy with a red logo but we made two essential

changes. We not only said goodbye to ITV, which caused confusion at trade fairs and various events, but also opted for an upto-date yet classic font. Through our worldwide presence, we also set a sign for globalisation.” Okan said the new logo and name would allow a smooth “transition” for the company, which is moving away from a previous design which he said “represents a value established over the years”. Inter Medya remained largely a do estic fil distributor or its first years and be an ta in a more cross-border approach at the beginning of the century while evolving content to include a range of television series, formats, reality TV and game shows.

Inter Medya founder Can Okan

Over the past decade it has been increasingly active in the Middle East and North Africa, Central and Eastern Europe, Russia, the Baltics and Asia, and sold Spanish-language formats to the USA and South America.

RED ARROW Entertainment Group has confirmed a partnership with Studio Glam US, the New Yorkbased arm of Israeli company Studio Glam. The new deal will see the two companies creating and launching international formats together. For these jointly developed formats, a coproduction agreement for the US is also part of the deal. The new formats will be distributed worldwide by Red Arrow International, who already represents Studio Glam’s latest shows, The Decision and Cook Stars, which were launched at MIPTV. Pictured are Michael Schmidt (left), of Red Arrow Entertainment and Ami Glam of Studio Glam.

Janson signs up Tak Toon’s goths

KOREAN animation comDisney Korea is airing it at pany Tak Toon Enterprise . its hi h school pri ehas signed a distribution deal time slot, Lee added. with US-based Janson MeJanson Media took Tak dia for its cartoon The Forks Toon’s Galaxy Kids, after With Spiky Hands. a eetin at T The Forks are a goth famand that 3D animation for ily whose spooky ways six- to eight-year-olds is now — which include wearshowing on Amazon Video. ing nooses instead of neck “The Forks With Spiky ties — set them apart from Hands has unique charthe very ordinary people Tak Toon Enterprise’s Lee Jee Eun (left) and Janson acters, stories and style of around them. Lee Jee Eun, Media’s Jesse Janson animation,” said Janson’s managing director of Tak executive vice-president of The show works particularly well Toon described the show acquisitions and developas “like The Addams Fam- for older kids and teens, and can ment, Jesse Janson. “This will ily meets The Simpsons — but run at different lengths: either work very well in the US, parwith sweeter humour than The 86 x 7 mins or 65 x 11 mins for ticularly in the Fall and around T or ins or the web. Halloween.” Simpsons”.

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NEWS Small World in China formats link with Bomanbridge Media

Guilty Rich in Cannes after deal with Investigation in US

THE MAKERS of six-part factual series Guilty Rich are in Cannes to meet with European broadcasters after successfully selling the show to Investigation Discovery in the US. CMJ Productions is in postproduction on the show, which tells the real-life stories of Small World’s Tim Crescenti (left), Bomanbridge Media’s Aegena Tay and Sonia Fleck with The Format People’s Michel Rodrigue

SMALL World International Format Television and Bomanbridge Media have signed a joint distribution deal for Chinese talent format Sing My Song. The series the first talent or at to be exported from China, has run for three seasons on China’s CCTV 3 and features a search for original songwriters who have to perform their own work in the studio. Created by Canxing/Star China International Media, the format will now launch on the global market, jointly represented by

Bomanbridge Media in the Asia Pacific region and by Small World International Format Television in the rest of the world. Star China Media has been working with formats expert Michel Rodrigue, CEO of The Format People, on the show’s international launch, with Rodrigue acting as a consultant on all the company’s international programming acquisitions and sales. Bomanbridge CEO Sonia Fleck said: “Asians love their musicians with a passion.”

CMJ Productions’ Judith Beauchemin (left) and John Kuyk, with Leigh Anne Brodsky of Discovery Global Enterprises

wealthy people who have committed crimes and tried to buy their way out of trouble. Based on court and police documents, the show ollows hi h profile cases, including one involving a Google executive who was living a double life involving prostitutes and drugs. CMJ Productions executive vice-president Judith Beauchemin said: “There are people who because they are rich think they can get out of trouble with no problems. They get careless. These are real people and real stories; they reveal something about the dark side of human nature.” Guilty Rich will debut on Investigation Discovery this autumn. Parts of the show are still bein fil ed while others are in post-production.

KBS show Good Manager enjoying global success KOREAN Broadcasting System (KBS) is in Cannes with a slate of shows it believes has universal appeal to international viewers. Hong Ki-sub, KBS executive managing director for future business, said that two of the broadcaster’s main shows being promoted at MIPTV are based around concepts that any viewer can relate to. In particular, the show Good Manager, which KBS is promoting in Cannes at the KFormat sessions, presented issues that “any working person” can understand. The comedy, which centres around a mean money-grubbing boss who turns good, has already been exported to Vietnam, Japan, Taiwan and Hong Kong,

IMG in place to roll out new Christie adaptations

Witness For The Prosecution, the Agatha Christie drama broadcast in 2016

AGATHA Christie Limited’s TV production arm, Agatha Christie Productions (ACPL), has appointed IMG as its international sales partner for its upcoming slate of seven new Christie dramas. Last year ACPL cemented a production deal with BBC One, reuniting them with indie producer Mammoth Screen to deliver the seven new Agatha Christie adaptations. Filming is due to begin on the first o these adaptations rdeal By Innocence, later this year. This follows the critical success

KBS’s Hong Ki-sub

and is currently being promoted in the US. i sub said that this reflected the increasingly outward looking, international approach KBS has taken in recent years. “Due to drastic changes in the media environment all over the world, KBS has been willing to expand influence not only inside Korea but also abroad for 20 years,” he said.

of BBC One dramas And Then There Were None, aired in 2015 and 2016’s The Witness For The Prosecution. ACPL and Mammoth Screen will work again with writer Sarah Phelps to adapt Ordeal By Innocence. IMG handled sales on BBCAMC’s Emmy and Golden Globe-winning series The Night Manager and BBC America’s Dirk Gently’s Holistic Detective Agency. Both shows were sold by IMG into more than 180 territories globally.

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NEWS

Beauty, romance, brutality — TV’s holy grail

+E NETWORKS is in Cannes this week with Knightfall, an ambitious 10-hour drama for History channel that tells the story of the Knights Templar, a powerful and mysterious military order of the Middle Ages, entrusted with protecting the Holy Grail and harbouring secrets capable of destroying the church. In town to promote the series is Hollywood action hero Jeremy Renner (The Hurt Locker, Avengers series), who is an executive producer on the show. Explaining the appeal of the subject matter, he told MIPTV News: “The world of knights has always really interested me with its combination of beauty, romance and brutality. But for me the access point into this show is that there are so many things we still talk about today with roots in the era of the Templars. “How many people really know about the origins of

the Holy Grail, Friday the 13th or Freemasonry? So for me the show is a way to entertain audiences, but also give them some historical insights.” The story the Templars stretches across a couple of hundred years (1119-1312) — so a key challenge was deciding where to jump into t e stor on an fiel o reator an writer on the show, said. “The Templars were involved in the Crusades, but that’s a challenging story to tell. So we focus on the Templars at the pinnacle of their power and their downfall. But we do it in a way that makes the history more personal, that focuses on the emotions of the central characters.” Showrunner Dominic Minghella agreed that this was a “good starting point for the story because it meant we were dealing with war veterans, who make for interesting characters. I think the result is a more thoughtful series than you might expect.”

The tension between church and state is a big theme of the show, Minghella added. As is t e em lars gro ing in en e in an ing. “They were the Goldman Sachs of the era,” he said, “which created tensions with the King of France.” Series one (10 x 60 mins) ends with the betrayal of the Templars and the order’s destruction on the fateful Friday 13th. But Handfield says there is plenty of scope for further drama: “There are stories that they founded Switzerland, were the first pirates and even travelled to the New World…” Renner doesn’t appear in the show — because his movie commitments made it imossi le to s en so m timing filming in eastern Europe. But there’s no question that he sees television as a key part of his future. “TV drama is in a strong place. There are great stories that you just don’t see in the movies,” he said. Don and eld left and Jeremy Renner

miptv

NEWS NEW FACILITIES HELP HOPLITE TO GO GLOBAL

Ownzones offers premium service to Romanian market

Drone Wars (Hoplite Entertainment)

LA-BASED TV and film producer Hoplite Entertainment is expanding internationally with two new facilities, one outside Atlanta, Georgia, and one in Johannesburg, South Africa. “As an Emmy-winning company, these new moves will enable Hoplite to continue to increase its annual production capability,” said Hoplite CEO, Jon Smith. The full-service facility in Georgia has seen Hoplite produce three unique shows, What’s In My Pocket?, Drone Wars and Jelly Ballers in the docu-drama and game-show formats, by utilising a dedicated production studio, production offices and post-production bays. These facilities, coupled with the advantageous tax credits offered in Georgia, have enabled Hoplite to successfully deliver a unique business model. “The formal opening in the first quarter of 2017 of the production capabilities based in South Africa will enable Hoplite to deliver its first international shows produced in Africa,” said Smith. “And we are honoured to be able to partner with some of the best creatives on the continent of Africa, as a true African voice with international appeal begins to take shape and be delivered to the global media markets.”

WNZONES Passport Romania is a new premium application service created by global technology, distribution and content provider Ownzones Media Network (OMN) and telecoms company UPC Romania, which is part of Liberty Global. The service offers local and Hollywood content to Romanian subscribers to the Horizon set-top box. “Ownzones Passport Romania offers exclusive content developed for the local market,” said Doug Lee, head of programming at OMN. “We are excited to partner with UPC Romania and see great opportunities to roll out similar offerings in additional markets.” Bogdan Bucurei, marketing director of UPC Romania, said the platform turns any TV into a smart TV and is unique in Romania. “Launching it supports our strategy of offering clients the best entertainment experience, starting with original premium content,” he said. OMN is producing four millennial-focused original series featuring Romanian celebrities, alongside existing series like Chloe On Pointe and Hollywood DIY With How2Girl Courtney Sixx. Selected Hollywood titles will also appear, including the Star Trek

Ownzones’ Doug Lee

movie collection, and William Shatner’s documentary series The Captains. Ownzones will also set up a dedicated news bureau through its partnership with Circa, the fast growing mobile-friendly, video-driven news and entertainment portal.

Vivicast makes MIPTV debut as a distributor

Vivicast’s Stuart Smitherman

STUART Smitherman, president of US-based high-end 4K Ultra HD content specialist Vivicast Media, is making his MIPTV debut as a distributor after attending Cannes for several years as a buyer.

Vivicast is an exclusive US representative for a host of international UHD networks, including the India-originated travel channel Travelxp, the French youth-oriented entertainment channel and VR platform operator C4K360, and 4KUniverse, a US-based general entertainment network. “For the past four years, I’ve recognised that 4K UHD is the future and we’ve picked up a lot of global UHD networks,” said Smitherman. “We’ve come to MIPTV with a few of them.” Additionally, Vivicast is at Cannes armed with UHD shows. They include Beyond Moscow (13 x 30 mins), a series illustrating that there is more to Russia than its capital city. Also on offer are the satirical comedy series WTF News and a new 90-minute movie by Xristos Productions called Lost Angels. Smitherman is also using MIPTV to announce that Vivicast has been appointed the exclusive US, Latin American and Caribbean distributor for Scoop Network, the new roundthe-clock celebrity news channel launched by Dutch production house FCCE.

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NEWS BUSINESS BOOMING FOR GUN SHOP DOC UK DISTRIBUTOR Cineflix Rights has agreed a string of deals with broadcasters around the world for a new real-life documentary about gun ownership in the US. The Gun Shop takes a revealing look at America’s relationship with firearms by presenting fixed-rig camera footage from a family-run gun store in Detroit, Michigan. The show was originally made for Channel 4 in the UK, led by Rogan Productions. Cineflix has sold the documentary to broadcasters throughout Europe and in Canada and Australia. It will also be shown in Poland and South Africa on BBC Worldwide’s BBC Brit channel. 772V2_NHC_N2_TV

Majors flock to Gutsy’s multi-layered Moomins

HE FIRST sale of innovative new Moomin animation sees the series go to Finnish public broadcaster Yle. Adapted from the much-loved Tove and Lars Jansson stories, and produced by Helsinki-based Gutsy Animations, Moomin is directed by Oscar-winning Steve Box, best known for his work with Wallace And Gromit. The series will be completed in early 2019. “The passion that the internationally acclaimed team displays towards the project and the visual style and the sparkling wit and warmth of the stories bring vivid life to Moominvalley and transport the viewers into the world of the Moomins and other characters,” said Jarmo Lampela, head of Yle Drama. “The scripts of the series are multi-layered and inventive.”

As a Finnish/British collaboration, Moomin has international appeal, believes Marika Makaroff, CEO of Gutsy Media. “[We] are in talks with major networks in the UK, US and Japan, where Moomintroll’s popularity continues to soar,” she said.

Gutsy Animation’s Moomin

BLEND FORECASTS BETTER WEATHER BLEND Media has announced a new global licensing and distribution agreement with media weather service AccuWeather, which introduced immersive 360 video content of extreme weather events including tornadoes and blizzards in 2016. A 360º video of an EF2 tornado in Colorado garnered over 16 million views across YouTube and social media. Blend is a 360 video and VR content platform, providing immersive content to clients including McCann Erickson, Volvo and Orange. “Blend’s partnership with AccuWeather demonstrates its continued commitment to the growth and investment into its catalogue of premium 360º video content,” Blend CEO Damian Collier said.

miptv

Killer roles for show’s big stars

ARY Kills People stars Richard Short and Caroline Dhaver nas are in Cannes to promote the show to the international markets. Dhavernas plays Mary Harris, a single mother and emergency doctor who secretly carries out end-of-life treatments including assisted dying on terminal patients, with the help of Des Bennett, who is played by Short. Since assisted dying is illegal in the US and in most other countries around the world, the two characters operate in a moral grey zone. However Bennett has a darker side: he is a disgraced plastic surgeon and a recovering addict, who is on professional probation after losing his doctor’s licence in an unfortunate addiction-related surgery incident.

Speaking to MIPTV in Cannes, Dhavernas described the show

as “life affirming”. It is a joint production between Cameron

Mary Kills People stars Richard Short and Caroline Dhavernas

Pictures and Entertainment One, which has already made its debut in the US and Canada, and is available from Entertainment One at MIPTV.

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““““““““”““”“”““““”“ ““““““““”““”“”““““”“ ”””””“””””“”””””””“””””””“ ”””””“””””“”””””””“””””””“ ”””””””“””””“””””“ ”””””””“””””“””””“

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“““” “““” ”””“””””“”””””””””””“””””“””””“ ”””“””””“”””””””””””“””””“””””“

“““““““”“ “““““““”“ ”””””““”””“”””””““”““““””””“”””” ”””””““”””“”””””““”““““””””“””””

“““““”“““““““““““”“”““ “““““”“““““““““““”“”““ ““ ““ ““”““““ ““”““““ ”””””““””””“”””””””””””“””””””“”””“ ”””””““””””“”””””””””””“””””””“”””“ “““““““““““““ “““““““““““““ “““““““““““““““” “““““““““““““““””””””“”””””””””””“””””””““ ”””””“”””””””””””“””””””““ ”””””“””””“””””“ ”””””“””””“””””“ “””””“””””””””“”””””“”””””””””””“””””“””””“ “””””“””””””””“”””””“”””””””””””“””””“””””“””””””””””“””””“””””“ ””””””””””“””””“””””“

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NEWS FAME GAME GIVES FORMER CELEBRITIES A SECOND CHANCE

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Immigration documentary leads Orange Smarty line-up

Bring Your Fame Back (Global Agency)

IF PRESIDENT Trump’s current career hits the bumpers, Turkish distributor Global Agency has a suggestion about how he might reinvent himself, as a poster campaign on the Croisette for its new talent format Bring Your Fame Back demonstrates. Created by Global Agency’s CEO Izzet Pinto, the show gives former celebrities a second chance by competing for a cash prize. Each contestant performs a song, then grades the performances of the others. Then two expert juries provide professional assessments: the first is supportive and awards points, while the other is critical and removes them. At the end of each episode, the audience gets the opportunity to save one of the four lowest-scoring contestants and the kind jury saves another one, before the two finalists face-off in front of the tough jury for a weekly cash prize.

Pernel Media’s Samuel Kissous (centre) with Orange Smarty’s Karen Young (left) and Stella Briley

mmigration: Tearing My Family Apart, a new documentary from Paris- and London-based production company Pernel Media is being sold at MIPTV by Orange Smarty distribution. Commissioned by Channel 5, where it will screen later in April, the documentary examines the lives of four families torn apart by immigration laws, with UK-based wives and husbands separated from spouses and children left behind in Thailand, Taiwan, South Africa and Russia. Karen Young founded Orange Smarty in 2013 after a 13-year stint with distributor Electric Sky, and has maintained an eye on quality. “We’ve just grown and grown,” said Young, who will represent a range of factual content at I for t e fi rst time in l ing

Manhunt, a new crime series for Channel 4 produced by True Vision. “The key thing for us is to take on quality programming and to work with production companies like Pernel that tick all the boxes,” she said. While Pernel has licensed numerous British formats into ran e t is is its fi rst ritis TV commission. Promising to resonate at a time when populist leaders are tightening migration laws, Immigration: Tearing My Family Apart gives a human face to the issue. “These are very powerful stories because you end up thinking that this could be me, this could be anyone,” said Pernel founder, Samuel Kissous. “It’s a different take on immigration because it’s human, it’s universal.”

Smokebomb seeks partners for online hit SMOKEBOMB, the digital arm of Canadian producer Shaftsbury Films, is at MIPTV looking for partners for the TV version of its runaway online hit Carmilla, about a lesbian vampire. “The show is that one-in-a-thousand that really pops, and the stats are amazing,” said Smokebomb’s senior vice-president of creative and innovation, Jay Bennett. “Since the series launched in August 2014, it has generated over 69 million views, and season three garnered over seven million views in less than two months, Carmilla has been viewed in 193 countries and translated into over 20 languages.” The show’s sponsor is U by Kotex, following

a deal brokered by Kaaren Whitney-Vernon, founder and CEO of branded entertainment agency Shift2. “The content is there thanks to the brand, but we do advise them to step a in terms of agging t eir in ol e ment. They take the show very seriously and they are hugely proud of Carmilla,” she said. Parent company Kimberly Clark’s social media accounts are dominated by fans of Carmilla: “Kimberly Clark loves the show and along with them, we are looking at ways for them to become more involved,” Bennett added. “And the franchise is growing as we are in pre-production on Carmilla – The Movie, plus we are looking for partners for a TV version of the show.”

Carmilla (Smokebomb)

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NEWS

Broadcast partners on board for The Day The Dinosaurs Died

Peter And endy Red Arrow nternational

NEW FILM TAKE ON PETER PAN RED ARROW International’s acclaimed TV movie Peter And Wendy (1 x 120 mins) has been sold to Fox Networks Group Latin America. The film which has been nominated in the Best Kids TV Movie or Mini-Series category of the International mmy Kids wards will air on the pan-regional Fox Premium Family channel across Latin America. Based on JM Barrie’s classic, Peter Pan, and starring Stanley Tucci, Laura Fraser and Paloma Faith, Peter And Wendy has also sold to several other territories, including RTL Germany for its Vox Channels. Bo Stehmeier, senior vice-president global sales at Red Arrow International, said: “Peter Pan is a classic tale with universal themes and Peter And Wendy has proved to be a magical new take on this much-loved story.”

MORE DANCING WITH THE STARS DANCING With The Stars will be available across five territories in Central Europe as part of a pan-regional deal between BBC Worldwide and Central Media Enterprise Group. Pro TV in Romania and Pop TV in Slovenia, where the series has already proved to be popular, are among CME Group’s portfolio of commercial broadcasters included in the deal both channels launched the format in March, achieving 28.6% and 51% market share respectively.

drilling down into the crater in the Gulf of Mexico created by the asteroid that killed off the dinosaurs 66 million years ago, recovering strange and often beautiful fragments of the earth from the moments after the impact. “The Day The Dinosaurs Died is a major international production and we needed to tell this story with real scale,” Sam Barcroft, CEO of Barcroft Productions, said. “Drive helped us achieve that by assembling a formidable group of international broadcasters who shared our vision to tell this important story to audiences all around the world.”

K P RO DU C T I O N funding and distribution agency Drive has secured several international broadcast partners for the documentary film The Day The Dinosaurs Died. e film is ro e ar roft Productions for the BBC in association with Nova/WGBH, France 5/ France Televisions, ZDF, BBC Worldwide, NHK and ABC Australia. The scientific documentary will uncover the story of one of the most dramatic days in our planet’s history — the day that killed the dinosaurs. Barcroft gained exclusive access to an expedition that has been

Barcroft Productions’ Sam Barcroft: needed to tell this story with real scale

uintus locks up prison series deal QUINTUS Media has signed a deal with Discovery Channel Latin America for the crime docu-series Behind Bars: The World’s Toughest Prisons. Set for transmission on Investigation Discovery to almost 50 countries in Latin America and Discovery en Espanol for the His-

panic market in the US, Behind Bars looks at the world’s most notorious and extraordinary prisons. “The series offers a unique insight into the inner workings of prison life, together with the personalities who live behind bars an I m onfi ent t at it ill e compelling viewing for audiences

in Latin America,” Gerrit Kemming, managing director of Quintus Media, said. “Behind Bars is doing tremendously well around the globe and is continuing to conquer even more territories. Given its ongoing success, we are currently considering a second season.”

GR stock flies off the shelf in early sales

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ntertainment

GRB ENTERTAINMENT, the Californian-based producer, has announced a number of sales at MIPTV. Poland’s TV Puls has acquired the full series of Auction Kings, showcasing one of America’s most successful auction houses in Atlanta. Econet in Africa has picked up two seasons of Tyler Perry-scripted comedy For Better Or Worse, about a lovesick married couple and their love-scorned friends; and four documentary series — 2 Fat 2 Fly, about a small-town food truck business; Flex &

Shanice, about 1990s pop star Shanice and her actor husband Flex Alexander; Pregnant & Dating i rofiles fi e s essf l women who are single, pregnant and still looking for love; and docu-dramedy, Twisted Tales Of My 9 To 5. “We continue to reach every corner of the globe with intriguing, educational and entertaining programming in both the scripted and factual realms, introducing even more new content at MIPTV,” Michael Lolato, senior vicepresident of international distribution, GRB Entertainment, said.

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NEWS New York taxi show returns to take passengers for a ride

FremantleMedia scores with The Lie Detective

A STRING of format deals has been closed for FremantleMedia format The Lie Detective, devised by UK factual indie True North. SBS (Belgium), Antenna (Greece), STV Pirma! (Latvia), RTL 5 (The Netherlands) and TV2 (Norway) have licensed the factual reality format, which launched on Channel 4 (UK) in September 2016. At the heart of the show is a ‘lie detector’ — in the case of the Channel 4 series, New York deception expert Dan Ribacoff — who tests the honesty and attem ts to fi t e ro lems of current couples, wannabe

THE EMMY-winning series Cash Cab will return to Discovery this year with a new spin, as celebrities ambush the unsuspecting passengers. Executive producers, comedian David Steinberg (Curb Your Enthusiasm, Seinfeld) and all3media’s Lion USA, have revamped the New York-set series following 10 successful seasons and three consecutive Emmy Award wins. This time, unwitting passengers enter the Cash Cab expecting a normal taxi journey, only to dis-

couples and ex-couples. Chris O’Dell, FremantleMedia’s head of global entertainment production, said The Lie Detective had received a “fantastic reception” from the international market. True North executive producer Fiona O’Sullivan said: “It’s great to see The Lie Detective take off in so many territories so quickly. It’s a completely captivating concept with universal themes.” Ribacoff will serve as lie detective in the Dutch version of the format. The other local version will be presented by new experts in the art of lie detection.

cover they are instant contestants in for a potentially lucrative ride. Dodging New York City traffi t e assengers om ete with classic Cash Cab trivia on the way to their destination. If they get stumped, pedestrians and friends can help them out via phone, text or social media shout-outs. But if they get three questions wrong, they’re out on the street. Cash Cab is produced for Discovery Channel by Lion USA and Norton Productions.

Superights strikes deal for hit canine comedy Cash Cab

Movistar+ dramas set to leave Spain for a worldwide tour SPAIN’s Movistar+ has announced distribution deals for three of its original series, all for worldwide rights, excluding Spain. Sky Vision has taken La Peste — a detective story set in 16th century Spain against the backdrop of the Inquisition — a series that Sky Vision managing director Jane Millichip described as having “a pungent sense of the past, and a modernity that will satisfy today’s audience”. Beta Film has added La Zona to its slate, a series that follows a criminal investigation when a new life form is discovered three years after a nuclear dis-

Superprod’s Jeremie Fajner (left), Disney’s Karen Miller, Superprod’s Clement Calvet and Superights’ Morgann Favennec

FRENCH independent distributor Superights has concluded a deal for Pat The Dog (78 x 7 mins), the cartoon comedy that launched last year at MIPJunior. The show has been acquired by ABC Cable Networks Group to be broadcast on Disney Channel US in the third quarter of this year. Produced by Superprod and Italian company Animoka, for Canal+ and RAI, the adaptation of the mobile game sensation played by 27 million people

around the globe had previously been sold to RTBF, VRT, TSR, Radio Canada, Discovery Latin America and Turner EMEA and APAC among others. The terrestrial sales will start at MIPTV next week. “We are extremely proud that Disney Channel will be airing Pat The Dog in the US. Our series is in the perfect place on this esteemed kids network,” said Morgann Favennec, deputy MD of Superights.

aster. Beta Film’s senior vicepresident, acquisitions & sales, Christian Gockel, praised the “high standards of Spanish storytelling and production”. About Premium Content (APC) is to distribute Gigantes (8 x 50 mins), about three siblings vying for leadership in a criminal family. Emmanuelle Guilbart, APC joint-CEO and founder said: “Gigantes is the kind of show that leaves its mark on you. With the best Spanish talents behind it and killer scripts”. A Telefonica company, Movistar+ is a channel with content covering sports, movies, series and entertainment.

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TURKEY BUYS FOLLOW-UP TO MOTHER AFTER a highly successful partnership on drama series Mother, Nippon TV has finalised a new deal with Yapim for the Turkish format of its award-winning follow- p series of -min te episodes Woman – My Life For My Children. The drama is set to air on Fox Turkey. Atsushi Hatayama, president of international business development for Nippon TV, and Faruk Bayhan, president of MF Yapim, made the joint announcement in Cannes. The agreement mar s the first format sale into a different country for Woman – My Life or y Children which depicts a woman s fight to s rvive with her yo ng family amid the harsh reality of contemporary society. “We could not be more proud of the success that our series Mother has achieved in Turkey,” said Hatayama. “It is one of the highest rated series of this season and we are so happy to hear that the Turkish audience appreciates this heart-gripping drama “Our hope is that thanks to this deal with apim Woman – My Life For My Children which is created by the same creative team as other will achieve tremendous success in Turkey.”

FremantleMedia takes stake in Gurinder Chadha’s Bend It TV

ONTINUING its indie investment spree, which has seen it take stakes in several scripted entertainment and factual producers in the last 18 months, FremantleMedia has taken a 25% stake in Gurinder Chadha’s Bend It TV. One of the UK’s most respected filmmakers, Chadha’s credits range from oming of age films — most famously 2003’s Bend It Like Beckham — to historical dramas. The latest project from the Kenya-born English director is the feature-length BritishIndian historical drama Viceroy’s House, which was released in early March. Chadha said she was looking

Filmmaker Gurinder Chadha: “vibrant international drama slate”

forward to working on a “vibrant international drama slate and bringing our brand of stories to our global audience, now

excitingly on TV”. Cecile Frot-Coutaz, CEO of FremantleMedia, described Chadha as “a phenomenal storyteller and real auteur”. She added: “When we set out to build our scripted business, at the top of my list was working with and supporting the best creative talent in the world and this new artners i e em lifies t at goal.” Bend It TV joins FremantleMedia’s rapidly expanding indie stable, which now includes Abot Hameiri, Naked Entertainment, Man Alive Entertainment, Full Fat TV, Corona Pictures, Dr Pluto, Dancing Ledge, Wild Blue Media, Eureka, No Pictures Please, Fontaram, Kwai and Wildside.

SEASON two of Woodcut Media’s true-crime series Britain’s Most Evil Killers (10 x 60 mins) — and its international incarnation, World’s Most Evil Killers (20 x 60 mins) — has been greenlit by Sky free-to-air channel Pick. The deal follows a successful first-season run for both shows, with the UK series more than doubling Pick’s slot average. “Pick viewers are true-crime savvy and Woodcut has done a superb job of delivering high-quality, well-researched shows,” said Stephen Ladlow, director of Challenge, Pick and Real Lives. He added that the subject matter — the shocking stories behind the world’s most brutal murders — was “often difficult, but always dealt with sensitively and intelligently by a great production company”. Pictured are: Sky’s Charlie Charalambous (left), Woodcut Media CEO Kate Beal and Pick’s Stephen Ladlow.

‘Down and dirty’ Baron Noir set for US

Woman – My Life For My Children

STUDIOCANAL has sold its political drama Baron Noir (8 x 60 mins) to Walter Presents’ new US SVOD channel, which launched two weeks ago. The gritty French series — a Canal+ Creation Originale produced by Kwai — is a “down and dirty rollercoaster thriller”, said Walter Iuzzolino, co-founder and curator of Walter Presents. The service, a joint venture between Channel 4 and Global Services Network

in the UK, showcases premium foreign-language programming. It launched in the UK in 2016, achieving 18 million streams in its first ear. Iuzzolino added: “Scheming, back-stabbing and deceit — quite simply, when it comes to political dramas, the French do it best.” The creative team behind Baron Noir includes writers Eric Benzekri and Jean-Baptiste Delafon (Maison Close), and director

Ziad Doueiri (L’Attentat). A second season of the drama, which has also been acquired by Sony Entertainment Television Germany, SBS Australia and Amazon Prime UK, is now in development. Katrina Neylon, Studiocanal’s executive vice-president of sales and marketing, said: “The diverse Canal+ Creative Originale brand continues to deliver hard-hitting and authentic drama that has strong appeal throughout the world.”

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NEWS BABUSHKA BACK IN SPAIN FOR SECOND SEASON

Turner’s Good Behaviour pays off with sales surge in Cannes Juan Diego Botto and Michelle Dockery in TNT’s Good Behaviour

Armoza Formats’ Babushka

ARMOZA Formats reports a secondseason licence with Spain’s TVG for studio game show Babushka. Produced by Productora Faro, the new 65 x 60 mins season will air daily from next week. Babushka — known in Spain as Ti Veras — debuted on TVG in December, pulling in record afternoon audiences. Avi Armoza, CEO of Armoza Formats, said: “The fun and tensionfilled dynamics of Babushka have been a key element in captivating audiences in Spain.” The game play centres on 10 giant Russian babushka dolls, one of which contains $500,000. In a rollercoaster game of emotional highs and lows, contestants need knowledge, strategy and luck to win the prize pot.

YOKO TAKES OFF JETPACK Distribution has finalised multiple broadcast agreements with leading channels around the world for its pre-school children’s hit, Yoko. Deals have been concluded with Canada’s BBC Knowledge for exclusive pay-TV and SVOD rights; Canal Panda in Portugal has acquired exclusive pay-TV and non-exclusive SVOD; Sun TV has exclusive pay-TV rights throughout India and Sri Lanka; while broadcast deals have also been agreed by Russian co-producer Wizart, after its distribution arm, Wizart Distribution, secured Russian broadcasters including educational channel O! (pay-TV worldwide).

OLLOWING a recent surge in original content for its US cable channels TNT and TBS, Turner has announced a raft of sales at MIPTV. The new TNT drama series Good Behaviour has been picked up by OCS (France), Telecom Italia (Italy), Fox (Finland), Cellcom and HOT (Israel), Stan (Australia), and NEON and Sky (New Zealand). Meanwhile, the TBS comedy Search Party has been sold to All4 (UK), OCS (France) and Cellcom (Israel). Both shows have been renewed for a second season. From Turner’s kids portfolio, Cartoon Network’s The Powerpuff Girls and Ben are also generating signifi ant interest. Both shows have been snapped up by CiTV

(UK), Gulli (France) and Stan (Australia); while Disney Channel (Germany) and TV5 (Philippines) have picked up The Powerpuff Girls, and GMA (Philippines) has picked up Ben 10. Alongside these, Turner titles at MIPTV include the new dramas 4 Blocks (from TNT Serie in Germany) and Will (TNT); new comedies I’m Sorry and Those Who Can’t (both truTV); and various animation series. Phil Nelson, managing director of Turner in o t east sia a ifi sai “ is ear Turner can boast a sizeable slate of content across many genres. For our content partners operating linear or non-linear platforms, there’s something that will appeal to almost any audience.”

Canal+ picks up ITV crime series

ITV STUDIOS Global Entertainment (ITVS GE) has licensed two drama series — Fearless and Bancroft — to Canal+ for broadcast on its free-to-air channel C8. Dan Gopal, executive vice-president, EMEA distribution & global digital partners, ITVS sai “It is testament to t e alit of t e writing, and both the on- and off-screen talent of these productions, that C8 has committed to invest in both projects so early. We are confi ent t at ren a ien es ill e gri e by these two very compelling shows, which they will be able to enjoy across a number of platforms and devices.” Fearless, written by Patrick Harbinson, follows Emma Blunt (Helen McCrory), a solicitor known for defending lost causes. She’s investigating the killing of a schoolgirl and trying to free the man she thinks was wrongly convicted of the girl’s murder.

Helen McCrory in Fearless

Bancroft is a 4 x 60 mins police thriller that started production last month. It centres around female leads DCI Elizabeth Bancroft (Sarah Parish) and DS Katherine Stevens (Faye Marsay). Bancroft is courageous and tackles crime head on, often at risk to her own life.

PRODUCT NEWS AMC STUDIOS

BROCKMIRE (8 x 30 mins) is a comedy series about a major-league baseball announcer who suffers an embarrassing public meltdown live on air after discovering his wife’s infidelity. A decade later, Jim Brockmire decides to reclaim his career and love life in a small American rust-belt town that has seen better days. AMC Studios also brings: The Terror (10 x 60 mins), a drama about a Royal Navy expedition crew searching for the Northwest Passage who are attacked by a mysterious predator; and comedy Documentary Now! (two seasons of 7 x 30 mins, with a new season commissioned), which pays homage to well-known documentaries, including star cameos. New titles include: Masterminds: Robert Kirkman’s Heroes & Villains (6 x 60 mins), featuring the untold stories, creators and events that transformed the history of comic books; the second season of Masterminds: James Cameron’s Story Of Science Fiction; and the second season of motorcycle show Ride With Norman Reedus (6 x 60 mins).

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GRB ENTERTAINMENT

PROGRAMME highlights at MIPTV for GRB include: Close Up With The Hollywood Reporter, with two 7 x 60 mins series, one leading up to the Oscars and one to the Emmys. Both series feature stars and directors from the year’s most acclaimed films and television series; Day 5 (14 x 60 mins), a drama featuring Jake who wakes up in the aftermath of a fatal sleep epidemic; Crunch Time (14 x 30 mins), a dramedy in which four brilliant, obnoxious grad students are interrogated by government operatives because the world is about to end and it’s all their fault; action movie Cien Por Uno (1 x 120 mins); Arabia Motors (13 x 30 mins); Lights, Camera, Caught (6 x 60 mins), about crimes committed against celebrities; and Super Fan Builds (11 x 30 mins), featuring prop makers building one-of-a-kind items for super-fans.

Brockmire (AMC Studios)

Close Up With The Hollywood Reporter (GRB Entertainment)

TELEPOOL

SQUEEZE

CREATED and produced by Squeeze in Quebec City, Canada, Cracke (52 x 1 min) is a comedy series starring Ed, an anxious ostrich dad, and his beloved brood. With good intentions to protect his eight eggs, Ed never misses an opportunity to make things worse for himself. A recent deal with Viacom 18 will take the show to Nickelodeon India and to stream on Voot Kids. STUDIO 100 MEDIA

STUDIO 100 Media is at MIPTV with the second season of the revived CGI animation series Maya The Bee (52 x 12 mins). Based on the well-known books written by Waldemar Bonsels, Maya is the story of a little bee that has left the Thousand Flower Hive to live in the meadow. Her adventures sometimes lead her into trouble, but luckily she has Skip, a kind and friendly grasshopper and Willy, her best friend to help her out.

ZOMBIELARS (13 x 15 mins) features 11-year-old Lars who is a half-zombie. In his new home town Lars finds out that a ninja, a witch, a troll and a changeling are living next door. The series is available in Norwegian with English subtitles. The Munich-based distributor also brings two documentaries: War Diary (1 x 52 mins/90 mins/102 mins), featuring reports sent from journalist Carsten Stormer from Syria since 2012, available in German, Kurdish or Arabian, and with French or English subtitles; and Rasputin – Murder In The Tsar’s Court (1 x 52 mins), a coproduction with Florianfilm, ZDF and ARTE, in German with English or French subtitles.

ZombieLars (Telepool)

Maya The Bee (Studio 100 Media)

PRODUCT NEWS AFL PRODUCTIONS

MOSCOW- and San Francisco-based AFL Productions brings virtual-reality format Maski to the international market in Cannes. The comedy series features eccentric non-dialogue sketches from the comic troupe that have performed their live shows around the world. There are eight seasons available and due to appear on platforms including Oculus, Google Store, Apple Store and Steam.The producer and distributor carries a library of over 15,000 hours of entertainment content.

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION

DRAMA titles from Twentieth Century Fox Television Distribution include: 24: Legacy (12 x 60 mins), the latest evolution of the 24 franchise, which chronicles a race against the clock to stop a devastating terrorist attack on US soil; a new series of Prison Break (9 x 60 mins), filmed on location in Morocco, in which clues surface that suggest a previously thought-to-be-dead Michael may be alive; APB (12 x 60 mins), a new police drama with a high-tech twist set in the over-extended and under-funded Chicago Police Department; The Mick (17 x 30 mins), a single-camera comedy that gives new meaning to the idea of dysfunctional family; and Shots Fired (10 x 60 mins); examining the dangerous aftermath of two racially charged shootings in a small Southern town.

Maski (AFL Productions)

TF1 STUDIO

MUNCH (8 x 52 mins) follows a maverick, fun-loving lawyer who runs a law firm with her friend and associate, Hubert Bellanger. Munch and her team take on tough cases, defending the innocent and marginal against all odds. Bold and irreverent, she will cross any line — even if it means bending the law. France’s TF1 Studio is also highlighting Louis(e) (6 x 52 mins). Agnes lives with her partner and children, when Louis(e), moves into the house across the street. Louise is elegant and also Agnes’ ex-husband, and is determined to win back her children’s hearts.

Munch (TF1 Studio)

24: Legacy (Twentieth Century Fox Television Distribution)

FULLERAT PARTNERS

PROJECTS from Spain’s Fullerat Partners include: Animukis, featuring happy and friendly animals that live in a simple white world, in which with the help of a female narrator, the creative giraffe and her friends have many playful adventures; Gnomix, featuring BluBlu who, in the whimsical world of Gnom, does his best to learn the ways of Gnomix magic; and Glob!, about a group of kids and their green dog as they travel around the world in a flying-ship-balloon.

Animukis (Fullerat Partners)

TVN

POLISH commercial network TVN is at MIPTV with period crime series and format Belle Epoque (10 x 44 mins). The series is set before the outbreak of the First World War and the stories revolve around how love, beauty and passion link with intrigues and mysterious crimes. The company also brings: Return To Chernobyl (1 x 53 mins), a new 4K documentary that presents TVN’s crew re-entering the Chernobyl exclusion zone to witness the installation of the new sarcophagus that is believed to absorb the deadly radiation for the next century; the third season of drama series and format Second Chance (39 x 44 mins), about a film producer and celebrity agent who tries to settle down and rebuild his position after a scandal; and DIY and lifestyle programme Jimi’s Design Workshop (12 x 24 mins).

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ALBATROSS WORLD SALES

THE GERMANY-based factual distributor brings a line-up of new titles to MIPTV, including: Witch Hunt In Salem (1 x 52 mins), depicting the religious hysteria infecting the people of Salem in 1692, resulting in dozens being accused of sorcery and then executed; Terror In Paradise – Holidays Under Gunfire (1 x 52 mins) investigating the strategy behind the repeated terrorist attacks on tourists; Lemming – The Little Giant Of The North (1 x 52 mins), debunking the myths about lemmings’ suicidal behaviour; and King Of Currents – A Gulf Stream Journey (2 x 52 mins), following a research vessel exploring the Gulf Stream.

ALL3MEDIA INTERNATIONAL

ALL3MEDIA International showcases new format Tried And Tasted: The Ultimate Shopping List (8 x 30 mins) from Maverick TV at MIPTV. Produced for Channel 4 in the UK, the series stars Michelin-starred chef Michel Roux Jr who is joined by knowledgeable food specialists. Food items appear on a conveyor belt for

Witch Hunt In Salem (Albatross World Sales)

the specialists to blind taste, before the product that came out on top is revealed. The series also travels to locations to discover how products are made and what qualities make one brand better than another. The show reveals when it might be worth spending a bit extra – and when it might not.

Tried And Tasted: The Ultimate Shopping List (all3media International)

TOEI ANIMATION

TOEI Animation is reviving classic anime series Mazinger Z as a feature film. Mazinger Z was one of the first series to introduce Japanese animation and science fiction to worldwide audiences in the Seventies. Produced by Toei Animation and distributed by Toei Company, the upcoming film will capture the same magic of the original series. NPO SALES

AT MIPTV NPO Sales offers the new drama Stuck (10 x 50 mins), a series that tells the story of a father who one day discovers that his daughter’s best friend is a notorious criminal who has just been released from prison. A second series will be released in 2018. Another highlight from the slate is Chasing A Million (1 x 58 mins), which follows two men who want to become millionaires. Albert and Stefan believe they can make a fortune by consistently swapping one thing for another, and start their experiment with a free rabbit from a second-hand goods website. Within three years they swap their way to a luxurious apartment on a skislope in Southern Germany.

Stuck (NPO Sales)

RED ARROW INTERNATIONAL

RED ARROW International is showcasing a slate of new shows at this year’s MIPTV. A priority is a second season of drama Cleverman (6 x 60 mins), a MIPTV launch, again starring Iain Glen and Frances O’Connor. Einstein (10 x 60 mins) is a procedural crime series starring Tom Beck as the great grandson of Albert Einstein, who works with the police to solve crimes using his brilliant but eccentric mind. The show has been recommissioned for a second season. Formats include the social experiment Look Me In The Eye, in which estranged people share two minutes of silent eye contact, in a bid to help them to reconcile when all other efforts have failed. Other new formats include Married At First Sight: Second Chances and Kiss Bang Love, the provocative dating format that sees singletons kiss their way to love. Heading the factual line-up is Empire Builders (10 x 60 mins) which explores 10 great empires from history. Other titles include The Greatest Crimes Of All Time and Motive To Murder.

Cleverman (Red Arrow International)

PRODUCT NEWS NORDIC WORLD

RESCUED From Hell (1 x 56 mins), from Verito Films, documents the story of a drug lord and is brought to Cannes by Nordic World. Cardona’s life story begins in Colombia and ends on the streets of New York. He was one of South America’s most notorious drug barons, working alongside and competing against Pablo Escobar and Griselda Blanco among others. Now he’s prepared to tell it all, his story of violence, crime and amorality.

ABOUT PREMIUM CONTENT (APC)

COMMISSIONED by ARTE France, produced by Terminal 9F and brought to Cannes by Paris-based APC, Sting, A Free Man (1 x 52 mins) makes its debut at MIPTV. Sting has a career spanning almost 40 years, with over 100 million records sold and 16 Grammy Awards. The show includes exclusive interviews with the star singer, his family and other artists including Will.I.Am, David Lynch and Elton John.

Sting, A Free Man (APC)

ANIMACCORD ANIMATION STUDIO

THE PRIORITY for Animaccord — a studio with offices in Moscow and Miami — is 3D animation Masha And The Bear (two seasons, 52 x 7 mins), the third season of which is in production and due towards the end of 2018. There are also two spin-off titles, Masha’s Tales and Masha’s Spooky Stories. The show has already been distributed to more than 100 territories across platforms, cinemas and apps.

Rescued From Hell (Nordic World)

DW TRANSTEL

THE MIGRATION Millennium (7 x 30 mins) considers the increasing numbers of people all over the world who are leaving their homes to build their lives in a different place. At least 150 million people worldwide are living as migrants in a country that is not their nation of origin, and they are having an increasing influence on political, societal and economic processes in their original home territories and their destination regions. This documentary highlights the difficulties and the consequences of migration and also the opportunities they present to the global community.

EDUCATIONAL BROADCASTING SYSTEM (EBS)

KOREA’s EBS is highlighting a new HD wildlife documentary at MIPTV. Gibbon, The Singing Ape (2 x 50 mins) sheds light on the ecology of the least known anthropoid apes in Asia. The film features five wild species of gibbons, tracking them throughout Indonesia and Thailand, capturing their daily life, revealing how they communicate through singing and how they establish their monogamous society. Gibbon, The Singing Ape (EBS)

The Migration Millennium (DW Transtel)

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MAGNIFY MEDIA

FROM Plimsoll Productions for the UK’s ITV, Teach My Pet To Do That (8 x 30 mins) is brought to MIPTV by Magnify Media. The primetime family format celebrates the untapped intelligence of the nation’s pets and shows how positive training techniques get results quickly and are also a direct route to understanding and communicating with pets. Rabbits, dogs, parrots, pigs, rats, ponies, cats, ferrets, even goldfish are capable of learning tricks.

SMALL WORLD IFT

LONDON-based format specialist Small World IFT premieres new quiz-show format Fake News as part of its slate of new titles at MIPTV. Originally created by Finland’s Aito Media, in each episode three celebrity contestants are challenged to figure out what news is true and what is not in stories presented to them, some current, some historical. Another highlight is game show ProcrastiNation, created by Konstantin Korobov, in which contestants’ skills are tested in a diversity of challenges — only here the longer they take to complete the tasks the better as they are rewarded for procrastinating.

Teach My Pet To Do That (Magnify Media)

NEW DOCS

GERMANY-based distributor New Docs presents a wide-ranging line-up at this year’s MIPTV. Among the highlights is a new science special Brain Beats — A Journey Into Our Sonic Future (1 x 52 mins), exploring new discoveries about how the brain reacts to sound and music. From the history genre comes: Goering’s Carinhall (1 x 52 mins), about the history of Goering’s mysterious hunting lodge; 1917 — The Real October (1 x 90 mins/52 mins), a portrait of the year that saw two revolutions from the perspective of Russian artists including Maxim Gorky and Kazimir Malevich; and The Crimea Through The Ages.

Fake News (Small World IFT)

FOX NETWORKS GROUP CONTENT DISTRIBUTION

FOX NETWORKS Group Content Distribution has built a catalogue of Turkish dramas over the past few years and the distributor is launching six new titles at MIPTV. Included is Lodestar (38 x 60 mins), from Most Productions, the highest-rated drama premiere of the season in Turkey and tells the story of a young woman who escapes a marriage to a rich older man, only for her and her protector to be pursued by his ruthless son, who wants her for himself. Forever Bound (38 x 60 mins) is a hard-hitting drama from Endemol Shine about a woman who hits rock bottom after her son is put in intensive care following a hit-and-run accident. Her nogood husband tries to blackmail the driver’s wealthy family and when she finds out they end up in a fight, which results in him dying and her being sent to prison. Over time, her life and that of her family, becomes inextricably linked with the driver of the car.

GAUMONT

MURDER mystery The Frozen Dead debuts at MIPTV. Brought to Cannes by Gaumont, the six-part series begins when the headless body of a horse is found at the top of a cable car, 6,000-feet above the French Pyrenees. Captain Servez (Charles Berling) is unwillingly assigned to the investigation alongside Captain Irene Ziegler (Julia Piaton). The DNA of a serial killer locked in a high-security prison is discovered at the scene and a dark story of madness and revenge begins to unfold. Produced by Gaumont and directed by Laurent Herbiet, the series premiered in January on France’s M6.

The Frozen Dead (Gaumont)

Lodestar (Fox Networks Group Content Distribution)

PRODUCT NEWS DVMOBILE

FRANCETV DISTRIBUTION

FRANCE’s DVMobile is presenting 10 new projects at MIPTV, including Jailbirds, a narrative room-scale VR experience taking place in the prison of Bwa Kayiman. The viewer is projected in the fantasy world designed by Philippe Foeste, where real actors were scanned, their performance captured, then integrated in the 3D world. The interactive teaser of Jailbird is showcased on Oculus Rift during MIPTV.

HEADING the drama roster at MIPTV from France TV Distribution are two series: Alex Hugo (8 x 90 mins), featuring Samuel Le Bihan as Alex Hugo, a free-spirited detective working in a wild mountain region; and four seasons of Captain Sharif (38 x 52 mins), about two detectives with very different working methods. Sharif loves to destabilise suspects and colleagues but his new ambitious teammate, Captain Adeline Briard, prefers to follow the traditional process. Factual titles include: The N°5 War (1 x 52 mins), about the duel between Coco Chanel and her Jewish associates; Secrets Of The World’s Richest Woman (1 x 90 mins/2 x 45 mins), about the Bettencourt family and the creation of L’Oreal; Two Against Hitler (1 x 52 mins); Erdogan, The Rise To Absolute Power (1 x 52 mins); and a profile biography Verhoeven Versus Verhoeven (1 x 52 mins). An animation highlight is Peanuts (500 x 1.30 mins/104 x 7 mins).

Jailbirds (DVMobile)

RO*CO FILMS

AMONG the films brought to MIPTV by US documentary specialist ro*co are: Bending The Arc, about a group of health advocates who believe in global health equity, focusing on their work in Haiti; The Death And Life Of Marsha P. Johnson, about the pioneers of the trans-rights movement; Dolores, about Dolores Huerta, co-founder of the first farm workers’ union; The Freedom To Marry, the history of the movement to secure same-sex marriage; What Lies Upstream, uncovering the truth behind a massive chemical spill in West Virginia; and King Bibi, a portrait of Israel’s Benjamin Netanyahu. 683_CEDAR ART_N2_TV

Alex Hugo (Francetv Distribution)

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RTE

THE CROSSING (1 x 60 mins) tells story of one month in the (naval ship) LE Samuel Beckett’s deployment in the southern Mediterranean. For the past 18 months, the Irish Naval Service has been tasked by the Irish Government to ensure that people desperate enough to attempt the crossing into Europe can be offered safe passage. So far five Irish vessels have rescued over 14,000 people. This film follows the crew of one ship as they embark on a three-month deployment.

Enter the World of the BEST Combat Sports!

The Crossing (RTE)

DISCOVERY COMMUNICATIONS

DISCOVERY returns to Cannes with a wide slate of content, including: Mosquito, looking at how environmental shifts like climate change and international travel have increased the threat mosquitos pose by hastening their spread, bringing diseases like Zika, dengue and yellow fever to unprepared regions of the world; Manhunt: Unabomber, the story of the FBI’s hunt for the serial bomber; and Harley And The Davidsons, about the motorcycle company built by Walter and Arthur Davidson with Bill Harley. The company is also highlighting a range of VR content. TCB MEDIA RIGHTS

ROYAL Murder Mysteries (6 x 60 mins) features modern investigations into history’s most notorious murder cases involving royalty in Russia, Germany, Kenya and Great Britain. Historians, pathologists, forensic scientists and modern detectives combine to sift through the evidence, look at the facts and reach a conclusion as to the likely culprit or cause of each murder. Present-day detection techniques feature alongside brand new CGI and specially-staged reconstructions to present the viewer with the latest theories and research.

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100+ Live Events per year Meet as at booth

P-1 J70

Royal Murder Mysteries (TCB Media Rights)

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PRODUCT NEWS AFP

CONTENT MEDIA

AGENCE France-Presse (AFP), the global news agency, highlights its in-depth coverage of major world events at MIPTV. Included in the offer is: Africa Weekly, a 10-minute news round-up with the best feature stories of the week from the continent; and video wires, including AFPTV Digital, a real-time video news feed with original features from around the world in 30-seconds to two minutes ready-to-publish videos for all screens and platforms. AFP also offers an extensive library of over 630,000 videos and videographics, a live-video service for TV newsrooms, as well as many more news products, including photo coverage and on-demand production services.

CONTENT Media launches 21 Thunder (8 x 60 mins) at MIPTV, a drama set in the cut-throat world of professional soccer. From PMA Productions and Generic Productions for Canadaâ&#x20AC;&#x2122;s CBC, 21 Thunder follows the Montreal Thunder under-21 team. On and off the field, the series follows the players, coaches and families with stories of love, crime, race, sex and athletic glory, as they endeavour to make it to the big league.

New footage from AFP

21 Thunder (Content Media)

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SINKING SHIP ENTERTAINMENT

BOOKABOO (75 x 11 mins/1 x 28/33 mins specials), aims to inspire children and grown-ups to share books together. Bookaboo is a rock-drummer puppy who tours the world with bandmates Paws and Growler. However, he can’t perform until he has been read a story, and that is when celebrities step in to help him out. Celebrities featuring in the new season include Paula Abdul and Michael Sheen. Other titles from the Canadian distributor include: Dino Dana (52 x 22 mins/also available as 11 mins); live-action comedy about kid secret agents, Odd Squad (80 x 22 mins/available as 11 mins); and Androids (52 x 22 mins), a live-action/CGI blended series about budding scientist Anne who builds robots to help her perform experiments.

Bookaboo (Sinking Ship Entertainment)

CORUS STUDIOS

ADDING to Corus Studios’ slate of unscripted lifestyle properties is The Baker Sisters (13 x 30 mins), a food travelogue series debuting at MIPTV. The series follows siblings and bakers Rachel Smith and Jean Parker visiting bakeries, delis and restaurants, seeking out signature baked goods. Other lifestyle titles include: Backyard Builds (8 x 30 mins), about one-of-a-kind structures in outdoor spaces; $ave My Reno (14 x 30 mins), which helps homeowners renovate within their budget; the second season of Home To Win (8 x 60 mins), in which a team of designers transform property for one lucky competitor to win; and hometransformation series Worst To First (10 x 60 mins).

XTREME VIDEO

MULTIPLATFORM network Xtreme Video is premiering two series available at MIPTV. The first season of Inside The Masters Of Dirt follows the adrenaline-addicted crew that produces the freestyle motocross arena show of the same name. The second season if MTB Insights (10 x 26 mins/4K) takes an in-depth look at the culture and evolution of one of the fastest growing extreme sports in the world, mountain biking.

WE’VE GOT TV COVERED.

BBC to Launch Scottish Channel With $37.4 Million Budget

Tune in to @PBSSocal tonight at 7PM for an all new #ActorsOnActors episode starring @tazizansari, @violadavis, @kerrywashington and more!

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Read. Watch. Listen. Share. FOLLOW US

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PRODUCT NEWS DRG

BOAT ROCKER MEDIA

NEW CRIME series Guiltology (6 x 60 mins) heads the factual slate for London-based DRG. Each episode features one true-crime case that was ultimately solved by a leap forward in forensic science or technology. The lead detective on each of the cases goes through every step of their investigation. Guiltology combines passionate detective stories with a depth of information — scientific, psychological and legal.

Guiltology (DRG)

TORONTO-based Boat Rocker brings a range of products to MIPTV, including Ollie: The Boy Who Became What He Ate (26 x 11 mins). When he tries new food he becomes what he eats, and gets that food’s superpower — improved eyesight, circulation, digestion or memory. Other programming on offer includes: four 26 x 30 mins series in the Xploration franchise — Awesome Planet, Outer Space, Nature Knows Best and DIY SCI; Heavy Lifting (10 x 60 mins), following mobile crane operators; Bake With Anna Olson (100 x 30 mins/4K); and Mysterious Earth (13 x 30 mins), a series exploring unexplained historical mysteries.

Ollie: The Boy Who Became What He Ate (Boat Rocker Media)

NEWEN DISTRIBUTION

FRANCE’s Newen Distribution is launching eight new episodes of the second season of Witnesses at MIPTV, a thriller drama that has already sold to more than 70 countries. Other scripted titles include: new investigation series Cassandre (4 x 90 mins); romcom TV movie Live In Jaipur (1 x 90 mins); and the fifth season of police drama Candice Renoir (48 x 52 mins). Newen is also highlighting: several new formats including Dutch tween scripted format The First Years and adventure game Risky Rivers, both produced by Tuvalu Media; new talent show My Genius Country; new episodes of Cash Vault and dating show Passion Mansion 2; and the launch of its animated series Junior (35 x 9 mins).

Witnesses (Newen Distribution)

www.cannesiget.com ADRESSES AND SPECIAL OFFERS IN CANNES

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TVS

ROOFTOP CONTENT GROUP

THE TELEVISION Syndication Company (TVS) is offering a variety of new programmes at MIPTV. Reelin’ In The Keys (50 x 30 mins) follows the best fishing excursions in the Florida Keys. Sports Stars Of Tomorrow (20 x 30 mins/HD) features up-and-coming athletes. Documentary series Brotherhood Of Thunder (6 x 30 mins/ HD) showcases the annual cross-country motorcycle expedition of US veterans. Are We There Yet (10 x 30 mins/HD) is about a pair of TV actors on a road trip around Ireland — with no cash. TVS is also showcasing two new feature films: The Dust Storm (1 x 96 mins/HD), about a romance rekindled between a couple who accidentally meet again in Nashville’s music scene; and Where Do We Go From Here (1 x 82 mins/HD), a romantic comedy that features a young man working in a retirement home with his elderly best friends and dejected Nurse Jen.

AMSTERDAM-based producer and distributior brings sports documentary Take The Ball. Pass The Ball (1 x 105 mins) to Cannes. For four years Pep Guardiola’s Barca played amazing football and gained huge achievements. This documentary includes exclusive, first-hand account of events between 2008 and 2012 in which the players reveal the tension of the Mourinho-Guardiola rivalry, the emotion of Abidal’s fightback from cancer and how Messi — regarded as the best footballer in the world — nearly didn’t make it.

697_RM Reelin’ In The APP_N1a4_TV Keys (TVS)

Take The Ball. Pass The Ball (Rooftop Content Group)

CMY

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THE NEW FRONTIERS OF STORYTELLING DRAMA MIPDRAMA PRE-LA SCREENINGS SHOWCASE 9.00-9.45 | Grand Auditorium Doors open at 8.45

JUNIOR INTERNATIONAL KIDS SCREENING: WHAT’S NEW AT MIPTV? 12.00-13.00 | Esterel Presenter: ■■

Presenting Partners:

Justine Bannister, Founder & Creative Facilitator, Just B, France

BRANDS WHEN MEDIA AGENCIES BECOME PRODUCTION POWERHOUSES

JUNIOR GLOBAL KIDS: A SUPERFAST BINGE SESSION 9.15-9.45 | Esterel

10.15-10.45 | Auditorium A Moderator: ■■

Speakers: ■■

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Followed by Meet the Speakers Speaker: ■■

Jocelyn Johnson, Founder/CEO, VideoInk, USA

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Sahar Baghery, Head of GLobal Media Research & Content Strategy, Eurodata TV Worldwide, Mediametrie, France

Samantha Glynne, Global VP Branded Entertainment, Fremantle Media, UK David Fletcher, Commercial Director Global Investment, Omnicom Media Group, UK Ton Rozestraten, Chief Commercial Officer, Rtl, The Netherlands

4K ULTRA HD

DESIGNING THE FUTURE OF KIDS TV 10.00-11.00 | Esterel

Followed by Meet the Speakers Moderator: ■■

Jesse Cleverly, Creative Director, Wildseed Studios, UK

Speakers: ■■

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Dan’l Hewitt, VP Non-Linear Programming, The Walt Disney Company, UK Michael Shore, VP & Head Glbl Cons Insights, Core Brand Leadership, Mattel Nick Walters, CEO & Co-founder, Hopster, UK

DIGITAL KIDS - THE NEW ESSENTIALS FOR YOUR ONLINE STRATEGY 11.15-11.45 | Esterel

Followed by Meet the Speakers Moderator: ■■

Jesse Cleverly, Creative Director, Wildseed Studios, UK

Speakers: ■■

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Chantal Ferraro, Director Strategic Partnerships EMEA, MAKER STUDIOS, France Hitendra Merchant, Founder and CEO, Yoboho New Media Pvt Ltd, India Kate Walker, Marketing Director, Wildbrain, UK

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VARIETY PROGRAMMING IN ULTRA HD 9.00-10.00 | Sony 4K Ultra HD Theatre Moderator: ■■

Chris Forrester, Journalist and Industry Consultant, UK

Speakers: ■■

Rocco Leo Gaglioti, President, FNL Network, USA

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Jon Gorchow, CEO, NatureVision TV, USA

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Stéphane Schweitzer, CEO, Clubbing TV, France

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Stuart Smitherman, President, Vivicast Media, USA

GERMANY EMBRACES ULTRA HD 10.15-11.15 | Sony 4K Ultra HD Theatre Moderator: ■■

Chris Forrester, Journalist and Industry Consultant, UK

Speakers: ■■

Simon Busch, CEO, Busch Media Group, Germany

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Kyle Murdoch, Managing Director, NHNZ, New Zealand

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Ralf Rueckauer, Vice President ZDFE.Factual, ZDF Enterprises, Germany

31/03/2017 11:25

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TUESDAY 4 APRIL

OFFICIAL CONFERENCES & SCREENINGS

DRAMA INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT 9.30-12.00 | Majestic Hotel By invitation Followed by Networking Drinks

TRENDS DISCOVER HOW CANADIAN VR AND AR GIVE A NEW DIMENSION TO THIS ARTFORM 9.45-10.15 | Agora Presented by

Supported by Speakers: Keynote Interview: ■■

Antonio Campo Dall’Orto, General Manager, Rai

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Keynote Interview: ■■

Nora Melhli, Director of Original Creation, Altice Group

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Inside The Creative Circle: Featuring Mipdrama Screenings Jury: ■■

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Lars Blomgren, Chairman, Scripted Exchange Endemol Shine Group, and co-founder and Managing Director of Filmlance International and Executive producer of Broen/Bron, The Bridge, Beck, Spring Tide Jalil Lespert, Director and Actor, Iris, Yves Saint Laurent, Versailles

Adam Caithness, CFO, SimWave Consulting, Canada Pietro Gagliano, Executive Creative Director, Secret Location, Canada Geneviève Levasseur, President, Ingrid Ingrid, Canada Matt Thomas, Head of Business Development, SimWave Consulting, Canada

INTEGRATION OF 360 VIDEO: PIONEERING A NEW METHOD OF STORYTELLING 12.30-13.00 | Agora

Ran Tellem, Head of International Content Development for Mediapro and former Head of Content for Keshet. Exec producer of Homeland

Presented by

Frank Spotnitz, Executive Producer and writer, The X-Files, The Man in the High Castle

Speakers: ■■

Eduard Chizhikov, Head of RT360, RT, Russia

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Marina Kosareva, Correspondent, RT, Russia

SCREENING: “MALTESE” 10.15-11.45 | Auditorium K Presented by

SCRIPTED VR: MAKING SERIALIZED CONTENT INTERACTIVE 11.00-11.30 | Auditorium A Sponsored by Moderator: ■■

Austin Mace, Founder, Chief Creative Officer, SubVRsive, USA

Speakers: ■■ ■■

Dominic Collins, General Manager EMEA, Jaunt VR, UK Julina Tatlock, Founder/ CEO/ Creative Director, 30 NINJAS, USA

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31/03/2017 11:25

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THE NEW FRONTIERS OF STORYTELLING MEDIA MASTERMIND KEYNOTE 11.40-12.10 | Grand Auditorium

MIPTV 2017 BRAND OF THE YEAR: ADAM HARTER, VICE PRESIDENT OF MARKETING & CULTURAL CONNECTIONS, PEPSICO

BRANDS KEYNOTE SUPERPANEL: TURNING BRANDS INTO CONTENT STUDIOS 12.20-12.50 | Grand Auditorium Moderator: ■■

Adrian Barrick, Global brand director, Campaign, UK

Speakers: ■■

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Louis Arbetter, GM,Creators League Studio, PepsiCo Content Studio, USA David Beebe, VP Global Creative + Content Marketing, Marriott Intl., USA Valeriya Tsygankova, Project Manager, Wargaming, Russia

MIPTV ASIAN WORLD PREMIERE TV SCREENING MIPTV ASIAN WORLD PREMIERE TV SCREENING: ‘CRISIS’ 11.45-13.00 | Auditorium A

Followed by Sushi & Sake Lunch/Cocktail

JUNIOR HOW AR/VR MAY TRANSFORM KIDS CONTENT… AND KIDS LIVES 14.15-15.00 | Esterel

Followed by Meet the Speakers Presented by Special guest: ■■

Hidetoshi Nishijima

Sponsored by Moderator ■■

Dr. Anke Beining-Wellhausen, Managing CEO/ Founder, UTO MEDIA, Switzerland

Speakers: ■■ ■■

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Tom Burton, Interactive & Technology Lead, BBC Studios, UK Marc Goodchild, Head of Digital Content Strategy & Product, Turner EMEA, UK Dmitry Mednikov, Chairman of the board, Digital Television Russia, Russia Peter Robinson, Head of Research, Dubit Limited, UK

GLOBAL BRAND LAUNCH: TALES OF A MAGICAL BRAND STRATEGY 15.15-15.45 | Esterel Speakers:

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Cédric Pilot, Producer, Method Animation, France

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Aton Soumache, CEO, Method Animation, France

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Philippe Soutter, President, PGS Entertainment, France

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TUESDAY 4 APRIL

OFFICIAL CONFERENCES & SCREENINGS

DIGITAL FRONTS

DRAMA MIPTV DIGITAL SHORT FORM SERIES PITCH: DRAMA 14.30-15.30 | Agora Host: ■■

Anne Santa Maria, Freelance short form and long form series, online content, France

Pre-selection Jury: ■■ Damon Berger, VP, Global Strategic Partnerships, Fullscreen, USA ■■ Marcelo Liberini, Vice President of Digital Media, Caracol Televisión, Colombia ■■ Aline Marrache-Tesseraud, Senior Vice President, International Acquisitions, CANAL+ International / Studio +, France ■■ Claire McArdle, Vice President, Multiplatform, Comedy Central International, USA ■■ Tom Rouyres, Content Director, 6play, France ■■ Sam Toles, SVP, Digital and New Platforms, Metro Goldwyn Mayer, USA

SCREENING: ‘CALL MY AGENT!’ SEASON 2 16.00-17.30 | Auditorium K

Presented by francetv distribution ■■

Laetitia Recayte, CEO, francetv distribution

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Aurélie Caille, Chief Operating Officer, francetv distribution

CONNECTING GEN Z TO TV WHAT THEY ARE TELLING US 15.50-16.20 | Grand Auditorium Presenter: ■■

Digital Fronts Host: ■■

4K ULTRA HD

Amber J Lawson, CEO, Good Amplified, USA

16.30-17.00 | Grand Auditorium Presenter: ■■

Kelly Day, Chief Digital Officer, AwesomenessTV, USA

Talent: ■■

Jenn McAllister

Digital Fronts Host: ■■

Producers: ■■ Harold Valentin ■■ Aurélien Larger ■■ Michel Feller Actors: ■■ Liliane Rovère ■■ Grégory Montel ■■ Thibault de Montalembert

Richard Chambers, Head of Zoomin Studios, The Netherlands

Amber J Lawson, CEO, Good Amplified, USA

MEDIA MASTERMIND KEYNOTES 17.10-17.40 | Grand Auditorium

DAVID SHING, DIGITAL PROPHET, AOL 17.45-18.15 | Grand Auditorium

MUSIC & CULTURE IN ULTRA HD 15.15-16.15 | Sony 4K Ultra HD Theatre Moderator: ■■

Chris Forrester, Journalist and Industry Consultant, UK

Speakers: ■■

René Delwel, CEO, United, The Netherlands

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Dione Orrom, Producer, Serpent Productions, UK

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Amos Rozenberg, CEO, Paramax Films, France

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Michael Swierczewski, Chairman & Artistic Director, MMedia, France

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VARIETY’S 2017 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV: GILLES PELISSON, CHAIRMAN & CEO, TF1 Moderator: ■■

Henry Chu, European Bureau Chief, Variety, USA

31/03/2017 11:25

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TOMORROW’S HIGHLIGHTS WEDNESDAY 5 APRIL

INTERNATIONAL SCREENING

MEDIA MASTERMIND KEYNOTE 12.30-13.00 | Grand Auditorium

SPECIAL DOCUMENTARY SCREENING: ‘NEVER-ENDING MAN: HAYAO MIYAZAKI’

RIKARD STEIBER, PRESIDENT OF VIVEPORT, HTC VIVE

Sushi lunch cocktail from 13.40 to 14.15 Presented by

12.30-13.40 | Auditorium K

Moderator: ■■

Anna Carugati-Guise, Chief Editor, Worldscreen, USA

DIGITAL FRONTS

MIPDRAMA SCREENINGS: CATCH-UP SESSION 11.15-11.45 | Grand Auditorium

14.15-17.30 | Grand Auditorium Open to all delegates

Speaker: ■■

Reza Izad, CEO, Studio 71, USA

Digital Fronts Host: ■■

Amber J Lawson, CEO, Good Amplified, USA

INTERNATIONAL SCREENING 11.50-12.20 | Grand Auditorium Speaker: ■■

Eddy Moretti, Chief Creative Officer, Vice Media and Co President, Viceland, USA

Digital Fronts Host: ■■

Amber J Lawson, CEO, Good Amplified, USA

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SCREENING: ‘THE DRAGON DENTIST’ 14.15-15.45 | Auditorium K Presented by

31/03/2017 11:25

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FEATURE JUNIOR@MIPTV

Turner’s Adventure Time: I See Ooo

What are the kids watching?

Kids are leading the charge into the future, consuming content on their own terms, in their own time and on any device to hand. Rachel Murrell asks how the industry is rising to the challenge of conceiving, creating and funding the kids’ content of tomorrow

HILDREN today are extremely critical,

says Cecilia Persson, Turner’s EMEA vicepresident of programming and content strategy, and acquisitions and co-production international. “They expect their favourite brands to deliver the best experience on each platform,” she adds. “We’re addressing this by creating worlds for our brands to live in, with bespoke content for each platform where kids go to find them.” Persson continues: “Virtual and augmented reality are two technologies that we think offer a great opportunity to deliver more immersive brand experiences for fans. We’re already trying these out with product launches like Adventure Time: I See Ooo, as well as marketing, events and retail experiences.” Marc Goodchild, Turner EMEA’s newly appointed head of digital content strategy and product, will discuss I See Ooo in today’s conference session about the ways in which VR and AR are impacting on kids’ content. Also speaking this week — at tomorrow’s session Christopher

on new moves in AR — is Christopher O’Reilly. As co-founder and executive creative director of awardwinning animation studio, Nexus, O’Reilly is exploring interactive storytelling through multiple projects including Google Made With Code, The (Obama) White House and Tate Modern. “A lot of the ways we reach an audience is not through TV, but TV narrative storytelling remains our first love, so we’re working out how to use both,” O’Reilly says. “We recently worked with the Forestry Commission in the UK to develop an AR experience that allows kids to play with the world Julia Donaldson created in The Gruffalo.” The Gruffalo Spotter app is now ‘doing a Pokemon Go’ on kids visiting English woodlands. “We think a lot about how can we bring engagement, warmth and storytelling into new technology, like mixed reality, AR and VR, and how can we make those other types of digital experience have value,” O’Reilly adds. “We’ll be talking about our process and how O’Reilly

We think a lot about how can we bring engagement, warmth and storytelling into new technology, like mixed reality, AR and VR 67

FEATURE

Film.UA’s Explorers Of Eight Planets

we bring all these different crafts together.” Last year, Nexus worked on Rain Or Shine, a VR project with Oscar-winning director Jan Pinkava and Google’s research team. “They really wanted to preserve the idea of story, so we developed a script format with an emotional narrative that works like conventional film, but you can wander if you want,” O’Reilly says. “Our VR renders in real-time, so we know a lot about where you’re looking, what you’ve seen, what you haven’t, and how to get you back to the core narrative.” Rain Or Shine was released through YouTube Kids as a 360 video and VR. The challenge in pre-school is the oversupply of content, says Henrietta Hurford-Jones, BBC Worldwide’s director of children’s content. And her formula for success is simple: “We continue to focus on creator-driven properties like Sarah And Duck and Hey Duggee, which are in their third and second series respectively. We also have a number of titles in development that we hope will replicate the success of these two brands, both in the UK and internationally.” For older demographics, the dance-drama series The Next Step, season five of which is available at MIPTV, continues to perform well for CBBC and its partners globally. “The fake scripted reality show is a popular format for the young-adult audience,” Hurford-Jones says. “The series contains lots of drama moments that keep audiences returning.” Korea’s Synergy Media, meanwhile, is using VR to promote its existing show WonderBalls! and its new show Beat Monsters. “Beat Monsters is about a zany alien rock band busking on earth,” says Jarin Sohn, manager of Synergy Media. “It has CGI characters on Jarin Sohn real backgrounds. To make

it special, we need to play with the content in many different ways — promotional VR episodes, putting them on concert stages, placing the micro-episodes at the real places where the episodes take place. It’s a coproduction with Turner APAC, and they have come up with innovative ways to develop the project as shorts and additional micro-shorts.” Sohn is also promoting shows through partnerships with celebrities: “Platforms are getting saturated, and the broadcasting alone can’t grab the audience’s attention. So we try to infiltrate or work with influencers. They have their own fans and audience. When they interact with our projects, that’s what becomes hot, at least among those groups. And we try different groups. It’s like popping a perfume balloon here and there until the whole stadium gets filled with the same scent.” Film.UA’s Explorers Of Eight Planets uses a game engine, rather than animation, as a starting point. “It’s an educational space exploration game,” says Kateryna Vyshnevska, Film.UA’s head of development and coproductions. “The player explores the different planets with an ultimate goal of learning how to colonise them. We then use virtual cameras to capture that footage, which is then used to create the traditional animation. It’s a work in progress and one could argue there’s less director freedom here. But with the increase in process-

We try to infiltrate or work with influencers. They have their own fans and audience. When they interact with our projects, that’s what becomes hot

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ing speeds and technology advancement, we are confident it’s only a matter of time before we can match what is available through traditional 3D animation.” “Our international channels are essential for the development of Gulli,” says Caroline Cochaux, managing director of Lagardere Active’s TV division, and CEO of Gulli. “We own TiJi Russia, we rebranded Gulli Russia as Gulli Girl last September, and we are currently working on the creation of Gulli in Latin America and the Middle East. We’re also developing tailor-made channels that highlight the TV productions of the country where they are broadcast. Gulli Africa, which we launched three years ago, is part of the Canal package broadcast in 22 French-speaking countries. It offers a unique mix of shows of European and African origin, and international licenses.” Cochaux says diversity is a major concern for Gulli: “From the beginning, we have tried to find African-produced series with black leading characters. So far, we have a few, such as Jabu’s Jungle produced by Pixcomm and distributed by Monster Entertainment, and Ubongo Kids, an edu-cartoon series produced by Ubongo, a social enterprise based in Tanzania. We get pitched a lot of shows with secondary characters who are black or mixed race, but very few with black leads. We see a lot of animals — people seem to think that, because it’s Africa, there must be animals, though this is a bit of a cliche. But when it comes to shows with black heroes, there just aren’t many out there.” Although this is starting to change, Cochaux says there is still a long way to go: “South African studios are very good and very professional. But French-speaking Africa isn’t there yet. There are some shows, but the lack of money and professionalism means the quality isn’t that good.” Film.UA’s Vyshnevska says their new animated series Mom Hurries Home is also about diversity. “We want to teach kids that a working mom is a good mom and she — and, ultimately, the kids — can do both,” Vyshnevska adds. “It’s never too early to talk about female empowerment.”

Film.UA’s Vyshnevska is aiming to do with Mom Hurries Home. “The series is still in production, but we have already staged shows in Ukraine around Christmas to get kids acquainted with the brand early on. The idea is to approach negotiations with broadcasters and additional investors from a position of strength, to show them it’s a commercially viable crossplatform proposition.” Korea’s Calm Island is taking a similarly multiplatform Caroline Cochaux approach with emerging preschool property Badanamu, which aims to teach English and STEAM — science, technology, engineering, arts and mathematics — through play. “Calm Island is a multi-million-dollar company that sells its educational products into 30 countries,” says Leslie Nelson Cressy, president of distributor LNC Media. “It has invested more than $10m in online assets for Badanamu, including 100-plus songs, 20 apps, 250-plus online games and 150-plus interactive e-books. And in August this year, it is launching a new SVOD platform — the Badanamu Learning Library — which will act as a content hub and digital learning platform for all their educational programmes.” Badanamu music clips and online games have been viewed 454 million times on YouTube, 583 million times on China’s iQiyi, and 350 million times on Chinese-US-owned e-commerce company Alibaba since launch in mid-2015. And with fresh online content coming out of its pipeline every month, and a hub from which to distribute it, the logical next step, Cressy says, is a TV series. “This isn’t a brand that revolves around television, but we believe a long-form TV series will help with awareness,” she adds. “We’re in production on the series and have brought a pilot episode to MIPTV. And we have already licensed the series to Lagardere Active for its linear channels, non-linear content platforms and YouTube channels in French-speaking territories in Europe and in Africa.”

We get pitched a lot of shows with secondary characters who are black or mixed race, but very few with black leads

Industry veteran Nigel Pickard, executive producer and director of the board of Nevision, says the kids’ space is particularly challenging at the moment. “The financial models are very tricky,” says Pickard, whose career spans CBBC, CITV and Zodiak Kids. “If you’re fortunate enough to have a home pick-up, that’s great. But you have to be international and there’s an awful lot of people chasing finite opportunities. The SVODs want some exclusivity, and producers want to own rights, so some adjustments are going to have to be made.” One way for brand-owners to strengthen their position is to build a brand through books, web series, apps Korea’s Synergy Media’s Beat Monsters and merchandising, as

FEATURE Cake Entertainment’s Angry Birds Blues

Rovio Entertainment, one of the masters of web-to-worldwide-domination, has just added a new short-form TV series to its hit Angry Birds franchise called Angry Birds Blues (30 x 2.5 mins). Distributor Cake Entertainment expects to see it catapulted into space, just like its older sister. Ed Galton, Cake’s chief creative officer and managing director, says Angry Birds Toons flies in the face of the conventional wisdom that content has to be exclusive. “Rovio launched Toons on an AVOD service and, although they had over eight billion views worldwide, we were still able to license it to traditional broadcasters,” he says. “The brand being the size that it was, no one seemed to mind. And it hasn’t affected ratings or viewership.” As well as distributing third-party content, Cake is also building its own digital business, Popcorn Digital. “We launched it with Diagonal View, a UK-based MCN [multi-channel network], as a way to manage our YouTube business, create content that could live in that space and generate new IP,” Galton says. “It’s not easy. It takes time and effort, and you have to find an audience. So it needs smart people who know how to make that work.”

In general, the same programmes that work well for broadcasters work for SVOD Andrew Fitzpatrick

two big SVODS like to have exclusives, most don’t want the headache and expense of dubbing.” China is evolving rapidly, Fitzpatrick adds. “Growth was held back by censorship for a long time but, now that SVODs can circumvent it, the market is finding its level. We’re finding our way in this fast-moving landscape.” . Working the Chinese market is one way forward. With Chinese broadcasters losing ground to a plethora of SVODs, the domestic market is advancing in leaps and bounds. And the end of the one-child policy will see further growth, as China’s pre-school audience is set to grow by 16-18 million children a year. Chinese studios are increasingly seeking out Western ones to help develop the storytelling skills that will see successful children’s properties move beyond the domestic market to become big global brands. One that is already succeeding is UYoung, which is working with Emmy Award-winning US studio Little Airplane Productions. “Our animated pre-school comedy P King Duckling has been performing strongly since its debut on Disney Junior US in November 2016,” says Clara Yang, UYoung’s general manager of acquisition and distribution. “It is the first show ever picked up by Disney Junior in multi-territories, and is also the first Chinese animation acquired by Netflix for global SVOD rights. We’re looking forward to meeting more prospective broadcasters at MIPTV to find a home for the show in Europe.” But the kids’ market is changing fast, Yang adds: “In China, as in the West, home-grown internet giants are getting into content creation, using their superior datasets to compete aggressively with traditional TV networks and reduce risk.” Change is also afoot in Canada, says Natalie Osborne, chief strategy officer of 9 Story Media Group: “In 2014, Canada began to overhaul its regulatory environment to bring it into the digital age. Coupled with some of the new opportunities that have opened up with the global SVOD players, this has required that we look outside of our traditional Canadian funding model to get new shows off the ground. Part of our strategy is to become a more global operation, and this was one of the drivers for our acquisition of Brown Bag Films in 2015 and hiring Alix Wiseman, who leads our acquisitions and Nexus’ Gruffalo Spotter

Andrew Fitzpatrick, chairman of distributor Monster Entertainment, is doing the same thing. “Our experience, which is rapidly evolving, is this: the marketplace is becoming less about broadcast and more about SVODs, and new players are coming up all the time. Some are territory-specific, some regional, some multi-territory. But in general, the same programmes that work well for broadcasters work for SVOD. And while one or

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business development efforts for EMEA. We now have a strong foothold in Europe and can greenlight shows out of several different territories under several different models.” The fruits of this initiative include two new properties that are launching at MIPTV: Monica Chef and Vivi. “Monica Chef is a live-action tween musical produced in Spain, commissioned in Italy and distributed by us, an Irish/Canadian distribution company,” Osborne says. “And Vivi is a Brazilian production with a unique signature style that uses handmade drawings and collage.” Hybrids are in vogue in the children’s market at the moment, with shows including Nevision’s Floogals, Synergy’s Beat Monsters and Studio 100/m4e’s The Beatrix Girls combining animation and real backgrounds. Hans Ulrich (Ulli) Stoef, who is heading up the newly unified Studio 100 and m4e, has high hopes for The Beatrix Girls, which focuses on some dolls who want to be a super group and who live in a backyard in Beverley Hills. “It’s a real hybrid,” Stoef says. “There’s live-action footage of the physical dolls moved by puppeteers and then we animate their facial expressions using CGI.” Stoef adds: “We are investing heavily in development.” Forthcoming shows include [producer] Josh Selig’s whacky pre-school show Rock! Taco! Balloon!, and a film and TV series adapted from the bestselling Dutch children’s book The Fingerling. At the moment, Stoef says, the SVODs are saving the children’s industry: “The on-demand guys are helping kids’ content to survive. Netflix and Amazon are putting in the kind of money that makes things happen.” But with limited slots and budgets among broadcasters, the growing power of Netflix and Amazon may prove to be a double-edged sword. “It’s a tough game right now,” Stoef adds. “Kids’ companies have to find mass and reduce costs. We anticipate a shakeout in the sector, and we expect to see fewer subsidised productions that are low quality and don’t travel.” Canada’s DHX Media, another power player in the children’s arena, is developing a hybrid show called Puppy Prep Academy, which involves live-action dogs, lip-synced with CGI, and a lot of comedy. “We follow five pups as they go to ‘fetch class’ and so on,” says Stephanie Betts, DHX Media’s senior vice-president of development and current series. “We’re making the show with Air Bud, whose Air Bud and Air Buddies films we represent. Air Bud was setting up Puppy Prep Academy as their first full-length series, and we jumped at the chance to get involved.” Other DHX Media shows launching at MIPTV attempt to stand out in other ways, Betts says, citing Creeped Out, an anthology of spooky half-hour live-action stories for nine- to 14-year-olds, commissioned by CBBC. “What’s new is there’s no serial element — they are all stand-alone episodes. So it’s very challenging budget wise, which is taxing for our production team, but rewarding for the audience.” Also from DHX Media is Massive Monster Mayhem, a new game-show format for Nick, which Betts describes as “American Ninja Warrior meets Power Rangers”. “The kids get suited up and battle the Mega Master and save the planet. We think it’ll really cut through because it’s like going into battle in a theme park.”

In China, as in the West, homegrown internet giants are getting into content creation, using their superior datasets to compete aggressively with traditional TV networks Clara Yang

Production techniques are also evolving. Synergy’s Sohn says real-time rendering and effects are starting to reduce production costs and allow producers to move seamlessly between narrative and interactive content. But Nevision’s Pickard is more circumspect: “New technology might allow you to speed up the rendering and the compositing a bit, but the creative parts of the process, and the decision-making parts, will always take time.” Pickard illustrates his point with Floogals, a mixedmedia pre-school series co-produced by Zodiak Kids, Nevision and Sprout, which features state-of-the-art CGI and live-action. “Floogals took four years to develop and two to get on air,” he says. “There are others out there — many — that were made faster. But if you want a show that has quality and will last, you need a sustainable model to allow you to develop it properly.” 9 Story Media Group’s Monica Chef

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4K ULTRA HD SCREENINGS & SESSIONS Sony 4K Ultra HD Theatre (Audi I) - Palais 4

TUESDAY 4 APRIL PROGRAMME 09.30 – 10.00

VARIETY PROGRAMMING IN ULTRA HD

10.15 – 11.15

GERMANY EMBRACES ULTRA HD

15.15 – 16.15

MUSIC & CULTURE IN ULTRA HD

Stuart Smitherman, Vivicast Media; Stéphane Schweitzer, Clubbing TV/ c4k360; Jon Gorchow, Nature Relaxation 4k; Rocco Leo Gaglioti, Fashion News Lifestyle Network Ralf Rückauer, ZDFE Factual, ZDF Enterprises; Kyle Murdoch, NHNZ, Simon Busch, Busch Media

Amos Rozenberg, Paramax Films; Dione Orrom, Serpent Productions; René Delwel, United4All; Michael Swierczewsk, M-MediaTV

In partnership with

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FEATURE

Once upon a brand...

BRANDS

Mattell Creations’ Barbie Dreamtopia

These days, programming comes in many shapes and sizes, and is delivered through myriad platforms. Ultimately though, there are only two kinds of content: shows produced for their own sake and shows produced in association with brands. Gary Smith reports

HE PHRASE ‘branded content’ surely qualifies as one of the least loved names of the last decade. This is partly because it implies that a brand is somehow all over the content — in reality, rarely if ever the case — and partly because some of the finest content available is, technically speaking, ‘branded’, but the audience simply doesn’t know or care. “It is indeed a terrible phrase,” says David Fletcher, commercial director of global investment at Omnicom Media Group. “It means different things to different people in the industry but, to the audience, it’s relatively meaningless. Whether content is made with or without a brand, the principle of making great content has not changed at all. So from that point of view, it’s business as usual.”

But, Fletcher adds, what has been changed by current technologies is context: “The digital world has allowed people like us who work at the coalface of media planning and buying to look at things differently. By that I mean we are now able, for example, to target people through their IP addresses. The idea of dynamically serving content is very interesting for companies like

Omnicom.” At that point, Fletcher observes, you hit the issue of ad-blockers and ‘viewability’. He cites Mark Pritchard, P G’s chief brand officer, who recently said: “If you have the right content, you don’t have to worry about being blocked.” Fletcher adds that Omnicom is now talking directly to companies such as FremantleMedia: “That was something which rarely happened before. It makes for a more efficient way to create content for all the involved partners.”

Whether content is made with or without a brand, the principle of making great content has not changed at all. So from that point of view, it’s business as usual David Fletcher 73

FEATURE means there are more stakeholders — and more signoffs — involved in the creative process. “It’s harder from that point of view,” Glynne says, “but it’s a creative partnership and that’s the best way to approach the situation. Ultimately, though, brands approach us because we’re good at formats, and so they want to get involved for the right reasons. Advertising and media agencies know brands better than we ever could, so there’s plenty of room for sharing expertise.” In addition to broadcast shows, FremantleMedia also produces digital content, such as Munchies, a joint venture with, and for, Vice, and fan-based material, such as The Football Republic. “Digital content allows brands to track viewers in a different way,” Glynne adds. “Through Divimove [major European multichannel network], which is part of FremantleMedia, we manage and develop social influencers across an MCN and through online video agency BrandBoost, which is also part of Divimove. We focus on creating sustainable careers for influencers through ideas and concepts that put brands such as Fanta, Maggi, DB, ING and bisoft at eye level.” My Mom Cooks Better Than Yours (FremantleMedia)

Brands approach us because we’re good at formats, and advertising and media agencies know brands better than we ever could, so there’s plenty of room for sharing expertise Sam Glynne

Enchantimals (Mattel Creations)

Alongside the thorny issue of what to call content produced with brands as production partners, there is also the question of brand integration, especially in formats — an area in which FremantleMedia is recognised as an expert. “The Coca-Cola integration in American Idol is often cited as being exemplary,” says Sam Glynne, FremantleMedia’s vice-president of branded entertainment. Glynne says that FremantleMedia is involved in around 400 integrations a year across its programming, from shows such as My Mom Cooks Better Than Yours to wholly original content like Ready For Takeoff, which was made for Australian airline Quantas. Referring to the latter, she adds: “Initially the airline paid for everything but, on the second series, the broadcaster liked the show so much they have also contributed.” Of course, working with a brand also

Toy-maker Mattel’s move into content creation was marked last year with the establishment of Mattel Creations, led by chief content officer Catherine BalsamSchwaber. “Since we launched, we’ve come a long way by putting content creation at the core of what we do,” she says. Live events and series, which include WellieWishers, Barbie Dreamtopia, Turning Mecard, Monster High, Thomas: Journey Beyond Sodor and Enchantimals, have led to an “undeniable uptick in our brand recognition” Balsam-Schwaber adds. “I can say with confidence that the content we create bolsters our overall business.” A major plus for Mattel is that its content appeals to parents as well as kids. Balsam-Schwaber reports that season two of WellieWishers, produced in association with Amazon, has just been confirmed. “I have no doubt that part of the success of the show is down to its crossgenerational appeal,” she says. “The data we gathered shows that the first series was watched by mums and their kids.” Mattel’s advertising agency, BBDO San Francisco, was awarded a Silver Lion in the Cyber category at last year’s Cannes Lions International Festival of Creativity for the Barbie campaign Imagine The Possibilities. “Again, it was a case of taking a core product and creating a buzz that reaches well beyond the kids,” Balsam-Schwaber says. “That advert made people of all ages laugh and is proof that our content and our advertising campaigns are well aligned. As a result, we’ve had an incredible year. We’ve doubled our slate and we will continue to approach the business of making content and marketing our core products in the same, seamless way.” Wargaming.net makes online games based on military history. Wargaming Universe currently has three projects based on the military vehicles of the First and Second World Wars, including World Of Tanks, World Of Warships and World Of Warplanes. “Creating documentaries was a logical extension of our activities,” says Valeriya Tsygankova, project manager at Wargaming St Petersburg. “The World Of Tanks and World Of

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World Of Warships (Wargaming Universe)

Warships projects have their own video teams, who are deeply integrated into the development process. Our cameramen not only work in museums to shoot material for the production of 3D models, but also make films for our players using D, 4K and VR.” The World Of Warships project team has been making the documentary series Naval egends since 2014. “There are only a very small number of original ships of that era still intact, because most of them were decommissioned and scrapped,” Tsygankova says. “So to create the series, the film crew travelled across almost the entire globe, and more or less all the museum ships around the world were involved in the project.” ach episode features location filming, wartime newsreels and archive data, and is narrated and analysed by military historians, experts from museums and navy veterans. Computer graphics based on archival blueprints illustrate all the key engineering components and armament on the ships, enabling the audience to observe and appreciate these colossal vessels. So far, 22 episodes have been made, and filming is scheduled to continue until 201 . Tsygankova says the documentary series helps the players of World Of Warships to better understand the navy history behind their game. “Even relatively inexperienced players will be engaged by the stories of the most famous ships in the world,” she adds. These include the Japanese aircraft carrier Yamato, German battleship Bismarck, USS Iowa and Russian cruiser Aurora. “Each video gets on average over 100,000 views, but we always seek to go beyond the optimal YouTube format,” Tsygankova says. “Of course, we analyse the effectiveness and success of each episode, but the overall effect is more important to us, and episodes published in 2014 are still attracting viewers today. Plus, we read all the comments and discussions on all the online platforms. This helps us understand what our users want and what interests them.”

James Hayr, head of sales at Endemol Shine Group, stresses that viewers still need to be able to distinguish between adverts and content. “Viewers have to be able to see daylight between marketing and entertainment,” he says. “The reality is that it’s very time consuming to produce content and keep it fresh and relevant, so just because you can make content, doesn’t mean you should do so. It’s important to be aware that the modern audience is very hard to please, so producers need to think seriously about what they’re getting into, even if the money is available.”

Viewers have to be able to see daylight between marketing and entertainment

Wargaming Universe’s Valeriya Tsygankova

Despite that warning, Hayr sees many credible and effective ways of working with brands: “Our German team has just done a deal with a major star, who will be designing a range of clothing for a big clothing brand. The agreement also includes private concerts, which we’ll be filming.” He adds: “There are so many different ways to work with brands but, in each and every case, we start with a blank sheet of paper and then we create what the situation and the brand demands. It’s a multi-layered approach that is born out of the fact that our company represents a lot of great storytellers, who are just as happy applying their skills to brands as they are to straightforward productions.”

FremantleMedia’s Sam Glynne

James Hayr

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FEATURE ULTRA HD

A clearer view

Consumer adoption of 4K Ultra-HD displays is at an all-time high — as is the production of content capable of doing justice to the new technology, and the number of channels dedicated to airing it. Chris Forrester looks at some of the spectacular Ultra-HD programming available at MIPTV

ANY broadcasters see 2017 as being the tipping point for Ultra HD (UHD). The

hard facts are inescapable: data-crunchers at IHS Markit say that, globally, 32% of all TVs shipped in the pre-Christmas quarter were 4K units — up 18% on the same period a year earlier. Some markets performed even better. North American sales of 4K sets stood at 35%. Western Europe performed even better at 36%. In China, more than half (52%) of all sets shipped were 4K. But when you look at larger sized units of 40 inches (101.6 cm) and above, which is the natural territory for D, the figures are dramatically more impressive: Japan comes in at 61% of units, North America 50%, Western Europe 52% and China 66%. Even the financially strapped atin American markets aver-

aged 29%. As Paul Gray, principal analyst for consumer devices at IHS Markit, says: “It’s an incredible acceleration of 4K TV uptake. It’s clear that a tipping point has been reached. It will soon be unthinkable that large-screen TV sets will not have 4K resolution.” Analysts at Futuresource Consulting say UHD as a home entertainment format has firmly planted its stake in the market, with strong growth evident from software to hardware adoption. Another research company, Strategy Analytics, has extensively surveyed the US market for its UHD prospects and, in a March 2017 report, reports that the majority of respondents plan to purchase a TV that is bigger than the one they currently own. “As awareness of 4K increases and the amount of available content rises, interest in having a 4K TV has also increased,” the Strategy Analytics report concludes. As fast as consumers are buying into the technology, the UHD channel count is also rising. Eutelsat is already enjoying plenty of client enthusiasm for UHD and, while satellite has been pioneering the distribution of these new channels, there are also considerable moves in cable and for IPTV transmissions by the world’s telco operators.

It’s clear that a tipping point has been reached. It will soon be unthinkable that large-screen TV sets will not have 4K resolution Paul Gray Film of pianist Khatia Buniatishvili features in a wide range of UHD presentations at MIPTV (© Photo: 2014 Ronja Soponen)

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Mankind aims to travel to Mars, but how much do we know about our own planet? How much do we know about the biggest and deepest ocean on Earth? Alexander Coridass

Helping these developments are the establishing and fixing of agreed transmission standards. Both broadcasters distributors need common standards, and the electronics industry has certainly stepped up to the plate in supplying consumers with displays that reflect these latest agreements. Also important is the fact that the ‘gadget’ TV-support industry is also now able to handle UHD, and this includes the likes of Google’s Chromecast, Amazon’s Fire and Roku.

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For the past three years, Sony has used MIPTV and MIPCOM to demonstrate to broadcasters and buyers that the content-production community is increasing its UHD output. While many broadcasters have initially concentrated on high-profile sports, there are also those that are now expanding their portfolio of UHD channels to widen the appeal of this latest revolution in broadcasting excellence. ast MIPCOM, buyers were able to see the BBC’s amazing Planet Earth II in UHD. At MIPTV, the Sony 4K Ultra HD Theatre is screening some truly spectacular examples of the programming. A case in point is Germany’s ZDF Enterprises which, together with NHNZ and co-producers PBS, CCTV9, ZDF, Discovery International, Channel 9 and ARTE, is showcasing Big Pacific 4 x 0 mins . The groundbreaking series, which explores the mysteries of the planet’s greatest ocean, was wholly shot in 4K/UHD. “Mankind aims to travel to Mars, but how much do we know about our own planet? How much do we know about the biggest and deepest ocean on arth Big Pacific will showcase the fascinating beauties and mysteries of marine wildlife still to be explored,” says Alexander Coridass, president and CEO of ZDF Enterprises (ZDFE). Ralf Rueckauer, vice-president of ZDFE.factual, and Kyle Murdoch, managing director of NHNZ, show UHD clips from the show today in the Sony UHD Theatre. Japan is at the forefront of 4K/UHD production and pub-

lic broadcaster NHK is using MIPTV to display its latest UHD output. Titles include Gaudi’s Message (1 x 49 mins , which tells of the building of Gaudi’s unfinished masterpiece, the Sagrada Familia church in Barcelona, Spain, which is now scheduled to be completed in 2026 more than 140 years after it was started. The film focuses on the Nativity Facade, which was completed in December 2015. It was a Japanese sculptor, Etsuro Sotoo, who was assigned to create the six gates in the Nativity Facade’s final stage. Without any blueprints or even clues left by the master architect, the documentary asks how Sotoo succeeded in channelling the passion of Gaudi. In stunning 4K, the film unveils the architect’s message by

Amazon Prime’s The Grand Tour

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FEATURE Gaudi’s Message, a UHD documentary from NHK

capturing the moment of the Facade’s completion, along with never-before-seen images of Sagrada Familia. NHK is showcasing its latest drama and science/factual output, which includes 8K Super Hi-Vision shown in UHD. On offer are a Cosmic science tour, 4K-quality VR footage and clips of NHK’s latest visit to Antarctica to film a sub-glacial lake in K igh Dynamic Range (HDR). NHK is also screening clips from Black Hole, a co-pro with Smithsonian and Windfall. Yesterday Japan’s Ministry of Internal Affairs and Communications (MIC) updated MIPTV delegates on its latest UHD road map, having already begun testing the technology. Next year will see a considerable increase in UHD content available to viewers. Then, in 2020, Japan will embrace 8K in readiness for the Tokyo Olympic Games. Tokyo Broadcasting System (TBS) and its TBS Vision production arm has supplied high-quality programming to Japanese viewers for more than 60 years. TBS Vision has been working with domestic and international partners on award-winning productions for much of this time. Now it is generating UHD (and 3D) entertainment, including a compelling portfolio of 4K footage

captured at many of the world’s great heritage sites. INsight is already transmitting UHD programming across Europe and North America, and continues to invest in high-quality unscripted reality and action-led programming. Its latest offering, No Time To ose, sees nine ‘social influencers’ sent out on an adventure across South Africa from the sub-tropical plains of the Kruger National Park to the spectacular coastline of the Western Cape. The slowest competitors in each stage will be eliminated. The ones who make it to the finish in Cape Town will compete in a thrilling final challenge to win the competition and a €10,000 prize. INsight has also wrapped production of its Photonis Ultimate Forces Challenge. Shot in UHD on Bali, the military-style extreme-sports show will make its debut on April 18 on platforms including Vodafone Portugal and Spain, Swisscom and Russia’s Tricolor TV. Rian Bester, CEO of Tern International/INsight, says: “The fact that the whole show is shot and broadcast in UHD only adds to the beauty and drama of the locations and scenes.” INsight also worked with MIPTV to present yesterday’s Super Session at which industry leaders shared their thoughts and plans as to how they intend to expand their services to include UHD choices. France-based C4K360, already well known for its Clubbing TV programming in UHD, is now offering extreme sports, gaming/gameplay, lifestyle, e-sports, concerts and festivals in native 4K, as well as many other premium UHD titles. Along with sports, most experts agree that event TV is also having a major impact on UHD viewing. Musical events, whether giant arena shows, spectacular opera productions, intimate jazz sessions or classical concerts, are well suited to both UHD and, increasingly, HDR. One concert features the compelling concert pianist Khatia Buniatishvili captured in HDR. Panellists are showcasing examples in all these musical styles, including the growing popularity of live transmissions to cinemas and theatres, in a Music & Culture session today at MIPTV. An Italian panel on Wednesday, drawn from Mediaset, RAI and CTV Centro Televisivo Vaticano, update delegates on their plans for UHD. Each broadcaster is already investing in original content for the format. ast year, Vatican City TV captured in UHD the historic Holy Door ceremony at St Peter’s Basilica in Rome.

INsight’s latest UHD commission No Time To Lose, shot during an intense trek across South Africa

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