Miptv 2017 preview magazine by MIPMarkets

MARCH 2017

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miptv

www.miptv.com The official MIPTV magazine

PREVIEW

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WORLD PREMIERE TV SCREENING

MEDIA MASTERMIND KEYNOTE

Riviera Sky Vision

Roy Price Amazon Studios

SEE PAGE 32

SEE PAGE 34

DRAMA@MIPTV

MIPDrama Screenings

SEE PAGE 10

Also inside:

• Crisis, the Asian World Premiere TV Screening • International Emmy Kids Awards • Focus on VR • Digital Fronts • Keynotes: Pepsi, MTG, NBC, HTC Vive and AOL • and more...

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Editorial Welcome to the MIPTV Preview, bringing you the highlights of what promises to be a fantastic edition of the world’s global marketplace for television and digital content. With over 11,000 delegates including some 4,000 buyers expected in Cannes, MIPTV is spring’s global international business rendezvous for the entire entertainment ecosystem, covering all genres of programming for all screens. This year we have chosen the New Frontiers of Storytelling as the central theme of our conference programme. We’ll be looking at storytelling through premium high-profile series and formats to digital native short form, new immersive VR/AR content and beyond. Drama is bigger than ever at MIPTV. After a successful launch last year, the MIPDrama Screenings are back on Sunday in the Grand Auditorium showcasing the official selection of 12 new international drama series to over 700 top drama buyers and press. miptv PREVIEW ®

The official MIPTV preview magazine March 2017. Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Technical Editor in Chief Hervé Traisnel Deputy Technical Editor in Chief Frédéric Beauseigneur Graphic Designers Nour Ezzedeen, Carole Peres Sub Editor Joanna Stephens Contributors Marlene Edmunds, Andy Fry, Juliana Koranteng, Gary Smith Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Publishing Coordinators Yovana Filipovic, Emilie Lambert Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jérome Delhaye Director of the Television Division Laurine Garaude MIPTV Conference Director Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Bénédicte Touchard Brand Director Lionel Lelouch TV Division Sales Director Géraud de Lacombe Senior Sales Director Entertainment (UK / Australia / New Zealand) Paul Nickeas Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez Senior Vice President Sales & Business Development Robert Marking VP Sales – TV Division JoséLuis Sanchez Director of Visitors Sales Matthew Rosenstein Sales Director Panayiota Pagoulatos Sales Director Christopher Domenick Sales Manager Hugo della Motta Regional Sales Director Sylvain Faureau Regional Sales Director Nathalie Gastone Regional Sales Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi, Cyril Szczerbakow Sales Managers, Buyers Deborah Carella, Yi-Ping Gerard, Eve Gualbert Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek Spain Representative Maria Jose Vadillo South Asia Representative Adam Ham South Korea Representative Sunny Kim Taiwan Representative Irene Liu Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2017, Reed MIDEM Market Publications. Publication registered 1st quarter 2017. ISSN 1963-2258. Printed on PEFC Certified Paper

We’re also particularly proud to have a great line-up of screenings during MIPTV, including Sky Vision’s Riviera as Monday’s World Premiere TV Screening and the Asian World Premiere Screening of Crisis, presented by Kansai TV. Kids programming will also be at the forefront of MIPTV. The fact that live-action and animation production is at an all-time high will be evident during the Junior@MIPTV programme, where we will be discovering a number of launches and hosting a full track of sessions on the Future of Kids. Another highlight for the kids’ community is the fifth edition of the International Emmy® Kids Awards. MIPTV will also offer a focus on VR with a new exhibition area featuring the latest technology and content, and the first Immersive Content Leadership Summit providing the founding blocks for the burgeoning immersive content transactional market. In a fast-changing market, MIPTV will bring together the best of programming and the leading creative minds from throughout the world, for four packed days of meetings, exchanges and discovery. And to help you make the most of your time, and to boost serendipity, we are introducing a rich programme of new networking and matchmaking events so that you can multiply your chances to make new valuable business contacts. Finally, make sure to catch some of the truly inspirational speakers who will take to the stage as part of the wide-ranging MIPDoc, MIPFormats and MIPTV conference programmes. We’re extremely excited about this upcoming MIPTV and I look forward to seeing you in Cannes in April. Until then, I hope this MIPTV Preview proves to be an informative and enjoyable read. Laurine GARAUDE Director, Television Division Reed MIDEM

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Contents 10

News MIPDrama Screenings; The International Drama Co-Production Summit; Matchmaking; Junior@ MIPTV Kids Zone; MIPDigital Fronts; Virtual reality; Media Mastermind Keynotes; and more...

World Premiere TV Screening

Junior @ MIPTV & Kids Product News

With production and distribution of childrenâ&#x20AC;&#x2122;s content at an all-time high, we look at the international marketplace, and highlight some of the shows available at MIPTV

Sky Vision presents Riviera, created by Neil Jordan and Paul McGuinness, and starring Julia Stiles

Entertainment Product News A round-up of some of the entertainment shows and series brought to MIPTV from around the world

Features Drama @ MIPTV & Drama Product News 39 As the global market for high-end drama shows no sign of slowing down, we look at where in the world new content is coming from, and highlight some of the drama content on offer in Cannes

Online meets TV .........................................................................77 From virtual to reality .................................................................87 Viewer behaviour: Seeing things differently ............................ 95

Also inside : 100 Tips & services preview magazine I March 2017 I www.miptv.com

102 Conferences

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MIPDrama Screenings 2017 Official Selection SELECTION CATEGORY: WORK IN PROGRESS

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BAD BANKS

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PRODUCTION: X FILME CREATIVE POOL, ARD DEGETO, SKY AND BETA FILM DISTRIBUTION: BETA FILM BROADCASTER: SKY ATLANTIC, ARD

PRODUCTION: LETTERBOX FILMPRODUKTION, IRIS PRODUCTIONS DISTRIBUTION: FEDERATION ENTERTAINMENT BROADCASTER: ARTE FRANCE, ZDF GERMANY

PRODUCTION: NEW METRIC MEDIA & SPHERE MEDIA DISTRIBUTION: SKY VISION BROADCASTER: FX / CITY

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PRODUCTION: DR FIKTION IN CO-PRODUCTION WITH ARTE FRANCE AND SAM LE FRANCAIS DISTRIBUTION: STUDIOCANAL BROADCASTER: DR / ARTE

BETTER THAN US PRODUCTION: YELLOW, BLACK AND WHITE; SPUTNIK VOSTOK PRODUCTION DISTRIBUTION: YELLOW, BLACK AND WHITE BROADCASTER: CHANNEL ONE RUSSIA

PRODUCTION: ELEVEN FILM DISTRIBUTION: ENTERTAINMENT ONE BROADCASTER: CHANNEL 4

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SELECTION CATEGORY: FULL EPISODES

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PRODUCTION: A BBC GHP AND BALLOON ENTERTAINMENT CO-PRODUCTION DISTRIBUTION: ALL3MEDIA INTERNATIONAL BROADCASTER: BBC SCOTLAND/BBC THREE

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MISSIONS

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PRODUCTION: EMPREINTE DIGITALE DISTRIBUTION: AB INTERNATIONAL DISTRIBUTION BROADCASTER: OCS (FRANCE)

PRODUCTION: SREDA PRODUCTION, BEST EPISODES MEDIA DISTRIBUTION: SREDA PRODUCTION BROADCASTER: CHANNEL 1 RUSSIA

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JAILERS PRODUCTION: GLOBO DISTRIBUTION: GLOBO BROADCASTER: GLOBO

VENI VIDI VICI PRODUCTION: HANDSUP STOCKHOLM DISTRIBUTION: VIAPLAY NORDIC BROADCASTER: VIAPLAY NORDIC

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Compelling. Current. Global. SEE YOU AT MIPTV RIVIERA R7.L27 cineflixrights.com

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MIPDrama Screenings

What the buyers look for in high-end TV drama THE SECOND MIPDrama Screenings are held on Sunday, April 2, the eve of MIPTV. Over 700 international buyers and press will view 12 of the hottest new drama series from around the world, selected by the MIPTV Drama Buyers Advisory Board, an international panel of six acquisitions executives who are engaged in the development of current and future drama projects for MIPTV and MIPCOM. MIPDrama Screenings, and other drama initiatives at MIPTV and MIPCOM, serve to address the phenomenal, sustained success of high-end TV drama and its importance to channel identity and branding. Members of the Advisory Board spoke about what they look for in high-end drama. “Quality and therefore production value are an absolute must as viewers have come to expect no less than the very best,” Zelda Stewart of Mediaset said. “I look for charismatic characters and striking storylines that keep my eyes glued to the screen. Initially

I suspend disbelief to see just how taken I am with the premise, then I ask myself how compelled I am to continue watching and of course how the show will resonate with different demographics.” ProSiebenSat.1’s Ruediger Boess said he was “positively surprised” by this year’s MIPDrama Screenings selection. “I’m seeing a huge improvement with regard to stories, production standard and performance,” he said. “I’m very happy about this development. And that is exactly what great TV is all about: a great story, excellently executed, top actors.” For Sky’s Sarah Wright, “drama needs to be hooky. It needs to grab me from the outset. Whether it’s lighter, adrenalin-charged, more mainstream fare, or more meaty, thought-provoking, award-winning TV, I want it to be an immersive, unmissable, transportative experience.” TV2’s Anette Romer looks for “intriguing relation-based stories with broad appeal,

THE MIPTV DRAMA BUYERS ADVISORY BOARD: ProSiebenSat1’s Ruediger Boess, Mediaset’s Zelda Stewart, Canal+’s Aline Marrache-Tesseraud Albavision’s Ignacio Barrera, Sky’s Sarah Wright, TV2’s Anette Romer preview magazine I March 2017 I www.miptv.com

original setting and a dramatic motor that makes it a ‘must see’ for the viewers” and “interesting and sympathetic characters whom we can root for and would like to follow day after day or week after week. Production values must be very high. Neither too dark and gritty, nor too weird and complicated.” The much talked about golden age of TV drama looks unlikely to end any time soon. So what do Advisory Board members think is behind this sustained output of high-quality content? “One of the main reasons for the golden age of drama is the variety and volume of platforms where the audience can consume scripted content,” Romer said. “Production values, originality and worldwide appeal are what the creative community aspires to across all territories and there are financial models in place to support their ambitions. Mediocrity has little chance.” “Technology has enabled viewers, producers and platforms alike to access, share, produce, remake, dream-up contents on a local and/or global scale,” Mediaset’s Stewart said. “This innovative leap from our analogue past into a here-and-now digital future has simply liberated creativity by increasing connections and opportunity at every level. I’d say the party just got going.” For Sky’s Wright, TV drama’s golden age is down to competition. “There are more outlets than ever before on which to see great series. There is so much drama commissioning in play all around the world, which is fantastic to see. Pay TV and the newer streaming services, in particular, understand that compelling drama really engages subscribers. A big show like Game Of Thrones, for example, is brand-defining for Sky Atlantic. We are all looking for that wonderful alchemy!” ProSiebenSat.1’s Boess introduces a note of caution: binge viewing can become a lonely pastime and the volume of drama available today can make the audience lose focus. “The great thing about TV is the complete opposite: living the same experience, following passionately the latest developments and impatiently waiting for the story to evolve.”

• MIPDrama Screenings take place on Sunday, April 2, from 08.00 to 19.00 in the Grand Auditorium of the Palais des Festivals. At the Awards Ceremony of MIPDrama Screenings, a prestigious line-up of leading drama names will present special awards to some of the programme -makers in attendance

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Summit continues to set gold standard in drama THE MIPTV International Drama CoProduction Summit, a gathering of many of the top co-production players in the world, is back again for the sixth year in a row. From its launch in 2012, the Summit’s aim was to raise the bar, creatively and financially, by inviting the top co-producers in the industry to cross borders and

Pinewood Television’s Christian Wikander

continents to share their views and expertise. This year, some 90 participants from five continents, are attending the closed-door event sponsored by United Talent Agency. The list reads like a Who’s Who of major players in the drama industry, including Rola Bauer, managing director of Studiocanal and CEO/partner of Tandem Productions; Pascal Breton, president, Federation Entertainment; Christina Jennings, chairman and CEO of Shaftesbury; Piv Bernth, head of drama, Danish B r o a d c a s t i n g C or p or at i on / DR; Kerem Catay, president, Ay Yapim; and Taka Hayakawa, director Fuji Television Network. Carrie Stein, executive vice-president of global productions for Entertainment One Television and Christian Wikander, director of co-production for Pinewood Television, have both been a part of the Summit since its early beginnings. “The MIPTV Drama Co-production Summit has become a go-to event for anyone working in the global television space,” Stein said. “It’s a great opportunity to see the global buyers who are commissioning original content as well as to talk with the top producers working outside of their domestic territory.” She added: “EOne has an increasingly robust slate of co-productions as well as shows originating out of our US, UK, Sydney and Toronto offices so it’s a great

Entertainment One Television’s Carrie Stein opportunity to find partners and discuss market needs.” For Wikander, it’s about interaction. “Business is all about people and meeting and developing relationships,” he said. “In a time of rapid development and major competition, it’s important to interact with colleagues as well as competitors in order to share common challenges.” • The MIPTV International Drama Co-Production Summit is on Tuesday, April 4, at 09.00 in the Majestic hotel. By invitation only

MIPTV DIGITAL SHORT FORM SERIES PITCH THE MIPTV Digital Short Form Series Pitch is a brand new forum for creators and producers of digitalnative short-form series. The Jury for the Drama category comprises: Canal+’s Aline Marrache-Tesseraud; Caracol’s Marco Liberini; Comedy Central’s Claire McArdle; Fullscreen’s Damon Berger; and Vimeo’s Sam Toles. The Pitch is on Tuesday, April 4, at 14.30 in the Agora

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Meet your match at MIPTV MIPTV 2017 is offering a new matchmaking programme as it expands its role as a meeting place for the international industry. The fourday programme, designed to promote new partnerships among producers, commissioners, digital studios and brands, puts matchmaking at the heart of MIPTV. Producer Meet-Ups, a First-Ti mers Programme, Meet The Speakers sessions, the Kids Buyers Briefing sessions, the Drama

Co-Production Round-Table Breakfast and a series of pitching sessions will together offer numerous opportunities for delegates to meet with the right partners to help grow their business. The First-Timers Programme begins with the First-Timers Tour on Sunday, April 2, and continues with daily networking events at the Innovation Hub on level 01 of the Palais. The Producer Meet-Ups programme offers

MIPTV: expanding its role as a meeting place for the international industry

Cannes welcomes Creative Africa THE LATEST addition to the international pavilions established at MIPTV is Creative Africa, a pan-African pavilion that will offer opportunities for distribution into, and acquiring content from African countries. Sub-Saharan Africa is a vast and diverse part of the world with a fast-growing pay-TV market. Creative Africa is supporting this growth by providing African producers and distributors the opportunity to develop content co-operation with other countries and grow exports. The number of pay-TV customers in SubSaharan Africa will almost double by 2022, according to a report by Digital TV Research.

The report says the total number of pay-TV subscribers will climb from 19.47 million across 35 countries at the end of 2016 to 36.72 million by 2022, with the proportion of pay DTT households increasing over this period. There were 12.14 million satellite TV and 6.76 million pay-DTT homes in Sub-Saharan Africa last year. This is tipped to reach 18.36 million satellite and 15.84 million pay DTT homes in 2022. Satellite TV accounted for 87% of 2016â&#x20AC;&#x2122;s payTV revenues, but this proportion is expected to fall to 78% by 2022. By contrast, pay DTT will climb from 11% of the total in 2016 to 18% by 2022. preview magazine I March 2017 I www.miptv.com

regional and thematic meet-ups designed to enable the coming together of new potential partners. Regional Meet-Ups focus on coproduction and distribution in Africa, Asia, Latin America and Eastern Europe. Two Special Focus Meet-Ups offer expertise in eSports and the production issues and opportunities for Ramadan. Scheduled from Monday to Wednesday, they also take place at the Innovation Hub. Each year A-list industry leaders and decision-makers take to the MIPTV stage. The Meet the Speakers Sessions are planned after some of the sessions taking place in the various auditoriums of the Palais des Festivals, offering delegates the chance to meet the speakers one-on-one. At the Kids Buyers Briefing Sessions, leading acquisitions executives share their plans and priorities in content development as part of the Junior@MIPTV series of initiatives. Delegates have the opportunity to meet them on Tuesday, April 4, and Wednesday, April 5, at the Pitching Arena of the Innovation Hub between 10.45 and 11.45. The Drama Co-production Round-Table Breakfast is specially designed for producers registering through the pavilions at MIPTV. It gives delegates the opportunity to be mentored on creative business trends in international co-production. The breakfast is open to producers registered through the pavilions and takes place on Wednesday, April 5, at 08.30 in the Verriere Grand Auditorium.

At Creative Africa delegates from around the world will find African companies looking to sell, acquire and collaborate on content. The area will include an African Delegate Lounge to provide casual meeting and networking space for professionals from the region. At press time companies from South Africa, Nigeria, Kenya, Algeria, Morocco and Ivory Coast had signed up to Creative Africa. Events at MIPTV dedicated to the African industry include a Co-Production And Distribution Meet-Up that will be held on Tuesday, April 4, at 10.00 in the Pitching Arena of the Innovation Hub on level 01 of the Palais. â&#x20AC;˘ Creative Africa is situated in the Pavilion Zone on level 01 of the Palais

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International Emmy Kids Awards back in Cannes THE INTERNATIONAL Emmy Kids Awards are back for a second year. Previously held annually in New York, the ceremony is now a permanent fixture of Junior@MIPTV and will take place on the evening of Tuesday, April 4, during a gala dinner at the Martinez hotel. Nominations for the Awards were announced during MIPCOM 2016. There are 28 nominees in seven categories. Nominations span 13 countries: Argentina, Australia, Brazil, Canada, Chile, Denmark, France, Germany, Japan, Singapore, South Korea, the Netherlands and the UK. “Nothing in television is more important than what children watch every day, and the

THE NOMINEES KIDS: PRESCHOOL Hey Duggee Studio AKA • United Kingdom Molang Millimages / Teidees Audiovisuals / Canal + / Piwi + • France O Show da Luna (Earth to Luna) TV Pinguim / Discovery Networks Latin America • Brazil Super Wings FunnyFlux / Alpha Group / EBS / CJ E&M / Little Airplane Productions / KiKA • South Korea KIDS: ANIMATION Larva in New York Tuba n Co., Ltd • South Korea Peanuts Normaal Animation / Peanuts Worldwide LLC / Iconix Brand Group • France Shaun the Sheep: The Farmer's Llamas Aardman Animations • United Kingdom S.O.S. Fada Manu (S.O.S. Fairy Manu) Gloob / Boutique Filmes / Lightstar Studios / TV Brasil • Brazil KIDS: DIGITAL Doodles Ludo Studio / ABC3 Australia / Screen Australia / Screen Queensland • Australia

Academy is proud to be the pre-eminent platform for remarkable and notable kids programming,” said Bruce L Paisner, president

and CEO of the International Academy of Television Arts & Sciences. “We congratulate the 2016 nominees.” The International Emmy Kids Awards at MIPTV presenting partners are: Ernst & Young, MIPTV, Shaw Rocket Fund, TV Kids and WDR. The International Academy has been presenting kids’ Emmys annually since 2012.

Shaw Rocket Fund’s Agnes Augustin, Academy president & CEO Bruce Paisner and Cartoon Network’s Adina Pitt on the purple carpet

Bing’s Michael Shields and Nicky Phelan, winners for PreSchool on stage with WDR’s Die Maus

Face TV NHK / NHK Educational Corporation / Party New York / Bascule / Eleven Graphics • Japan Gaming Show Interactive – The Gaming Game Secret Location / B-Minors / DHX Media • Canada Malhação - Sonhos (Young Hearts – Dreams) TV Globo • Brazil KIDS: FACTUAL Full Proof - Koepels (Full Proof – Domes) NTR / UR / Cabala • Netherlands Horrible Histories Lion Television • United Kingdom Sueños Latinoamericanos (Latin American Dreams) Mi Chica Producciones / Consejo Nacional de Television (CNTV) / Canal 13 • Chile Wild But True Discovery Networks Asia-Pacific / Beyond Screen Production / Screen Queensland • Singapore KIDS: NON-SCRIPTED ENTERTAINMENT Cinemaniacs Novel Entertainment • United Kingdom Look Kool Apartment 11 Productions Inc. / TVOKids • Canada Tem Crianca na Cozinha (Guess Who’s Cooking?) Gloob / Samba Filmes • Brazil

Ultras Sorte Kageshow (Baking in the Dark) Danish Broadcasting Corporation • Denmark KIDS: SERIES Hank Zipzer Kindle Entertainment Ltd. / DHX Media / Walker Productions / Screen Yorkshire • United Kingdom Kasper en de Kerstengelen (Casper and the Christmas Angels) NL Film & TV / Avrotros • Netherlands Presentes – Temporada II (Presents – Season II) Canal Encuentro / Mulata Films • Argentina Ready for This Blackfella Films / Werner Film Productions / Australian Children's Television Foundation / ABC • Australia KIDS: TV MOVIE/MINI-SERIES Dede: Mehmet met de gele laarzen (Dede: Mehmet with the Yellow Boots) Corrino Media Group / KRO-NCRV / Z@pp Mediafonds • Netherlands Die Salzprinzessin (The Salt Princess) Askania Media Film Production / ARD degeto / WDR • Germany Die Weisse Schlange (The White Snake) ZDF German Television / Provobis / metafilm • Germany Peter & Wendy: Based on the Novel Peter Pan by J.M. Barrie Headline Pictures / Juliette Films • United Kingdom

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Animation that ‘parents miss and children love’

PGS’ Philippe Soutter Tall Tales From The Magical Garden A JUNIOR@MIPTV session on Tuesday, April 4, offers delegates the chance to get behind the scenes of an ambitious TV and feature adaptation of a best-selling children’s story. The session aims to show what it takes to design a premium, family-friendly global brand strategy for a much-loved tale. Tales Of A Magical Brand Strategy features an exclusive preview of an adaptation of Tall Tales From The Magical Garden (Droles De Petites Betes) by Antoon Krings — that has sold over 15 million copies. The project is produced by Method Animation and ON Entertainment and distributed by PGS Entertainment. Tall Tales From The Magical Garden is a TV series and feature-film project at the same time.

“Tall Tales has been in development for over five years,” said PGS CEO Philippe Soutter. “Our whole idea has always been to launch the franchise across all media. The movie will be accompanied by the TV series that is, for now, 52 x 11 mins, and will soon be greenlit for another 52 episodes. What’s really great is that we’re seeing our partners excited to come on board the adventure. TV channels are already signed up for the TV series and are ready to be promotional partners to the movie.” The whole project has cost $40m — $30m for the film and $10m for the TV series. Theatrical distributors Universal and Grebecka have signed up for the movie in France, and broadcasters, including Discovery Latin America,

MIPTV has more for the kids TALES Of A Magical Brand Strategy is part of an expanded Junior@MIPTV programme of events and conferences that underscores the growth of this sector in recent years. Activity among the OTT players is part of the reason for the upswing in business. For example, Netflix alone has significantly increased its children’s production, doubling the number of original shows on its slate in the last year. And this is continuing, with the company recently announcing six new kids shows for 2017/18.

Over 1,300 kids buyers and 1,200 distribution and production company executives will be present on the Palais trading floors this year, attending panels focusing on the Future Of Kids TV and networking in the new Junior@ MIPTV Zone. Junior@MIPTV conference sessions include: Tips And Tricks On Boosting Your Licensing Success Rate; Designing The Future Of Kids TV; Digital Kids — the New Essentials Of Your Online Strategy; How AR/VR May Transform Kids Content... And Kids Lives; and preview magazine I March 2017 I www.miptv.com

TVQ in Quebec, RTS in Switzerland, and RTBF in Belgium, ZDF in Germany, have committed to the series. “ON’s intention with Tall Tales is to create a new genre of the modern classic animation that parents miss and children love, such as Bambi, Dumbo and Lady And The Tramp from Disney,” Soutter said. “Because Antoon has sold over 15 million books of his universe, we know that it works and that the audience is asking for it. To sum it up, this is really where we see Tall Tales making a difference. We are bringing the classic back, with a CGI twist!” • Global Brand Launch : Tales Of A Magical Brand Strategy is on Tuesday, April 4, at 15.15 in the Esterel

Kids Commissioners, What Do they Want? A nine-strong Kids Buyers Advisory Board has been established to advise on strategy and content development for future kids’ programming projects related to Reed MIDEM’s portfolio of television events, including MIPTV, MIPJunior and MIPCOM. The Advisory Board comprises: Viacom International Media Network’s Jules Borkent; Sprout’s Deirdre Brennan; the BBC’s Jackie Edwards; NHK’s Hitoshi Furukawa; RAI’s Luca Milano; Disney Channels Worldwide’s Karen Miller; Cartoon Network’s Adina Pitt; France 4’s Tiphaine de Raguenel; and SuperRTL’s Janine Weigold.

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What should we buy for the kids? Let’s ask the experts NINE international TV executives head up MIP markets’ Kids Buyers Advisory Board, which has been established to offer guidance on strategy and content development for future kids’ programming projects related to Reed MIDEM’s portfolio of television events, including MIPJunior, MIPTV and MIPCOM. This year the Junior@MIPTV initiative has attracted more buyers, producers and distributors of children’s programming to MIPTV than ever before, confirmation that the growing number of outlets for video content around the world is fuelling demand for kids’ content. “A lot of great content is being made and kids are consuming that content on more platforms than ever before,” said Karen Miller, vice-president, worldwide programming strategy, acquisitions and co-productions at Disney Channels Worldwide. “It’s an exciting time for all of us and we all share in the responsibility of creating great content for kids.” Disney/A BC president Ben Sher wood,

speaking at MIPCOM last year, reinforced his company’s commitment to diversity on and off the screen. For Miller, this must start with the kids. “We are privileged to tell stories with aspirational and empowering themes that our viewers can relate to,” she said. “The upcoming liveaction series Andi Mack, from creator and executive producer Terri Minsky (Lizzie McGuire), is a perfect example of a story that will resonate with our audience and touches on issues that are central to every kid growing up.” She added: “Elena Of Avalor, which premiered on Disney Channel in 2016, reflects our diverse audience and encourages our viewers to become strong leaders.” Miller and other members of the Advisory Board will participate in Junior@MIPTV Briefing Sessions where commissioners will tell what kids’ content they are looking for on the international market. And her colleague, Vincent P Aricco, will be participating on the jury of the MIPTV Digital Short-Form

Short content for little people THE MIPTV Digital Short Form Series Pitch: Kids Content, is taking place at MIPTV as part of the Junior@MIPTV programme of events, focusing on kids content and drama. The session aims to find creative talent in animation and youth live action, aimed at ages six to 11. The selection of projects was based on creativity; original and innovative concept;

storytelling quality; capacity to adapt to short-form formats and mobile consumption; production value; capacity to return for multiple series; and worldwide appeal. The submissions will be judged by: Jackie Edwards, head of BBC children’s acquisitions and independent animation department; Julien Borde, head of VOD at France Televisions; Janine Weigold, head

Jackie Edwards (left), Julien Borde, Janine Weigold, Vincent P Aricco and Anuradha Javeri preview magazine I March 2017 I www.miptv.com

Karen Miller: “We all share in the responsibility of creating great content for kids” Series Pitch. “It’s a great opportunity to discover talent and content,” she said. • Kids Buyers Brieﬁng Sessions: Tuesday 4 April, 10.4511.45 & Wednesday 5 April, 10.45-11.45, in the Pitching Arena of the Innovation Hub (Palais -1)

of children’s content at Super RTL in Germany; Vincent P Aricco, executive director of multi-platform content development at Disney Channel and Disney XD; and Anuradha Javeri, creative director of YoBoHo in India. The pitch was open to all creators and producers from around the world, and finalists are announced four weeks ahead of MIPTV. • The MIPTV Digital Short Form Series Pitch: Kids Content is on Monday, April 3, at 14.15 in the Agora

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MIPTV sessions throw the spotlight on virtual reality MIPTV is featuring its biggest-ever programme on immersive content with special emphasis on virtual reality (VR), through a leadership summit, a high-level conference programme and an Innovation Hub dedicated to VR content. As part of this programme, Rikard Steiber, president of Viveport At HTC Vive, will give a VR-themed Media Mastermind Keynote. The programme also features a series of panels addressing VR, including: VR Ecosytem: The Latest Trends And Developments; How VR May transform Kids Content… And Kids Lives; Scripted VR: Making Serialised Content Interactive; and VR Branded Content: Immersion Is The New Black. Also part of this programme, the inaugural Immersive Content Leadership Summit is an invitation-only gathering of industry pioneers

that aims to shape the rules of VR’s transactional content marketplace. The round-table summit will include VR executives from media groups, content distributors, producers and manufacturers from around the world. Moderator and host of the Summit is Brian Seth Hurst, chief storyteller and co-founder of StoryTech, a company that focuses on the coming together of storytelling and technology. “VR is the fastest moving industry that I have ever been involved in,” Hurst said. “But we need to bring in higher production values. That means taking the medium seriously by pushing the technology to its limits.” He added: “If you’re seeking perfection, you still need to babysit everything being done. It’s very labour-intensive. Sometimes, you need to be as creative with the technology as you are with the storytelling.”

Online and TV come together NOW in its fourth year, Digital Fronts is the only international screenings showcase for digital studios and online publishers, bringing together new online video content and talent with the TV industry. Among the confirmed participating companies are: AwesomenessTV, New Form, Jukin Media, Zoomin.TV and Studio71. Adam Boorstin of Studio71 said: “MIPTV

is no longer just about TV sales. It has truly become a worldwide content marketplace where buyers look to acquire content for both traditional and digital platforms.” Designed for digital entertainment executives, Digital Fronts is the first international digital content marketplace for the production, distribution and acquisition of high-quality original content produced

Digital Fronts: bringing together online talent with the TV industry industry preview magazine I March 2017 I www.miptv.com

StoryTech’s Brian Seth Hurst: “We need to bring in higher production values” MIPTV’s exhibition area features an Innovation Hub including innovative technologies and digital studios. The Hub houses the VR/AR Experience Zone, the first-ever marketplace for immersive content, bringing together VR creators, VR/AR hardware companies, VR content funds, VR content distributors, brands, advertisers, digital agencies, TV channels and production companies. • The invitation-only Immersive Content Leadership Summit is on Wednesday, April 5, at 09.00 in the Majestic hotel

exclusively for online audiences. The programme features curated screenings from world-renowned platforms, digital studios and online channels. Screenings feature new online productions, and are followed by on-stage interviews with the producers, creatives, partners and talent behind the content. • Digital Fronts showcases are in the Grand Auditorium on Monday, April 3, at 15.30 and 16.05; Tuesday, April 4, at 11.00, 11.40 and 15.50; and Wednesday, April 5, at 11.15 and 11.50

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Brands at MIPTV

Content is key as Pepsi goes beyond the bottle ADAM Harter, vice-president of marketing and cultural connections at PepsiCo, will discuss A New Era Of Brand Storytelling during a MIPTV Mastermind Keynote. He will outline how Pepsi is targeting consumers through the content and experiences it creates — for example through its recent partnership with hit TV series Empire on Fox. He will also speak about Pepsi’s efforts to build internal content development capabilities, including the establishment of its content creation arm Creators League Studios. “Consumers have an insatiable appetite for stimulation and a broader set of interests than ever before in history,” Harter told the MIPTV Preview. “As our head of insights likes to remind us, we now officially have shorter attention spans than goldfish. While sports and music are still the two biggest passion points, it goes so much further than that now — gaming, culinary and the world of foodies, fashion and design, art and all of the new elements of emerging technology. As the internal stewards of pop culture, we’ve re-structured our team to go broad and deep in all of these areas, because to be relevant as a brand you have to be

authentic and if you’re not, consumers will sniff it out in an instant.” He said the company has “evolved its notion of culture which used to really be more ethnicity-based and we don’t believe that’s what this next generation is most passionate about. It’s the cross-cultural commonalities that will unite this generation and that’s the way we’re viewing culture moving forward.” He added: “As the Cultural Connections Te a m , we strive to be the connective force across sports, media, music, a n d e nt e rtainment and all of these emerging

• Adam Harter’s Media Mastermind Keynote is on Tuesday, April 4, at 17.10 in the Grand Auditorium

Adam Harter: “We now officially have shorter attention spans than goldfish”

Brands come to Cannes PEPSI has been named MIPTV 2017’s Brand of the Year. Previous winners include, Amex, Mattel, Marriott Studios, Chipotle and Intel. The Brand Of The Year Award is part of MIPTV’s growing focus on brands and a series of conferences during the week offer unique insight into how a growing number of brands are becoming important players in

elements of culture — and when we’re not building, we’re scouting, hunting for tomorrow’s trends. And we don’t just do it in front of a screen. We do it in places like Burning Man, Maker Faire, Salone del Mobile Milan and through global networks of cultural scouts.” Creators League Studios serves as “an internal production arm for all-encompassing branded content to brand-inspired long- and short-form scripted series and films, reality and competition, music recordings, OTT and digital content, distributed across five screens”. Located in New York City, it offers artists and next-generation content creators “a unique space to connect with leading global brands and like-minded creative partners”. Harter said that today’s consumers want to “live the brands as much as they consume them” and the establishment of Creators League Studios is a means by which to “expand our concepts in-house”. He added: “Every day, we continue to extend the equity of our iconic brands beyond the bottle.” As well as speaking to delegates about the Pepsi experience, Harter hopes for a dialogue at MIPTV. “I think the potential for partnerships exists everywhere, but especially in Cannes in this week where so many creative minds come together,” he said. “I would love to hear about the next wave of trends or big ideas that will help shape the future of the way we do business — mobile, VR, OTT, and so on. Where do they see the next storytelling revolution about to break?”

content creation. Sessions include When Media Agencies Become Production Powerhouses, on Tuesday, April 4, at 10.15-10.45 in Auditorium A, focusing on advertiser-funded programming; and Turning Brands Into Content Studios on Wednesday, April 5, at 14.30, again in Auditorium A, where delegates will preview magazine I March 2017 I www.miptv.com

hear from brands that are making content creation an integral part of their business. Also on April 5, the Brands Storytelling Lunch, supported by Campaign, at 13.00, in the Salon Croisette in the Palais, is a closeddoor event where some 80 senior executives from consumer brands, digital studios, online publishers and platforms will discuss key issues relating to brands and content. Brands in Cannes confirmed at press time include: Pepsi, Sony, L”Oreal, Danone, Absolut Vodka, Tui Travel, Illy, Belstaff and P&G.

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Japanese action drama in Cannes world premiere Kansai TV’s Miho Okada

JAPANESE TV drama Crisis is to be shown to an international audience for the first time in Cannes. Japan is well-known internationally for the quality of its animation, but less so for its television dramas. Launched this year, the MIPTV Asian World Premiere TV

Screening will highlight quality drama from Japan and other Asian countries. In Crisis, a dark force overshadows Japan and the law-enforcement community is struggling to protect the country and its people. The action series is produced by Kansai TV (KTV), the leading television station in

Sony shows latest image technology SONY Corporation has been promoting its superior-contrast high dynamic range (HDR) technology at MIPTV and MIPCOM for several years now, and will do so again in April at a special three-day presentation in the 4K Theatre on level 4 of the Palais, featuring content producers from all over the world showing programme highlights on a Sony 4K projector. Joe Nakata, of Sony’s UX products and marketing promotion division, said that most production facilities still deal with standard dynamic range (SDR) while also adopting HD technology. “Sony is offering a new work-flow solution,” Nakata said. “It enables broadcasters to work with both HD and ultra high definition (UHD), as well as standard dynamic range (SDR) and HDR. We are launching our production converter unit, which can switch between multiple formats — HDR or SDR, HD or UHD.”

Nakata said that Hollywood is already “very keen” on HDR: “Many movies are produced in HDR, and now they’re releasing UltraHD Blu-ray Disc titles in HDR.” And OTT services have started delivering movies and other content in HDR and 4K. “So broadcasters need to be ready to compete for viewers,” he said. In January, Sony unveiled its version of an organic LED screen at electronics show CES and will next show it to participants at MIPTV. “The contrast ratio is quite an improvement,” Nakata said. “We will bring a 65-inch Bravia OLED TV. You have to see it to believe it.” “All major Japanese broadcasters are now piloting 4K broadcasts on a special test channel,” Nakata added. “But each one will be allocated its own broadcast satellite channel starting in 2018.” Japanese satellite channel Sky PerfecTV added HDR

the Kansai area, which includes the cities of Osaka, Kyoto and Kobe. KTV is an affiliate of the Fuji TV network, and produces television shows in all genres — drama, sports, news, documentary and variety — for both local and national audiences. It also produces live-entertainment events and feature films. KTV’s hit drama series Unfair was made into a popular theatrical movie. “Many people believe that Japanese drama exports have been difficult outside Asia,” said Miho Okada, general manager of the content business department of Kansai TV. “But we think Japan has a lot to offer the rest of the world, so we are proud that Crisis has been selected as a world premiere this year.” Okada said KTV’s goal is to “expand sales of remake rights” to territories worldwide and plans to dispatch staff overseas to work on collaborative productions. “We want to create programmes in Japan that will also have appeal in overseas markets,” she said. Crisis is written by award-winning writer Kazuki Kaneshiro and stars Shun Oguri and Hidetoshi Nishijima, currently two of Japan’s most popular performers. “Mr. Kaneshiro supervised the stars’ action training for a full year, and the action set-pieces have to be seen to be believed,” Okada said. The Asian World Premiere TV Screening, Crisis, is presented by Kansai TV on Tuesday, April 4, at 11.45 in Auditorium A

capabilities to its existing 4K channel last October. Sony is sponsoring a seminar titled UHD: The Latest Developments on Wednesday, April 6, at 10.00 in the 4K

Sony’s Joe Nakata Theatre, Auditorium I on level 4 of the Palais des Festivals

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“We are making big bets on Live” DAVID Shing — aka Shingy — is AOL’s Digital Prophet, whose role includes “watching the future take shape across the vast online landscape” and “identifying new areas of opportunity” for the company. In a MIPTV Media Mastermind Keynote he will explore ways of “changing the conversation as brands become the experience” …

What is the future for traditional forms of entertainment and communication? Traditional means of entertainment are not going anywhere; they will be enhanced and empowered through the use of all that is new. Coming off the heels of CES, it’s abundantly clear that we have some technology straight out of science fiction — it has arrived! This year, we have to answer the question of what we do with that technology. What new experiences does that technology offer? How does it make older experiences better? We have an influx of interconnected and smart devices all making our lives more efficient. What will we do with all this free time? That’s the answer brands will need to come up with. Yes, content consumption will change but so long as the content is good, it will continue to be watched, listened to and experienced.

Digital developments made ownership of music less expensive and less treasured, and the live experience more valuable. Are there parallels in this industry? Live is such a powerful experience, creating community and social engagement. Live experiences, with music being the strongest and most fitting (so far), will continue to drive interest and adoption, which means incredible new marketing opportunities for advertisers. At AOL, we’ve committed our best resources to innovating content experiences for consumers, with immersive open experiences like live video and VR, which captivate global audiences and get them to lean into pop culture. We think these are cool events and want you to experience them. We are making big bets on Live — and not just for music and sports.

How sophisticated has branded content become? Some 61% of consumers agree that, ‘As long as the content is good, I don’t care if it’s sponsored by a brand’. I think most brands have gotten this memo, and hopefully all are making serious pushes to be highly integrated in telling the story of their brand through content — and thereby understanding the content and the media.

Where does social media come into play between brands and the customer? Social media is becoming the first stop for consumers every morning. The most successful [brand] strategy is to have an open approach to communicating with people, and ultimately understand that the life of content should start on and not end on social. This is the key to successful social longevity. Two billion smartphones and now, more screens than there are humans are jostling for our visual attention. We are evolving to include other senses through AR, VR, MR or RR — that’s real reality! Sight is joined with sound and motion like never before. More than just wearable, it is hearable, feelable and experiential technology — powered by data, intelligence, sensors and more. ‘Experience’ is the word for 2017. • Shingy’s Keynote is on Tuesday, April 4, at 12.20 in the Grand Auditorium

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World Premiere TV Screening Julia Stiles as Georgina Clios in Riviera

‘A sunny place for shady people…’ The MIPTV World Premiere TV Screening for 2017 is Riviera. Created by writer and director Neil Jordan and based on an idea by Paul McGuinness, Riviera is a thriller set in the world of the super-rich who have made the South of France their playground. Julian Newby reports

preview magazine I March 2017 I www.miptv.com

IVIERA is a 10-part thriller that follows the story of art curator Georgina Clios, played by Julia Stiles, whose billionaire husband Constantine is killed in a mysterious explosion on board a Russian oligarch’s mega-yacht. As she tries to fi nd out what happened, she learns some unpleasant truths about Constantine and is led deep into the murky world of the Riviera’s super-rich. The series’ creator Neil Jordan won the Best Screenplay Oscar for 1992’s The Crying Game, for which he was also nominated as Best Director; his TV work includes the epic period-drama series The Borgias. Jordan’s long-time friend Paul McGuinness worked in fi lm production before switching to the music business and becoming manager of one of the world’s most successful rock bands, U2. He retained part-ownership of Ardmore studios in Bray, Ireland, all through his time with U2 and now he’s no longer with the band, he’s gone back to production. The inspiration for Riviera came from McGuinness’ vast knowledge of this part of the world, where he has a home and where U2 has based some of its business activities. “I suppose I’ve been coming here most of my life — first for MIDEM, because I was in the music business, and then later on the members of U2 all bought houses down here and we used to base the European tours in Nice so everyone could just get home,” he said. “You can get here from anywhere in a couple of hours, so the tour plane would come back to Nice every night — and Nice is a 24-hour airport, which is very unusual.” And this part of the world is also “the perfect place for a thriller”, McGuinness said. “You can place anyone from anywhere in the world in the south of France, because that is what people throughout the last couple of hundred years have done — as soon as they make any money, they come to the south of France,” he added: “When people ask me what the show is about, I say ‘It’s rich people in the south of France doing terrible things to each other.’ There’s money laundering, art fraud, murder, yachts and Ferraris. It’s the sort of place where you see more expensive automobiles than anywhere else in the world.” One of the stars of the Bourne series of movies, Julia Stiles was not familiar with this part of the world when she first accepted the role of Georgina. But after living here for the best part of nine months while filming, she said she has fallen in love with the place — and has even learnt French from scratch. Stiles fi rst heard about Riviera while at the airport in Tenerife, on her way back from a promotional tour for 2016’s Jason Bourne — in which she plays Nicky Parsons, a character that has appeared in all the

Bourne movies since 2002’s The Bourne Identity. “My agent called me to tell me that I had been asked to read the script,” she said. “I think it was Neil Jordan’s suggestion, because I had auditioned for him a few times and he and his casting director remembered me from those auditions. They were looking around for an American actress who could fit into the elite circles that were being portrayed. I think they had also spoken to [Bourne director] Paul Greengrass. It was one of those wonderful, fortunate moments when they came to me.” Stiles took to the part immediately. “In some sort of visceral way I responded to the sophistication of the show,” she said. “It’s more poetic and mysterious than much of what I’ve seen on TV recently — and I also loved the setting. I asked Neil Jordan what his inspiration for Riviera was and he said he likes ‘the idea of a sunny place for shady people’. He also said that often, ‘behind great fortune is great crime’, and without even really knowing where the show was going to go, or what I was going to be doing, I just remember thinking that was such a great premise.” Stiles said that working on a 10-part series has been a rewarding experience, as it has given her the opportunity to really get inside the part of Georgina. “My involvement in the show has been so stimulating. I am very involved in the writing process and the evolution of the story, and the producers have been really respectful of my input, which is wonderful,” she says. “It’s a really nice collaboration, and it engages me in a way that I haven’t always been as an actress. I think it’s partly due to the amount of time the team has spent together, and the amount of on-screen time. You know it’s 10 hours, which is equivalent to quite a few movies.“ Directed by Philipp Kadelbach (Generation War, SSGB), Riviera also stars Adrian Lester (Undercover, London Spy) as art dealer and Georgina’s friend Robert Carver; Iwan Rheon (Game Of Thrones) and Dimitri Leonidas (The Monuments Men) as Constantine’s sons Adam and Christos; Lena Olin (Vinyl, Chocolat) as Irina, Constantine’s beautiful ex-wife; Phil Davis as Jukes, the art fraud investigator trying to get to the heart of the truth; and Amr Waked (Salmon Fishing In The Yemen) who plays Karim Delormes, an inspector in the Nice police force determined to fight the corruption that is rife across the French Riviera. Riviera is to be shown exclusively on Sky Atlantic in the UK, Ireland and Italy and on the Sky platform in Germany and Austria. • The MIPTV World Premiere TV Screening, Riviera, is on Monday, April 3, at 18.30 in the Grand Auditorium. Doors open at 18.00 and the Screening is followed by the MIPTV Opening Party and Red Carpet at the Martinez hotel

preview magazine I March 2017 I www.miptv.com

• on

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Amazon focuses on delivery ROY PRICE, vice-president of Amazon Studios, will discuss in a Media Mastermind Keynote how, in just a few years, the company has grown to deliver content to more than 200 countries and territories around the world. He will also tell MIPTV delegates that the production of original content is key to survival in a competitive, multiplatform world. Price spoke to the MIPTV Preview ahead of his appearance on the Cannes stage.

You have said “There are no global customers — there are only local customers.” What’s your strategy for targeting local customers? We are collaborating with creators all over the globe to deliver series and movies that we think customers will love. It’s not so much about creating one show that fits all, but instead it’s about creating something moving and unique for our customers in all regions. We think there are globally-relevant shows and movies that customers worldwide will love – The Grand Tour, The Man in The High Castle and Transparent are great examples of shows that customers across the globe have told us they want. We also believe that not every country is the same and some territories care more about a localised service or local content than others. Our approach will vary. The Grand Tour was a news story even before it was produced – publicity gift. Is it going to be a long-term hit in your view? From the outset, The Grand Tour was an opportunity to make great television with proven thrill-seeking storytellers and connect with a global audience. We certainly hope that it will be a long-term hit and according to our customers who made it the biggest show premiere on Prime Video, it’s well on its way. Nothing about The Grand Tour is straightforward, and that’s why customers love the show. I think those guys

will continue to push the boundaries and I can’t wait to see what they do next. Where do you find another Grand Tour? What is the Studios’ creative strategy in terms of creating global hits? No two shows are created the same, which makes it almost impossible to apply a formula that you know will spit out a global hit. What I can tell you is that finding a successful show is all about finding that right creator who is passionate and has a unique story to tell. We find that our customers like series and movies that are different, that they can’t find anywhere else. How can all the OTT giants co-exist? What’s your co-exist strategy? We spend the majority of our time focused on the customer. We believe our success is driven by how much customers love Prime Video and spend our day thinking about how we can keep them excited. At the end of 2016, we expanded Prime Video into more than 200 countries and territories – a bold and aggressive move that was worth the time it took to launch a project on that scale. Right now we are focused on what it means to deliver movies and shows globally and what will mark 2017 as another year to remember at Amazon. What will you be doing in Cannes when you’re not speaking? MIPTV is an opportunity to collaborate with the very best in the business from around the world. I spend a lot of my time connecting with people and discovering new ideas.

• Roy Price’s Media Mastermind Keynote is on Monday, April 3 at 16.45 in the Grand Auditorium

“We are focused on what it means to deliver movies and shows globally” Roy Price

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NBC game show required the appliance of science IT’S JUST under a year since NBC Entertainment reorganised its unscripted programming team, promoting Meredith Ahr to president of the newly formed Universal Television Alternative Studio. Through the new operation Ahr is developing entertainment programming for NBC and other networks — with an emphasis on unscripted — reporting to Paul Telegdy, now president, alternative and reality group, NBC Entertainment. Fresh out of the new operation is the bigbudget, high-concept game show The Wall, a gripping experience in which contestants drop balls down a giant, four-storey pegboard to win amounts of money up to $12m. There’s a great deal more to it than that, but the combination of the build-up of cash, coupled with the tension in the contestants as their fate is decided by a number of elements including the random journey of each ball they set in motion down the wall, makes for gripping viewing. “It’s a great game show that was phenomenally difficult and expensive to develop and produce for the first run —

that contraption, down which we drop the balls, that wall, there’s no CGI. Real physics and science go into that,” Telegdy said. “It was immensely complex.” “We spent over a year working on the physical aspects of the game,” Ahr said. “We were some months just focusing on what kind of ball to select. The mathematics of something like that are important — people can win up to $12m in a game, so we were interested in making sure we refined every detail.” Ahr and Telegdy remind us of another crucial ingredient: “We have a superstar host in Chris Hardwick. He is a remarkable young man — a polymath,” Telegdy said. “There are good examples in the UK, on the BBC or ITV, for example, where talent can populate multiple shows. Well he’s got shows all over the place, but this is his first game show. And it’s the hardest job being a game-show host and he does it very well.” Ahr added: “He has a genuine affinity for the contestants and he feels their emotion and that makes for compelling viewing.” The Wall was brought to the studio by Andrew Glassman of Glassman Media — “a brilliant producer who has been a part of NBC shows in the past” — and is co-produced by Glassman, Hardwick, NBA star LeBron James and his business partner Maverick Carter. “We live in a world where some of the strongest brands are people and what people stand for,” Telegdy said. “So when you see LeBron James, you think ’champion’, you think

“When you see LeBron James, you think ’champion’”

Meredith Ahr

Paul Telegdy

preview magazine I March 2017 I www.miptv.com

‘underdog-champion’ and you think ‘champion of the underdog’. I barely follow basketball but I know what he stands for. He brings a lot to the show, he’s a great champion of the show, he’s active on social media and the public profile he has means he is able to bring a lot as executive producer.” The Wall has proved a ratings winner. NBC has commissioned a further 20 episodes, and the international rollout will inevitably follow. “When we have a big hit — with a scripted or unscripted show — it can still really make money just on NBC, for NBC,” Telegdy said. “However the real big upside and real exciting economics of investing in new formats is the ability to reformat them all over the world.” MIPTV will not only serve as the stage for Ahr and Telegdy to tell the story of this next phase at NBC, but also as a place to absorb what’s happening elsewhere in the international marketplace. The pair has “produced transatlantically” with, for example, Simon Cowell for America’s Got Talent and John de Mol for The Voice, experiences which Telegdy said were “very much cultural collaborations. We had to learn how to interact with a very powerful and very dynamic presence in John de Mol. He was a big part of The Voice.” He added: “In Cannes we’re looking forward to meeting old friends and making new ones.”

News MEDIA MASTERMIND KEYNOTE

Virtual reality: does your company have a plan?

Rikard Steiber: “VR is going to democratise access to experiences”

MIPTV’s focus on virtual reality (VR) is underscored in Cannes by a Media Mastermind Keynote from Rikard Steiber, president of Viveport at HTC Vive. With Viveport, HTC has built a VR app store that will soon become the first subscription model for VR. Viveport also recently launched a platform to distribute VR content globally into arcades and amusement centres. “I think the most exciting thing with VR is that it is actually going to democratise access to experiences,” Steiber told the MIPTV Preview. “I have two young girls aged seven and eight years old and they love to go into VR and travel the universe. They can visit planet Mars and go underwater and stand face-to-face with a giant whale — they love these experiences,” he said. “And the interesting thing is these experiences were only available to a few people in the past, you had to be Jacques Cousteau or Neil Armstrong, but now even kids can travel the universe or go to the depths of our oceans and that has opened up very interesting possibilities.”

MTG has its eyes on the audience JORGEN Madsen Lindemann, president and CEO of Modern Times Group, gives a Media Mastermind Keynote at this year’s MIPTV. Based in Sweden, the international entertainment company’s brands span TV, radio, eSports, digital-video networks and online gaming — and are constantly responding to, or leading, changes in audience behaviour as new technologies take hold. “We definitely see ourselves as pioneers,” Madsen Lindemann said. “That doesn’t mean we randomly ride around planting flags in the first thing we see; our strategy to become a leading international digital-video entertainer is based on relevant, long-term trends and consumption patterns.” He added: “Looking at my own habits, a 20-second video clip on my phone can make me laugh all day, while I also love getting lost with my family in a big long movie.” The company entered the eSports business at the start of the curve and now operates ESL, one of the world’s leading companies in the

field, organiser of the eSports tournament at the Barclays Center in Brooklyn, New York last October. “Over 17,000 people showed up to watch, 20 million unique viewers followed online, and a total of eight million hours were watched on multiple streaming platforms.” And Madsen Lindemann has no doubt as to eSports’ potential. “It is expected to be the second largest US sport by 2020 — it already attracts more fans than ice-hockey. Sweden is another good example, with more people now watching eSports online than traditional sports.” But as audience habits change, “You need to strike a balance between going to where your audience is, and bringing the audience to where you are,” he said. “On one hand, people love great drama, so that’s what we give them. In fact, our ambition is to become the Nordic region’s leading producer of scripted content, and expand to markets beyond the region too. At the same time, we use our preview magazine I March 2017 I www.miptv.com

It’s inevitable that gaming will be the killer app for VR, but as there are more computer-literate people around today than there were with the advent of the PC, for example, there will be multiple entry-points for VR, Steiber said. “For example, brands. VR is a great opportunity for them. We’re starting to see everything from IKEA helping you build your own kitchen with VR, to the big car manufacturers like Tesla or BMW creating showrooms in VR. Before you go on your Hawaii honeymoon, you may want to check out the beach in VR, because failure is not an option! “There will be new experiences in everything from education, creativity, social, storytelling and shopping — and they’re coming pretty fast right now. If you’re a brand or a broadcaster or producer or IP holder, the question then is, ‘What is your plan to capture this new way to engage you’re audiences? Do you have a plan?’” Rikard Steiber’s Media Mastermind Keynote is on Wednesday, April 5 at 12.30 in the Grand Auditorium

position as a technology leader to connect audiences with new possibilities, which we did very successfully during the 2016 Olympics, when we offered almost 100 hours of live sport in fully immersive VR 360 video.” Jorgen Madsen Lindemann’s Media Mastermind Keynote is on Monday April 3 at 12.20 in the Grand Auditorium

Jorgen Madsen Lindemann: “A 20-second video clip on my phone can make me laugh all day”

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1 x 60’ markthree media When Noah Wall was born doctors didn’t believe he would survive. A scan of his head revealed he had less than two percent of a brain. But three years later, Noah is thriving, leaving doctors questioning... how?

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The Nazis looted millions of cultural objects and hundreds of tons of gold bullion. The greatest theft in history and one of the biggest treasure hunts in the world today. Each episode follows a team of investigators on the trail of this missing loot.

HISTORY

8 x 60’ Saloon Media / BriteSpark Films

DIVA BRIDES 10 x 60’ Crackit Productions Following Brides to be who are desperate to get their special day and will stop at nothing to get it: it’s their day and no one else matters! Will they get the wedding day they’re adamant they deserve? Or will their awful behaviour place the wedding in jeopardy?

NEW HOURS SERIES

THE BOY WITH NO BRAIN

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Based on the smash hit cookbook of the same name, featuring Australia’s best cooks & chefs, it’s a blend of cooking, travel and personality. A lush celebration of food, family and love.

HISTORY

200

10 x 30’ CJZ

25 THAT’S A

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Featuring modern investigations into history’s most notorious murder cases involving royalty worldwide. Historians, pathologists, forensic scientists and modern detectives combine to sift through the evidence.

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Focus on drama

Dear Murderer (Screentime New Zealand)

Breaking all the rules High-end drama is channel defining, everybody wants some, and the rules are changing as a result. It’s being funded in new ways and coming from the most unlikely places — today great drama can come from anywhere, and be funded by anyone. Marlene Edmunds reports

IGH-end drama has captured the public imagination and driven an explosion not only in creativity, but in creative funding. And in an increasingly global market, the next big hit could come from anywhere. Changes in the structure of the drama industry can be seen from Africa to the Nordic territories, from Latin America to Asia. And when it comes to making deals, getting money on the table and telling local tales with universal appeal, pretty much anything goes. What characterises the market today as opposed to five or 10 years ago

“Creative talent wants to do great work, not find itself embroiled in long negotiations about funding” Simon Vaughan is the volume of money out there and available to savvy writers and producers — and it’s coming from every sector of the industry. Five years ago, blue-chip drama would have been funded with an anchor network, preview magazine I March 2017 I www.miptv.com

preferably domestically, with co-production partners then brought in to top up the pot. Today, it is an open field: money and talent before and behind the camera can come from anywhere in the world, and an anchor could be a traditional broadcaster or an online platform, a local player or a regional network — or even come from the other side of the world. There is no question that the driving force of the drama industry is to give consumers what they want — high-end shows with original storylines. Newly launched Benchmark Entertainment, however, is breaking borders

Focus on drama by granting scriptwriters and producers unfettered creativity. “Now is the right time to give the world’s foremost writers and producers another way to get their series made with maximum support,” says Lookout Point CEO Simon Vaughan, who is co-chair and a co-founder, with Access Entertainment president Danny Cohen, of Benchmark Television. The company was launched in early January by the two media heavy weig hts. Vaug ha n’s L ookout Poi nt (War And Peace, Les Miserables, The Collection) has a long track record of risktaking. Cohen, former BBC director of television, has now stepped up to US-based Access Entertainment, a TV investment operation whose parent company, Access Industries, features Warner Music Group among its media assets. “Creative talent wants to do great work, not find itself embroiled in long negotiations about funding,” Vaughan adds. “We are offering a new and dynamic model that will benefit talent, networks and audiences. We believe it will excite producers and writers, and provide a new route to market for scripted series.” Benchmark’s plan is to give writers and producers the financial means to make shows without first securing a commission from a network or platform. The model, Vaughan says, will benefit talent, networks and audiences, and provide a viable option to the traditional strategy of finding a broadcaster to anchor a production. At press time, Benchmark was already lining up global talent for its first commission. BBC Worldwide, a 49% partner in Lookout Point and also part of the Benchmark venture, will act as the distribution partner.

Beyond Brexit

Lookout Point’s Simon Vaughan

The Missing writers Jack and Harry Williams

Benchmark’s new model is particular notably given the uncertainly in the UK as a result of Brexit. “The interesting thing about producers is, if they want to produce, they find a way,” says Christian Wikander, director of co-production for Pinewood Television and formerly head of drama at Swedish public broadcaster SVT. “When Brexit happened, there was obviously worry but, since then, producers have continued to do what they do best, and what they do all day long — go around problems and find solutions. And that’s what they are doing with Brexit.” Launched a year ago and backed by the Pinewood Group and StoryFirst, Pinewood Television has a game-changing brief that allows it to offer financing — up to 40% of a production’s budget — at any stage of the production process. “Money is not actually the unique selling point any more,” Wikander says. “We all know there is a lot of money on the market. Neither Helen Gregory, creative director at Pinewood Television, nor I come from the investor side of things. Our backgrounds are as producers and we can bring both editorial perspective and talent to projects, if needed.” Wikander is now on the hunt for projects outside the UK, with the initial focus on Europe. He is also seeking drama in any language that has international potential. In addition to co-financing development and production, Pinewood will also bring any projects that it helps to develop to the market. Increasingly involved in the financing of highquality drama is all3media International, the distribution arm of the all3media group, which has doubled the amount of funding it has available for drama. This has enabled it

preview magazine I March 2017 I www.miptv.com

to launch some 13 primetime drama series from 10 different production companies. “That’s over 100 hours of premium scripted content with even more entering production over the next 12 months,” says all3media International CEO Louise Pedersen. She adds that every project has received investment from all3media International in some form, whether as traditional deficit financing, as in the case of psychological drama Clique (Balloon Entertainment and BBC Studios for BBC Three), development funding for projects such as international thriller White Dragon (Two Brothers Pictures for ITV) or securing international co-production financing for the likes of contemporary crime series Rellik (New Pictures for BBC One and Cinemax). Other key projects to be delivered in the next year include the adaptation of Jessie Burton’s best-selling novel The Miniaturist (The Forge Entertainment for BBC One); Requiem, from writer Kris Mrksa (New Pictures for BBC One); and Liar (Two Brothers Pictures for ITV and Sundance), scripted by Jack and Harry Williams (The Missing).

The co-pro route It is no big surprise that co-production, now as much about driving ideas and mingling talent as it is about money, has become a much more complicated business. “Keeping all the balls in the air can involve leapfrogging significant hurdles,” says Frank Spotnitz, chief executive of Paris- and London-based Big Light Productions. Putting together Ransom, which began airing on CBS in January, involved four broadcasters, three production companies, one studio and shoots on two continents. “There is no denying

Pinewood TV’s Christian Wikander

Focus on drama the challenges when you have so many partners on board. That means you have a lot of voices to which you need to listen and respond at every step of the process,” Spotnitz says. Ransom, in depicting the life of hostage negotiator Laurent Combalbert, also departs from some of the mythologies about heroism. “A hostage or kidnap negotiator’s success is built on trust, which means he or she can never carry a weapon,” Spotnitz says. “I’ve done plenty of series where heroes solve problems with guns, so I considered it uniquely exciting and challenging to make one about a man who solved them with his mind.” Combalbert does a lot of writing about what he does. As a result, “we had masses of material to draw from, not just in terms of the cases he’s negotiated, but the strategies and tactics he employs to influence people to compromise”, Spotntiz adds. “[The experience] has shown me that even people we might consider to be monsters are in fact people with very human wants and needs. A negotiator’s success depends on his ability to identify the humanity in his opponents, and use it to end dangerous situations without violence.” For some, working together rather than competing has proved to be the ultimate success strategy. Rola Bauer, managing director of Studiocanal TV and founder and CEO of Tandem Productions, is a true co-production pioneer. She works on a daily basis with all eight of Studiocanal’s majority- or minority-owned production companies to maximise the international potential of their co-productions. “I offer them guidance and global perspective as they develop each project for launch on the international stage,” she says.

Big Light Productions’ Frank Spotnitz

Bauer also looks at strategic alliances with writing/showrunning talent in the US. The aim, she says, “is to identify and establish effective partnerships that will benefit and enhance each project to take it to a new level”. Studiocanal offers a full studio service to production partners and third-party producers, which includes international production strategy, business affairs, finance and sales. Bauer: “The aim is to maximise the efficiency, profitability and success of each product, leaving the creative talent to focus on what they do best — deliver great stories.” The line-up of recent co-production projects on which Bauer has worked include thriller Paranoid, for which she helped to establish a co-production alliance for Studiocanal’s Red Production Company with Netflix and ITV Studios. At Tandem, she reports that two European network partners are on board for its new procedural series Take Two. “Tandem is also collaborating with Save Ferris Entertainment and Idris Elba’s Green Door Pictures on Brazza,” Bauer adds. “And it has brought Callie Khouri, T Bone Burnett and Juan Carlos Coto together with Tandem’s Tim Halkin and myself on the Miami-based, music-driven ensemble drama Deep City.”

The influence of noir There’s no question that Nordic crime series have made a major impact on the world of drama, from the first sales outside of Scandinavia of Wallander to today’s stream of drama series from every corner of the Nordic territories. One of the latest Nordic crime projects, however, comes from Los Angeles- and Paris-based Dynamic Television (Madiba), which has achieved a coup by bringing The

Fisher King director and writer Miikko Oikkonen preview magazine I March 2017 I www.miptv.com

Bridge co-writer Nikolaj Scherfig on board. Dynamic’s managing partner, K laus Zimmermann, explains how the project to adapt Anna Grue’s Dan Sommerdahl book series came about. After ndF in Germany acquired the adaptation rights for the series, Dynamic’s vice-president of co-productions and acquisitions, Jan Bennemann, approached the German producer about developing “a truly authentic Danish crime series” that could become a major international hit. “TV2 [Denmark] was immediately attracted to the property and the overall tone of the novels. In looking for a Danish produc-

“The aim is maximise the efficiency, profitability and success of each product, leaving the creative talent to focus on what they do best — deliver great stories” Rola Bauer

tion partner, Nordisk Film soon turned out to be the perfect fit and, with their help, we were able to bring on board Nikolaj Scherfig, who had been on the top of everybody’s wish list from the beginning,” Zimmerman says. Dynamic is handling the worldwide distribution. Some of the latest Nordic noir successes have been a shade less bleak than their original templates. Finland’s first noir, family-focused Bordertown, has sold to 66 territories, including the US, Canada, France and Germany.

Content Media’s Greg Phillips

Focus on drama

Ransom (Big Lilght Productions) Filming begins on season two in August, with delivery of 10 episodes set for the second quarter of 2018. All the original partners are on board for the second series, including Federation Entertainment and YLE. The first season of Bordertown was an unparalleled success in Finland as well as internationally, bringing home a pack of Venla awards, Finland’s version of the Emmys. So what was the draw? The setting on the border of Finland and Russia is exotic, even to many Finnish people, but unlike other noir drama, where family dysfunction seems inevitable, a warm and loving family forms the backdrop to the

detective’s personal life. “The entire series has a somewhat lighter feel,” says Fisher King director and writer Miikko Oikkonen. “It also plays with both serialised and procedural elements — five crimes are committed during 11 episodes.” On the heels of Bordertown, YLE is also embarking on what is believed to be the first Finnish-Spanish co-production with Spanish producer Mediapro. The Paradise is set in the Costa Del Sol’s Fuengirola, where one of the largest Finnish communities outside of Finland can be found. The storyline sees the Finnish and Spanish police working together — a device that has worked well for drama

Finland’s first noir, family-focused Bordertown preview magazine I March 2017 I www.miptv.com

series including The Bridge, The Tunnel and Midnight Sun. The Paradise is being developed by Mediapro producer, writer and director David Troncoso and Ran Telem, head of international content development, with YLE head of drama Jarmo Lampela and Matti Laine, one of the Bordertown writers, also on board. Telem, a primetime Emmy Award-winning producer and long-time vice-president of programming and content at Israel’s Keshet Broadcasting, moved over to Mediapro mid last year. The production company is among the latest wave of Spanish players pushing to gain traction internationally. In January, Spain’s top network, Mediaset Espana, and Filmax closed deals in the UK, Germany, France, Latin America, Israel, Poland and Turkey for crime series I Know Who You Are, directed and scripted by Pau Freitas. The drama was one of 12 series selected last April for the inaugural MIPDrama Screenings. One of the latest dramas to come out of Spain is Something To Celebrate, a family comedy originally created for Secuoya Content Distribution and Antena 3, but now to be remade for CBS by Elizabeth Banks and her company Brownstone Productions. The drama will be scripted by multiple award-winning writer Vera Santamaria, whose credits

SOUTH AFRICA CALLING NORTH American and European players may have traditionally dominated the drama market, but Asia, the Middle East, Latin America and Africa are increasingly gaining ground. South Africa is making particular strides, helped by its two financial incentives: the Department of Trade & Industry’s Incentive and the South African Revenue Services’ Section 24F. The Indian Detective (Blue Ice Pictures; Big Light Productions), Mandela mini-series Madiba (Dynamic Television; Blue Ice; Left Bank Pictures) and Hooten And The Lady (Red Planet Pictures; Sky Vision) are among the recent TV dramas to be at least partially shot in South Africa.

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Focus on drama with hope for change. The series’ director is Alexei Popogrebsky, whose How I Ended This Summer won four Silver bears at the Berlinale in 2010. The Sleepers, produced by Art Pictures, is from director Yuriy Bykov (The Fool, Mayor) who has created a topical present-day spy thriller around political confrontation between Russian and US intelligence services.

include BoJack Horseman, Schitt’s Creek, Community and Playing House. Something To Celebrate is the first network deal to be struck by Banks and partner in Brownstone Productions, Max Handelman. Santamaria, Banks and Handelman are set to executive produce the series.

Drama gold rush Broadcasters and platforms across the globe are also investing in new drama. “Stations and channels are seeing this as an opportunity to set their store out, be distinctive and unique, and compete with their rivals. It’s an opportunity many need to harness — or risk being lost on the EPG,” says Content Media’s London-based president of distribution, Greg Phillips. Content Media is launching its new drama 21 at MIPTV. The original 8 x 60 mins series is produced for CBC Canada by PMA Productions and Generic Productions. The global trend for cinema talent commuting to TV is as strong in Russia as anywhere. Three of the Russian series brought to MIPTV this year are created by acclaimed cinema directors. New from Russian Television and Radio, known for epic projects Ekaterina and Sophia, is presenting The Optimists, a 13-episode drama that follows the story of young men working in the Soviet Ministry of Foreign Affairs in the Sixties. It’s the Cold War era, but for a short moment it’s filled

“Drama is an opportunity many stations and channels need to harness — or risk being lost on the EPG” Gregg Philips

Russian ballet is at the heart of Valery Todorovsky’s newest project The Bolshoi. The acclaimed Russian director, who created Russian box-office hit Hipsters, tells the Cinderella story of a poor yet talented girl from a hopeless provincial town, who comes to Moscow and pursues her dream to star in Bolshoi theatre. IM Global Television, meanwhile, recently picked up Justice, the first legal thriller to come out of the Middle East, for worldwide distribution. The show, which revolves

Russian Television and Radio’s Cold War-era drama The Optimists preview magazine I March 2017 I www.miptv.com

around a female attorney litigating under the sharia legal system, was inspired by LA Law and written by Emmy Award-winning US producer and writer William Finkelstein. Fox Networks Group Europe and Africa has also acted on its commitment to develop and produce original local and regional content with its first regional commission, The Nine (working title), set to air in 50 African and European territories. The spy thriller from Rogue creator Matthew Parkhill and American Odyssey producer Simon Maxwell will be executive produced by Hilary Bevan Jones and filmed in Morocco. The Night Manager producer Khadija Alami is also on board the project. Banijay Rights plans to take a slate of new titles from its stable of producers to MIPTV, among them Dear Murderer from Screentime New Zealand. The five-part mini-series for TVNZ focuses on Mike Bungay, a notorious criminal barrister in New Zealand. The series is filled with “wit, lust and moral dilemmas”, says Caroline Torrance, head of scripted at Banijay Rights. Scandinavian crime thriller Rebecka Martinsson from Yellow Bird, based on the mystery novels of award-winning author Asa Larssons about a high-powered Stockholm attorney, is also on Banijay’s MIPTV slate. Torrance says that the SVOD platforms are playing an increasingly important role in the business of high-end drama, with both commissioners and buyers snapping up titles in development, in production and finished. Banijay Rights deals not only with Netflix and Amazon, but also with local SVOD platforms such as Viaplay in Scandinavia and Stan in Australia. According to Torrance, Stancommissioned Wolf Creek was one of her company’s most successful dramas in 2016. Sony Pictures Television (SPT), which has led the way when it comes to partnering with major international players, recently teamed up with Chinese SVOD platform iQiyi to co-produce an adaptation of the US drama Chosen. The three-part Mandarin-language series aimed at online viewers is an original from Crackle, Sony Pictures Entertainment’s online distributor of original web shows. One of iQiyi’s biggest hits of 2016 was Descendants Of The Sun. The 12-episode series about the romance between a soldier and a surgeon attracted more than 1.7 billion views to the platform. KBS2 Korea’s original 22-episode series was immensely popular

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Focus on drama MADE IN CHINA CHINA’s Huace Media Group is one of the most important new forces to come out of Asia. Each year, it produces more than 1,000 episodes of TV drama, over 10 films and dozens of variety shows. It has also partnered with a number of major international players, including Fox, Sony, Warner Bros., ITV and NBC. In December, on the heels of Huace’s launch at MIPCOM of The Legendary Tycoon, based on the life of Sir Run Run Shaw, the company inked a scripted-format deal with ITV Studios Global Entertainment (ITVS GE). Under the deal, Huace will produce a Chinese version of an asyet undisclosed ITVS GE scripted format. Zhao Yi Fang, president and cofounder of Huace Group, says her company broke new ground in China with the first adaptation of a US scripted format, Mad About You, produced by Huace subsidiary Croton Media and Sony Pictures Television International. Zhao, who co-founded Huace more than a decade ago, is a major driver behind the internationalisation of Chinese content. What Huace is trying to do, she says, “is integrate top global resources at the source of creation, using advanced technology, top production teams and leading script-development teams to improve programme quality”.

The Legendary Tycoon (Huace) across Asia. Its success on iQiyi is a sign that the amazing popularity of Korean drama worldwide is now beginning to be exploited to its full potential online. Online’s clear potential prompted Warner Bros.-owned DramaFever to ink a threeyear deal with Korean media giant CJ

E&M, under which the latter’s production subsidiary Studio Dragon will co-produce dramas for the global audience. The company plans to develop and produce two original dramas. Possible remakes of existing dramas are also on the table, with the OTT platforms tipped to be potential partners.

Banijay Rights’ Caroline Torrance

Huace Group’s Zhao Yi Fang

She also emphasises that Huace’s long-term vision is “to become the top Chinese entertainment media group in the world”. The idea, Zhao adds, “is to serve up to the world the best Chinese content — and that means exquisite production and innovative ideas”.

preview magazine I March 2017 I www.miptv.com

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Drama Product News We take a look at some of the drama specials, series and miniseries brought to MIPTV by producers and distributors from around the world Clique (all3media International)

ALL3MEDIA INTERNATIONAL ALL3MEDIA heads to Cannes with two

new series. From Bryan Elsley, the creator of the long-running series Skins, Clique is a tale of lust, jealousy, feminism and corporate crime shot on location in Edinburgh. Two students are drawn into an elite clique of alpha girls, led by a lecturer, and discover a seductive world of lavish parties and corrupt business men and women. Safe House: The Crow is a follow-up crime series featuring a new house, new characters and a new story. Stephen Moyer stars as charismatic yet impulsive ex-police officer Tom Brook who runs a police safe house on the coast of North Wales. Following a shocking crime Brook thinks he recognises the return of a serial abductor called The Crow.

COTE OUEST COTE d’Ivoire-based distributor Cote

Ouest is turning its focus onto the creation of original content. The company is now offering the first African remake of a successful LatAm novela that made its mark internationally in the Nineties. The plot of Sisters (156 x 26 mins/working title) revolves around three siblings competing for their father’s affection while dealing with a Machiavellian and wicked stepmother. Filming is due to begin in the third quarter of 2017.

MGM TELEVISION MGM TELEVISION’s MIPTV line-up of

scripted content is headed up by The Handmaid’s Tale (10 x 60 mins), a series based on Margaret Atwood’s dystopian novel and starring Elizabeth Moss. Other shows include: Get Shorty (10 x 60 mins) inspired by Elmore Leonard’s classic novel starring Ray Romano and Chris O’Dowd; Condor, inspired by the feature Three Days Of The Condor; the third instalment of Fargo (10 x 60 mins), starring Ewan McGregor and Carrie Coon; and the fifth season of Vikings (20 x 60 mins).

AB INTERNATIONAL BROUGHT to the international market for

the first time by France’s AB International, The Mantis (6 x 52 mins) is based on the character of Jeanne Deber, a serial killer who terrorised France more than 25 years ago. In the series she comes out of solitary confinement and hunt down her copycat. She agrees to collaborate if she can communicate through her son who has become a cop and has refused all contact with her since her arrest.

The Mantis (AB International)

STUDIOCANAL STUDIOCANAL launches drama co-

The Handmaid’s Tale (MGM Television)

TF1 STUDIO FRANCE’s TF1 Studio launches Just

One Look (6 x 52 mins) to the international market at MIPTV. Adapted from the Harlan Coben mystery novel, the series comes from the team of scriptwriters involved in the previous Coben adaptation, No Second Chance. Eva Beaufils’ husband suddenly disappears and she risks everything she knows for certain to find him.

Harlan Coben (centre) on location for Just One Look (TF1 Studio) preview magazine I March 2017 I www.miptv.com

production Ride Upon The Storm at MIPTV, from Borgen creator Adam Price. The title has been selected for this year’s MIPDrama Screenings. Season one (10 x 60 mins) is available at MIPTV, with a second season commissioned. Produced by Denmark’s DR Fiktion in co-production with ARTE France and SAM le Français, it is inspired by the story of Cain and Abel. Priest Johannes sees his two sons as two halves of him. August is everything he hopes to be, while Christian is everything he despises in himself. Johannes’ favouritism gradually supplants love with anger. It is due for broadcast later this year, the second season is scheduled for 2018.

Ride Upon The Storm (Studiocanal)

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Drama Product News CONTENT MEDIA LONDON’s Content Media debuts the

new season of Line Of Duty at MIPTV. Produced by World Productions for BBC One, the six-part fourth season sees Thandie Newton join as guest lead alongside returning cast members Martin Compston, Vicky McClure and Adrian Dunbar. The police drama begins with Roz (Newton) under intense pressure to catch the culprit, prove herself to her superiors, and handle conflict with her colleagues.

FOX NETWORKS GROUP CONTENT DISTRIBUTION LEGION (8 x 60 mins) is an intriguing

take on the super-hero genre, inspired by the character David Haller from Marvel’s X-Men comics. Created by Noah Hawley (Fargo, Bones) and starring Dan Stephens as Haller and Rachel Keller, this FX Productions and Marvel Television Production for FX and Fox Networks Group, tells the story of a troubled schizophrenic who has been in and out of psychiatric hospitals for years. Time passes until a beautiful and troubled new patient arrives. They share a startling encounter, after which David must confront the shocking possibility that the voices he hears and the visions he sees may actually be real.

BANIJAY RIGHTS FILLED with wit and moral dilemmas,

BBC WORLDWIDE BBC WORLDWIDE is at MIPTV with a

Top Of The Lake: China Girl (BBC Worldwide)

production company Rooftop Content Group is showcasing docu-drama series The Great Arab Revolt (3 x 48 mins) at MIPTV. Produced in Jordan by Spica Media Production, the series is a historically accurate dramatisation of the upheaval, an event that still resonates. The confrontation began as a revolution against widespread oppression, with the dream of an independent Arab nation firmly in sight.

The Great Arab Revolt (Rooftop Content Group)

Line Of Duty (Content Media)

drama series that returns to the story of Detective Robin Griffin (Elizabeth Moss), who five years after the shocking events in her home town in New Zealand, returns to Sydney in Top Of The Lake: China Girl (6 x 60 mins/7 x 50 mins). When the body of an Asian girl washes up on Bondi Beach, there appears little hope of finding the killer until Robin realises that she didn’t die alone. This follow-up series was again created and written by Jane Campion, and is produced by See-Saw Films for BBC Two in co-production with SundanceTV in the US, BBC First and Foxtel in Australia, and in association with Hulu in the US, ARTE in France and BBC Worldwide.

ROOFTOP CONTENT GROUP AMSTERDAM -based distributor and

Legion (Fox Networks Group Content Distribution)

INDIACAST JOINTLY owned by Viacom18 and

TV18, IndiaCast brings a range of drama series to MIPTV, including: Ek Shringaar Swaabhimaan (260 x 30 mins), which celebrates the courage and pride of a small-town single mother and the values with which she empowers her young daughters; Shani (105 x 30 mins), about Lord Shani, commonly known as the Lord of Justice or Karma, considered to represent the planet Saturn and the symbol of bad omen and hardships; and Shakti (224 x 30 mins), the story about a younger sister fighting for the rights and acceptance of her older sister into the society that treats her as different.

preview magazine I March 2017 I www.miptv.com

Dear Murderer (5 x 60 mins) tells the true story of notorious criminal barrister, Mike Bungay. In a career spanning decades, hard-drinking Mike Bungay represents defendants in New Zealand’s most controversial murder trials. A loveable rogue with a flamboyant style, the legal establishment is dismayed at his meteoric rise, his penchant for fast cars, married women and whisky, and his run-ins with the police. The series comes from Screentime New Zealand for TVNZ.

Dear Murderer (Banijay Rights)

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Drama Product News ABOUT PREMIUM CONTENT (APC) THE FOREST (6 x 52 mins) is a primetime

TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION FEUD: Bette And Joan (8 x 60 mins)

Belle Epoque (TVN)

drama series for France Televisions produced by Carma Films and brought to MIPTV by Paris-based APC. Eve is a teacher in a small town. When she was young, Eve and her mother disappeared in the surrounding forest and Eve was found two years later with no memories of what happened. Her mother never reappeared. Twenty years later, one of Eve’s teenage students goes missing after wandering in the forest. And then another…

stars Jessica Lange and Susan Sarandon and tells the story of the rivalry between two huge movie stars —Joan Crawford (Lange) and Bette Davis (Sarandon). They collaborated in 1962 on a picture each hoped would revive their careers. The result was the critically acclaimed What Ever Happened To Baby Jane?. However for its leads the real horror was working together.

TVN PERIOD drama Belle Epoque (10 x 60

mins) is brought to Cannes by Poland’s TVN. The main character returns to his hometown to find the killer of his mother, and joins forces with old friends who run a modern forensic laboratory. Set on the eve of World War I, the series captures the essence of the period with lavish balls, love intrigues, dreadful crimes and the establishment’s double standards. TVN also brings the third season of Second Chance (39 x 60 mins).

The Forest (APC)

ZDF ENTERPRISES (ZDFE) TWO CRIME series top the drama

priorities for ZDFE. Before We Die (5 x 100 mins/10 x 50 mins) follows Hanna, a police officer in the organised crime unit of the Stockholm Police. Despite family troubles she takes over an undercover investigation when her lover — and colleague — is abducted. Dario Maltese (4 x 60 mins/8 x 50 mins) is the story of an investigation driven by a murder that turns into a bigger case, involving mysterious disappearances and more murders, uncovering a complex system of corruption and lawlessness.

MARVISTA ENTERTAINMENT MARVISTA Entertainment is debuting an original disaster movie Shockwave at

MIPTV. When massive volcanic storms begin to wreak havoc, geophysicist Kate Ferris tries to convince the Department of Defense that this is no natural phenomenon. They’re the result of a seismic super-weapon that has been activated and the shockwaves have the potential to destroy major cities across the globe. Kate and her estranged husband must figure out how to stop the shockwave before its effects reach the Yellowstone caldera and seals humanity’s fate once and for all. Before We Die (ZDFE)

ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) HARLOTS (8 x 60 mins) is a drama set

against the cosmopolitan backdrop of 18th century Georgian London. Based on real stories, the series centres on the formidable Margaret Wells and her daughters, as she struggles to reconcile the role of mother with brothel owner. When her business comes under attack from a rival madam with a ruthless streak, Margaret fights back, even if it means putting her family at risk. The series stars Samantha Morton, Lesley Manville, Jessica Brown Findlay and Eloise Smyth.

108 MEDIA TORONTO -based distributor 108 Media

Harlots (ITVS GE)

preview magazine I March 2017 I www.miptv.com

brings new horror series Disturbia (6 x 60 mins) to MIPTV. Set in various locations across South-east Asia, the show embraces the region’s rich cultural diversity while unmasking fears about the direction modern society is heading. Co-produced by Bedlam Productions, the anthology series unmasks the dangers in everyday life.

Drama Product News FRANCETV DISTRIBUTION FRANCETV Distribution is launching new

detective series Inspector Chief Marleau (5 x 90 mins) at MIPTV. Inspector Chief Marleau is a woman whose methods are as offbeat as her sense of humour and her signature hat. Produced by Passion Films, the series combines suspense, humour, drama and major guest-star cameos including Gerard Depardieu, Victoria Abril and Muriel Robin. The French distributor also brings the second season of Call My Agent! (6 x 52 mins), set in a talent agency, and featuring Isabelle Adjani, Juliette Binoche and Christophe Lambert. A third season of Call My Agent! is in production.

GAUMONT TELEVISION THE ART Of Crime (6 x 60 mins),

brought to MIPTV by Gaumont Television, debuts on France 2 later this year and stars Nicolas Gob as Antoine Verlay, a stubborn Paris police detective. Although he who knows nothing about art, he works with the Louvre’s art historian, Florence Chassagne, to solve a series of crimes while unveiling intriguing mysteries of French cultural and historical heritage.

KESHET INTERNATIONAL DRAMA series Loaded centres around

the lives of tech entrepreneurs and friends Josh, Leon, Watto and Ewan, who have sold their startup videogame company for hundreds of millions of dollars. The series — about friendship, ambition, gluttony, the British distaste for other people’s success and how money can put even life-long friendships to the test — and is brought to Cannes by Israel’s Keshet International.

Loaded (Keshet International)

GLOBAL SCREEN SET IN Bavaria, Welcome To Hindafing (6

The Art Of Crime (Gaumont Television) Inspector Chief Marleau (FranceTV Distribution)

RTVE SPAIN’s RTVE brings historical series

INCENDO CANADIAN producer and distributor

Queens (6 x 60 mins), the story of the rivalry between Mary Stuart of Scotland and Elizabeth I of England, to MIPTV. These two women fought for supremacy politically, religiously and personally, all the while under the scrutiny of the most feared monarch in Europe, Philip II of the Catholic Kingdom of France. The series was filmed in English, and features spectacular outdoor locations in Spain and Scotland.

Early Release (Incendo)

Queens (RTVE)

Incendo has produced five new madeto-television movies this year, which they are showcasing at MIPTV, along with the second season of Versailles, a co-production with Capa Drama and Zodiak Fiction. TV movies on the MIPTV slate include Run to Me, Serialized, FANatic, Girls’ Night Out, Early Release and Sometimes the Good Kill.

preview magazine I March 2017 I www.miptv.com

x 45 mins) follows the rise and fall of provincial mayor Alfons Zischl, who wants to launder money to his Swiss bank account, kick his drug addiction and settle a paternity suit. Darkly comic, the series is a complex look at the underbelly of modern society. Germany’s Global Screen is also highlighting Redemption Road (1 x 96 mins/106 mins), which tells the true story of German-Jewish judge Richard Kornitzer whose family is torn apart during the Second World War. After the war, Richard returns to Germany to help bring his family back together, and restore justice and the rule of law.

Welcome To Hindafing (Global Screen)

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Drama Product News DARO FILM DISTRIBUTION ACTOR and martial-arts specialist Scott Adkins leads the action line-up for

Monaco-based Daro Film Distribution at MIPTV with two new action thrillers — Eliminators (with English-speaking Africa rights) and Savage Dog (with English-speaking Africa and Eastern Europe rights), alongside the new Steven Seagal title Contract To Kill (with worldwide rights excluding US/Canada). Daro also continues to update its slate of femaleskewed crime thrillers after new partnerships with upcoming production houses. Highlights include Washed Away, starring Emmanuelle Vaugier, from 3B Entertainment; and Muse, starring Erin Cahill, from Starfall Media.

ENDEMOL SHINE INTERNATIONAL DRAMA series from Endemol Shine at MIPTV

include Guerrilla (6 x 60 mins), a love story set against the backdrop of one of the most politically explosive times in UK history, London in the Seventies. The series stars Idris Elba, Rory Kinnear, Nathaniel Martello-White, Daniel Mays, Denise Gough, Brandon Scott, Zawe Ashton, Nicholas Pinnock and Wunmi Mosaku. The Good Karma Hospital (6 x 60 mins) tells the story of junior doctor Ruby Walker (Amrita Acharia), who arrives in India looking for a job and distraction from a broken heart, and instead finds an under-resourced and overworked cottage hospital. New four-part drama Delicious stars Dawn French, Emilia Fox, Iain Glen and Sheila Hancock and portrays excouple Gina — a chef — and Leo, a chef and hotel owner who left home for the glamorous Sam. Over time secrets spill out which prove that sleeping with another woman’s husband is never a good idea — even if he was your husband first. Other titles include a adaptation of Evelyn Waugh’s first novel Decline And Fall; Brussels (10 x 60 mins); and the third seasons of Broadchurch (8 x 60 mins) and Grantchester (6 x 60 mins).

Washed Away (Daro Film Distribution)

NEWEN DISTRIBUTION NEWEN Distribution is launching eight new episodes of the

second season of thriller Witnesses at MIPTV, a drama sold to more than 70 countries. The French company also brings adventure thriller Ouro (8 x 52 mins), a Canal+ original drama; new investigation series Cassandre (4 x 90 mins); and a fifth season police drama Candice Renoir (48 x 52 mins).

LAGARDERE STUDIOS DISTRIBUTION LAGARDERE Studios Distribution brings a diverse slate

of international drama series to MIPTV. Callboys (7 x 52 mins) is a Flemish comedy about three eager gigolos who set up office together, but clumsy management, petty arguments and blind ambition could cause their risky business to crash. Iskander is a detective mini-series set in Guyana, in which two cops have nothing in common except the case they have to solve together. In near-future thriller Transfer (6 x 52 mins) Florian drowns in a boating accident. Five years later, thanks to scientific progress, his mind is transferred into someone else’s body. These transfers are illegal and Florian has to hide his identity and live as Sylvain Bernard, a high-ranking officer with B.A.I.T., the anti-transfers task force.

IGMAR IGMAR presents its latest historical projects at MIPTV, including

Hunt For A Princess, about Anna Leopoldovna, who became popular with young people after her Empress proclaimed a future grand-nephew would be heir to the Russian throne; and Secrets Of The Palace Revolutions about the reign of the Romanov dynasty. The Russian company also highlights Gold Fish, a period drama focusing on the dreams of young boys during the post-war era; and Psychos, a social drama about youth movements and the moral choices that young people have to make.

Hunt For A Princess (Igmar)

preview magazine I March 2017 I www.miptv.com

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Junior @ MIPTV

Something new for the kids Photo: Xxxx credit

The children’s content business is as dynamic as it has ever been, with the volume of live-action and animation titles being produced and distributed at an all-time high. Andy Fry examines the reasons why

HE EMERGENCE of the VOD heavyweights — including Netflix, Amazon, YouTube, Hulu and Tencent Video — is a key reason for the uptick in the kids’ content business. Netflix, for example, is currently in the midst of a significant upswing in children’s

production, having more than doubled the number of original shows on its slate in the last year. This commitment looks set to continue, with the company recently announcing six new kids shows for 2017/18, including CGI pre-school series Treehouse Detectives (Saban Brands/Sunwoo A ni mation), preview magazine I March 2017 I www.miptv.com

action-adventure animation series Robozuna (ITV Studios), mystery animation series The Hollow (Slap Happy Cartoons) and Lego Elves (a collaboration with toyco Lego). It is a similar story over at Amazon, where recent commissions include Sid and Marty Krofft’s rebooted live-action series Sigmund

Cottonwood Media’s live-action show Paris Opera Ballet Nickelodeon in the US, Disney Channel in Europe, Latin America and Korea, TF1 in France, EBS in Korea, Gloob in Brazil and ABC in Australia. Amazon, meanwhile, has just struck a deal with France’s Xilam Animation that will allow it to exclusively stream a slate of shows, including Oggy & the Cockroaches, in India. Besides, there are plenty of other SVOD and AVOD platforms that are still hungry for acquired content. Hulu, for example, has been building its kids’ offering through deals with 21st Century Fox, NBCUniversal and Disney, among others. It also has a strong relationship with Turner’s Cartoon Network, which supplies it with animation franchises such as The Powerpuff Girls. Then there are the Chinese platforms, which have been licensing content from companies including Sesame Workshop, DHX Media, Imira Entertainment and 9 Story Media Group.

“The big challenge for us is not really selling shows – it’s about not overusing them” Caroline Beaton

And The Sea Monsters; and The Bug Diaries, an animation series based on the popular book franchise by Doreen Cronin. Also set to air on the platform is Ronja, The Robber’s Daughter, a 26-part series based on a book by Astrid Lindgren. The prevailing view is that increased production by Netflix and Amazon has meant they

are less reliant on acquisitions. But there is no question that they are willing to pay for the right shows — especially now that both platforms are expanding globally. Netflix, for example, has just acquired the US rights to Miraculous: Tales Of Ladybug & Cat Noir, a CGI-animation series from Method Animation and Zag that already airs on preview magazine I March 2017 I www.miptv.com

But it is not just the stand-alone SVOD platforms that are driving the demand for children’s content. In the UK, leading pay-TV platform Sky launched a dedicated kids’ app for its subscribers in March 2016, featuring thousands of episodes of third-party content, including Aardman’s Morph. Explaining the rationale, Lucy Murphy, Sky’s head of kids content, said: “Around a quarter of Sky households have children, so we know how important it is that we give them the very best kids’ entertainment. That is why we are investing in exclusive new programming, starting with Morph, as well as developing future enhancements, including even more safety features, live channels and offline viewing.” Also driving the kids’ content engine is the toy industry’s increased investment in programming to support both new and established brands. Alongside Lego’s activities, the likes of Hasbro, Mattel and Spin Master have all become leading participants in the kids’ content arena. An example that captures the changing dynamics in the children’s content business is

Junior @ MIPTV

Viacom International Media Networks’ live-action series Hunter Street Hasbro’s new girl brand Hanazuki, which is being launched on the back of animated digital series Hanazuki Full Of Treasures. Debuting on YouTube and the YouTube Kids app, the fantasy series will prepare the way for the launch of consumer products this summer. Reference to YouTube is a reminder of just how significant the Google-owned platform has become as a facilitator of kids’ content creation and distribution. While a large part of its offering still consists of teasers and trailers related to long-form shows, the platform has played a pivotal role in the development of original short-form content, often from non-traditional players. An example is Mac & Izzy, a 10 x 4 mins digital series from Houghton Mifflin Harcourt that debuted on YouTube Kids. Of course, this outpouring of creative activity from non-traditional players only tells part of the story. Also driving the kids’ business onwards are established players such as Disney,

Viacom, Turner Broadcasting, the BBC, ZDF and DHX Media, all of which straddle broadcasting, production and distribution. Viacom International Media Networks’ (VIMN) senior vice-president of international programme sales, Caroline Beaton, says her company is coming to MIPTV with a broad slate of shows, including animation series Bunsen Is A Beast, pre-school animation series Nella The Princess Knight and liveaction series Hunter Street. Although all of these shows will play out on Nick’s in-house networks, such is the demand for quality content that they will also be licensed out to freeto-air and on-demand platforms. “The big challenge for us is not really selling shows,” Beaton says. “It’s more about not overusing them. We have to find a way to maximise the value of content, while rotating windows to keep it fresh.” One way of doing this is the judicious use of short-form content to support programming. “We have a very successful Nick Jr channel on YouTube Kids, which only uses snack content — nothing longer than two minutes,” Beaton says. “The beauty of shortform content like games, out-takes, trailers and behind-the-scenes visits is that it can sustain interest in a franchise without having to over-use the episodes themselves. It’s also a way of driving audiences back from digital to linear channels.” Many of the themes emerging among the non-traditional players are also being explored by VIMN. Nina Hahn, senior vicepresident of production and development at Nickelodeon International, says: “One of the big things happening at Nick is a shift to a more global vision. Nella is a US commission produced in the UK; Hunter Street is

Disney’s new animation series Mickey And The Roadster Racers preview magazine I March 2017 I www.miptv.com

“One of the big things happening at Nick is a shift to a more global vision. Kids are receptive to stories that can cross borders and cultures” Nina Hahn

a remake of a Dutch show; Digby Dragon and Ride are co-productions. Kids are receptive to stories that can cross borders and cultures.” On the subject of multiscreen, she adds: “We build content to live on all platforms. We also use digital platforms to drive interest in our shows. For example, the first episode of Nella will be previewed digitally ahead of the linear launch.” While there is some stand-alone short-form content coming from VIMN, Hahn says the majority of short-form production is designed to support existing brands. This is also the case at the company’s rivals Turner and Disney. One example among many is Cartoon Network’s recent decision to launch a Ben 10 mobile game. Called Ben 10: Up To Speed, the game complements the latest series of the show by telling the origin story of the main character. Another example is Disney’s creation of mini-games and videos to support its new animation series Mickey And The Roadster Racers, centred on Mickey Mouse. Not to be overlooked is the fact that the three big pay-TV players also acquire large volumes of content to support their own origination activities. Canadian producer/distributor 9 Stor y

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Junior @ MIPTV Media Group, for example, has just licensed around 200 episodes of its content to Disney services across Asia Pacific. This comes in addition to a deal that will see season three of 9 Story’s Camp Lakebottom air on Disney Channel Latin America. It is also worth noting Sony Pictures Television’s increased presence in the international kids arena. On the one hand, it is a minority investor in pre-school app Hopster. On the other, it controls kids’ free-to-air channel Tiny Pop in the UK. At the start of 2017, Tiny Pop signed a deal that will make it a UK platform partner for Entertainment One’s (eOne) pre-school property PJ Masks. This follows a previous deal with kids’ payTV channel Disney Junior in February 2016. Canada-based DHX Media benefits from having a broadcaster in the family (Canada’s Family Channel). But on the international front, it thrives by being platform-agnostic. “We are as open to working with Netflix, Amazon and Hulu as we are to working with the big-three international broadcasters,” says DHX’s senior vice-president of distribution, Josh Scherba. Illustrating this, the company’s iconic drama franchise Degrassi airs on Netflix, while its pre-school series Teletubbies has been picked up by Nick Jr in the US. “We’re also working on a tween liveaction show called Dark Haven High from the team behind My Babysitter Is A Vampire. That show could sit comfortably on any platform.” Scherba adds. On-demand has also been an important part of DHX’s entry into Mainland China. “We’ve licensed large volumes of content to digital players there, and I’d expect India to go a similar way,” Scherba says. All told, DHX has licensed around 2,400 x 30 mins of pre-school and children’s content to China, with VOD platforms Mango, PPLive, YouKu Tudou and iQiyi among the big buyers. In terms of trends, Scherba notes the high number of shows with empowered female leads and the growing importance of established brands. “We’re working with Iconix on a reboot of Strawberry Shortcake for four- to seven-year-olds,” he says. “It’s a complete revamp from an aesthetic viewpoint.” The company also has a strong position in digital media thanks to its subsidiary WildBrain, which manages its YouTube content. This is an important revenue generator, Scherba says: “And it’s also a good way of staying across kids’ viewing trends that can then be applied to our existing brands.”

DHX Media’s iconic drama franchise Degrassi, now showing on Netflix VIMN and DHX have been able to harness

“TV continues to remain the most important medium. But kids and teens are using their tablets and smartphones a lot more, so producers have to react to that” Patrick Elmendorff

the opportunities created by disruption because of their vertically integrated structures. But how do you secure a piece of the action if you are a smaller player? Here, the message seems to be to focus on quality and distinctiveness. “I’ve worked in big companies with large slates but, at Cottonwood, our emphasis is on a few high-end premium co-productions,” says David Michel, co-founder of Marathon Media. Michel now runs a boutique production outfit called Cottonwood Media, which is backed by Federation Entertainment. He adds: “You have to deliver quality if you want to attract the attention preview magazine I March 2017 I www.miptv.com

of buyers.” Titles on Cottonwood’s slate include preschool series The Ollie & Moon Show, which has been pre-sold to 150 territories ahead of its 2017 launch. Also coming through are animated series Squish and live-action show Paris Opera Ballet. Echoing Nickelodeon’s Hahn, Michel says the company’s emphasis is on the global market: “Being in France, we can access local subsidies. But with Ollie & Moon, we put that to one side to focus on international funding. We wanted to avoid having a show that was too domestic. This approach worked for us because Sprout in the US came in with the first piece of production funding.” Paris Opera Ballet is an ambitious live-action co-production that was kick-started with funding from ZDF Enterprises in Germany before securing backing from Canada and France. The story of a time-travelling ballerina, the show is “very serialised”, Michel says, “which is something you wouldn’t have seen in kids 10 years ago. I think that’s another example of the impact of the SVOD players like Netflix.” A similar approach is evident at another France-based firm, APC Kids. “The idea is to focus on a few key properties, not a big catalogue,” says sales director Lionel Marty, who used to work at Moonscoop. “It takes a lot of energy to work a property as deeply as

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Junior @ MIPTV Studio 100 Media’s Arthur And The Minimoys

possible, so to be effective you need to be focused. It also means we can spend more time working with producers in the early stages of financing and creative development.” Like Cottonwood, APC Kids’ aim is to develop properties with global appeal. “One of our key titles is Kid-E-Kats, a very successful Russian property that we are adapting into an English version,” Marty says. “We are also working with Roger, a 3D CGI animation series from Je Suis Bien Content in France, Memories Of Nanette and Dave’s Dinosaurs, an animated series from Dan Good that aired on Channel 5’s Milkshake.” Germany-based Studio 100 has carved out a strong position for itself in kids’ content by re-imaging classic properties, such as pre-school animated series Maya The Bee. That show will be at with a 52-episode second season. Also on the slate, says Patrick Elmendorff, CEO of Studio 100 Media, are

The Wild Adventures Of Blinky Bill and Arthur And The Minimoys, the latter based on the books and films by French filmmaker Luc Besson. The CGI series follows the adventures of a little boy who falls into a world of magic, fantasy and action. It is co-produced by Paris-based Studio 100 Animation and EuropaCorp Television, in collaboration

“Kids’ audiences on SVOD are developing different viewing habits from the traditional kids’ broadcast audience. Online viewers seem satisfied to binge on repeat episodes” Patricia de Wilde

preview magazine I March 2017 I www.miptv.com

with Gulli/Tiji (Lagardere) and Disney Channel Germany. Elmendorff is cautious not to overplay the shift from TV to on-demand, though he acknowledges it is important: “For now, TV continues to remain the most important medium for establishing high awareness for a property and is thus still crucial, especially for our merchandising and licensing partners. But kids and teens are using their tablets and smartphones a lot more, so producers have to react to that. SVOD means additional revenues for us, so we do recognise a positive impact. As for AVOD, we are very carefully evaluating the possibilities of leveraging our content that way. We see potential there for the purpose of promotion and offering a way for fans to stay in touch with their heroes anytime they want to. To serve that purpose, we’ve created our own YouTube channels for our brands like Maya The Bee and Heidi.” Patricia de Wilde, director of marketing at

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Junior @ MIPTV animation studio TeamTO, believes it is important to be positioned across both sectors: “As a producer of premium kids shows, we need to invest in long-running series to amortise the front-end cost required for CGI animation, so the divergent needs of traditional broadcasters versus SVOD platforms is a key consideration. However, the flexibility and innovation brought on by SVOD have been a boon to our creativity in that it reopens the door to new trends, formats, storytelling arcs, etc.” TeamTO is seeing the emergence of some interesting viewing patterns: “Kids’ audiences on SVOD are developing different viewing habits from the traditional kids’ broadcast audience. Online viewers seem satisfied to binge on repeat episodes, so these platforms can acquire more but shorter series — for example, our dialogue-free series of shorts on Netflix, Oscar’s Oasis. Broadcasters prefer longer running series, such as Angelo Rules, that build a loyal, long-term audience.” One of the best-known kids’ content creators is Sesame Workshop, which has achieved sustainable growth by adhering to its core vision, according to chief operating officer Steve Youngwood. “Our goal is to always stay true to what makes our programmes so unique and impactful,” he says. “We focus on a core cast, meaningful storylines and an unwavering commitment to our educational mission of helping kids grow smarter, stronger and kinder.” In terms of production activity, Youngwood reports that Sesame Workshop has just debuted season 47 of Sesame Street on HBO and is now starting production on season 48. In the UK, season three of The Furchester Hotel launched a couple of months ago on CBeebies, and is being picked up by broadcasters around the world, including NDR in Germany, Televisa in Mexico and and ABC in Australia. He adds: “Since 2015, we’ve made an investment in building our development slate and broadening our offering beyond Sesame Street. As a result, we recently announced a new series called Esme And Roy, which will air on HBO in 2018, and is a co-venture with Canada’s Corus Entertainment.” Youngwood acknowledges, however, that viewing habits among children continue to evolve: “Today, kids have more choices than ever before. To connect with them, we know we need to be on multiple platforms and embrace both traditional and emerging

Oscar’s Oasis, part of TeamTO’s dialogue-free series of shorts on Netflix distribution platforms. We also need to be more creative in whom we partner with and what we produce. We are laser-focused on innovation as we seek to grow our brand.” For example, Sesame Workshop recently launched Sesame Studios, a new YouTube

“We are laser-focused on innovation as we seek to grow our brand” Steve Youngwood

channel. “We wanted to experiment with and create native content designed specifically for a digital platform and for a new generation of viewers,” Youngwood says. “We partnered with top digital stars to tap into a broader audience while preserving the same educational focus that Sesame Street has delivered for over four decades. The channel showcases new non-Muppet characters, short-form series and original stories. In just eight months, we’ve uploaded over 100 pieces of original content.” preview magazine I March 2017 I www.miptv.com

While short-form content is seen as a useful support for brands, there is less certainty over the future of VR for kids. VIMN’s Beaton agrees with the general view when she says it still needs to overcome concerns about whether totally immersive content is appropriate for children. Perhaps a more likely development in the short term is augmented reality. A more visible trend right now is the attempt by kids’ networks to “eventise” their hit shows as a way to combat competition from VOD platforms. Cartoon Network, for example, recently aired an eight-part mini-series based on its hit show Adventure Time — a very similar ploy to what is happening in mainstream drama. Called Adventure Time: Islands, the special ran for four nights with pre-linear availability on DVD, iTunes, Amazon Video and Google Play. Similarly, iconic actor Forest Whitaker is in the voice cast of Disney XD’s CGI-animated series Star Wars Rebels, reprising his role from box-office hit Rogue One: A Star Wars Story. That is analogous to the trend towards high-profile on-screen talent already witnessed in the scripted TV business.

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Junior Product News Here we highlight some of the programmes for kids and young people available in Cannes APPU SERIES EACH season of Appu, The Yogic

Elephant (52 x 11 mins) has a unique educational theme, as Appu works toward the greater good of the planet and learns more about it with his friends Neena and Tiger. The series is available on Pogo, a Turner company in India, and with eight seasons lined up, Appu Series is planning to move to new broadcast and digital territories, and there are also plans for a television movie.

COSMOS ENTERTAINMENT THREE European animators, Olivier Jean

Marie, Charles Vaucelle and Jan Van Rijsselberge; have joined forces with Asian animation studio Cosmos-Maya. Their first production is the slapstick 3D animation series, Captain Cactus, launching at MIPTV. The main character is a young and likeable cactus living in the Galapagoo islands, where a calm life is disturbed by Zig and Zag, two obnoxious mosquitoes. The episodes revolve around Captain Cactus trying to help others while fending off the chaos of Zig and Zag. Captain Cactus (Cosmos Entertainment)

THE JIM HENSON COMPANY TWO PRE-SCHOOL series presented at

MIPTV by The Jim Henson Company have recently debuted in the US. Splash And Bubbles (80 x 11 mins) is full of humour, fun and lively music with a Motown flair, and is aimed at four- to seven-year-olds. Dot. (52 x 11 mins), the new original series for kids aged four to seven, follows the inquisitive tech-savvy Dot, who embarks on adventures to satisfy her curiosity. It is produced by Industrial Brothers in association with The Jim Henson Company and the Canadian Broadcasting Corporation (CBC), and premiered on the CBC, and on Sprout late 2016. The company also highlights its early pre-school vocabulary-building series Word Party (26 x 11 mins).

Appu, The Yogic Elephant (Appu Series)

BRANDS & RIGHTS 360 (B&R360) ON THE MIPTV slate for Spain’s

B&R360 are: Julio Bunny (52 x 11 mins), a pre-school series; Atchoo (52 x 11 mins), an animation about Teo, a nine-year-old boy who when feeling a strong emotion sneezes and turns into an animal; four seasons of Tobot, about twin boys who have guardian robots made by their father; and live-action series Chica Vampiro (120 x 45 mins), a tween telenovela about a teenage girl with parents who are vampires.

Julio Bunny (B&R360)

JAM MEDIA CURRENTLY in production, pre-school

series Becca’s Bunch (52 x 11 mins) centres around Becca, a bird with a can-do attitude that allows her big ideas to take flight with her friends — a worm, squirrel and fox — in fantastical adventures around Wagtail Woods. The series merges live action, puppetry, 2D and CG animation, and is brought to Cannes by Ireland’s Jam Media. Nickelodeon has picked up exclusive broadcast rights in the US and pay-TV rights for the rest of the world, while the series has also pre-sold to ABC Australia.

Splash And Bubbles (The Jim Henson Company)

Becca’s Bunch (JAM Media)

My Little Pony: Friendship Is Magic (Hasbro Studios)

preview magazine I March 2017 I www.miptv.com

HASBRO STUDIOS HASBRO Studios is at MIPTV to showcase new episodes of My Little Pony: Friendship Is Magic and Transformers Robots In Disguise, as well as My Little Pony: Equestria Girls, Littlest Pet Shop, GI Joe Renegades, Pound Puppies, Blazing Team, The Adventures Of Chuck & Friends and Clue.

Junior Product News BBTV INCLUDED on the slate from Vancouver-

based BBTV are: Captain Discovery, in which Alice and Jim travel all over the world with the Captain on educational adventures; The Adventures Of Annie & Ben, a pre-school series featuring Annie, her loyal dog Ben and mischievous monkey Mango, who spread their message of understanding and acceptance in all their adventures; Mango Minutes, a series of shorts featuring the monkey from The Adventures Of Annie & Ben; and Derrick & Debbie – Tales From Dragon Drive, set in an everyday town populated by dragons.

ZDF ENTERPRISES (ZDFE) DANCE Academy – The Comeback

(1 x 97 mins/4 x 24 mins) features a former ballet student who after a devastating injury tries to embrace student life. However, in an effort to continue her quest to dance professionally travels from Sydney to New York to pursue her dream. Another kids’ highlight from Germany’s ZDFE is Lexi And Lottie – Trusty Twin Detectives (26 x 24 mins). Being identical twin sisters is an asset for 12-year-old detectives Lexi and Lottie, especially when it comes to cracking crimes in their country town and Animal Park.

Dance Academy – The Comeback (ZDFE)

WDR MEDIAGROUP COLOGNE-based WDR mediagroup brings Q Pootle 5 to MIPTV, a series featuring a band of adventurous alien friends. Produced in the UK by Snapper Productions and based on books by author and illustrator Nick Butterworth, the series has so far sold to more than 70 countries, and has recently been the subject of new merchandising deals across Europe and, in some cases, in Australia, Asia, Africa and Latin America.

Captain Discovery (BBTV)

PLANETA JUNIOR MAGIKI is a new animated adventure for

extensive catalogue to MIPTV. Priorities include: Dinocore (65 x 15 mins), set on a peaceful pacific island with two volcanoes and many dinosaur remains, home to a curious boy and some outer-space robot-type machines who have escaped from another planet and its the evil ruler; Yoyo (52 x 7 mins), a pre-school series featuring the imaginary world of twins Yo and Yo and their dog, as they resolve all sorts of situations; and Hogie The Globehopper (52 x 11 mins), in which Hogie and his friends have fun meeting children from different cultures and countries.

upper pre-schoolers based on the DeAgostini flowpacks that have sold over 17 million products in Europe. Produced by Zodiak Kids Studio France, Planeta Junior and De Agostini Editore, the series follows the adventures of Billie, who uses her magic key to open her toy box and dive into the enchanted land of Magiki. Spain’s Planeta Junior also brings: Mutant Busters, an animated comedy set in a postapocalyptic world full of horrendous levels of contamination; and Pio Rocks!, which follows the adventures of Pio at Highnote High, a music school, and is aimed at five- to eightyear olds.

DHX MEDIA DHX MEDIA highlights The Zoo (30 x 11

Dinocore (Imira Entertainment)

Magiki (Planeta Junior)

The Zoo (DHX Media)

IMIRA ENTERTAINMENT SPAIN’s Imira Entertainment brings an

preview magazine I March 2017 I www.miptv.com

mins) at MIPTV, an observational liveaction and CGI series about the lives of talking animals at a zoo. Co-produced by DHX Media and the BBC’s Natural History Unit, and shot in a mockumentary style, The Zoo follows the daily lives of the animals as they make friends, forge allegiances and attempt to manipulate each other. The Zoo will premiere on CBBC in the UK this year and DHX Media is handling global distribution outside the UK.

Junior Product News 9 STORY MEDIA GROUP VIVI Viravento (52 x 11 mins) is a new

pre-school series brought to Cannes by Canada’s 9 Story Entertainment. Vivi journeys into her favourite sketchbook in search of Viravento with her friends, Backpack and Flashy, to discover new places, make new friends and learn something about the world and about themselves. In Viravento, Vivi´s ideas take new shapes, textures, colours and flavours.

ZODIAK KIDS KODY Kapow (52 x 11 mins) is a series produced by Zodiak Kids Studios for Sprout — NBCUniversal Cable Entertainment’s 24-hour pre-school network — and brought to MIPTV by Zodiak Kids. Kody Kapow is about an aspiring martial artsstyle superhero named Kody who spends the summer with his extended family in a small village in China. His grandfather, a martial arts master, teaches Kody ancient lessons of mindfulness, patience and perseverance, which Kody employs as he and his super-spy cousin Mei set off on adventures in the village together with their tiger friend Goji. Kody Kapow (Zodiak Kids)

Vivi Viravento (9 Story Media Group)

MONDO TV AMONG the highlights for Mondo TV at

MIPTV are three new series. Heidi, Bienvenida A Casa (60 x 45 mins), a coproduction with Alianzas Producciones, is a modern, live-action adaptation of the famous story of Heidi, a mixture of music, humour and comedy. In animation series Yoohoo & Friends 3D (52 x 11 mins) five friends help endangered animals in a show that aims to inspire respect for the environment, and is based on a line of Aurora World plush toys. Invention Story (104 x 11 mins 3D/HD) is the tale of a creative young fox who comes up with a new invention in each episode, delighting the inhabitants of Carrot Town and infuriating the angry, jealous mayor.

COTTONWOOD MEDIA COTTONWOOD Media’s animated pre-

CAKE FOLLOWING on from the success of The

school series The Ollie & Moon Show (52 x 11 mins), which launched last year and has broadcast in 150+ countries, is brought to MIPTV by Paris- and LA-based Cottonwood Media. The show stars a pair of curious, globe-trotting cats and is based on books by Diane Kredensor.

Angry Birds Movie, Angry Birds Blues (30 x 2.30 mins), a new edgy nondialogue comedy series aimed at six- to 12-year-olds, stars the boisterous blue birds and hatchlings. Angry Birds Blues is produced by Rovio Entertainment and distributed worldwide by Londonbased Cake.

The Ollie & Moon Show (Cottonwood Media)

Angry Birds Blues (Cake)

XILAM

Heidi, Bienvenida A Casa (Mondo TV)

XILAM is presenting images of its new pre-school show Paprika (78 x 7 mins/26 x 30 mins) at MIPTV. Twins Olivia and Stan share pretty much everything though they’re totally different. Stan is a brave little daredevil who puts faith in his instinct and his motorised wheelchair. Olivia is creative, efficient and brainy. Together they make everyday life an adventure. preview magazine I March 2017 I www.miptv.com

Paprika (Xilam)

Junior Product News FEDERATION KIDS & FAMILY LOVE, Divina (60 x 45 mins) is a teen

series from Televisa, Pol-ka Producciones and Federation Kids & Family, brought to Cannes by Parisbased Federation Entertainment. Full of comedy, drama and music, Love, Divina tells the story of a kind and conscientious teenager who dreams of becoming a pop star. The series stars international TV and pop star Laura Esquivel, whose previous performance in Televisa’s co-production Patito Feo led to five platinum and five gold albums. European rights are managed by Federation Kids & Family and Televisa, and the rest of the world by Televisa.

RAINBOW ITALY’s Rainbow is showcasing three

properties at MIPTV 2017. Regal Academy, featuring comedy, music and new animation techniques, focuses on Rose Cinderella, whose life turns upside down when she finds herself in the world of fairy tales and discovers that Cinderella is her grandmother. A second season is in production. Maggie & Bianca: Fashion Friends is Rainbow’s first full live-action production and tells the story of Maggie, an ordinary American girl with a dream of Regal Academy (Rainbow) becoming a fashion designer, who wins a scholarship to the Milan Fashion Academy where she meets Bianca. A second season is in production. In World Of Winx, fairy friends go undercover to outfox a villain called the Talent Thief, a mysterious and evil criminal who is capturing gifted children.

TEAMTO MY KNIGHT And Me (52 x 11 mins) stars loyal, street-smart Jimmy the Squire, his

best friend Cat the Princess and his father Henri of Orange, a charmingly inept yet chivalrous knight. The series had its global launch on Cartoon Network in the US, EMEA, LatAm and APAC. My Knight And Me, aimed at six- to 11-year-olds, is produced by TeamTO and Belgian producer Thuristar. Worldwide distribution is handled by Cake.

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN) VIACOM brings new programming from Nickelodeon to MIPTV. Nella The Princess

Love, Divina (Federation Kids & Family)

Knight (40 x 30 mins/HD) is a pre-school animation about an unconventional heroine, and is the first co-production with the UK’s Channel 5. Bunsen Is A Beast (40 x 30 mins/HD) features Bunsen and Mikey who meet on their first day at school. The stories champion friendship, individuality and fun. A live-action priority is Hunter Street, an international version of Nickelodeon Netherlands’ locallyproduced De Ludwigs. When the parents of the Hunter family go missing it is up to their five foster children to unravel the mystery. Nella The Princess Knight (VIMN)

MILLIMAGES PARIS -based animation production

and distribution studio Millimages brings its new title Paper Port (26 x 11 mins) to MIPTV. Produced by Zumbastico, using stop-motion with paper — which the producers call Papermotion — Paper Port follows the adventures of Matilda who wakes up every morning with a different superpower. Only Charlie, her best friend, knows her secret. Together they have amazing adventures in the coastal town of Paper Port.

FRANCE TV DISTRIBUTION FRANCETV Distribution brings the second season of Charley Goes To School (52 x 7 mins) to MIPTV, in which the young penguin continues to thrive at school and with his pals enjoys all kinds of creative activities including sports, cooking and arts. The pre-school series, produced by Les Armateurs, aims to awaken children both artistically and physically and help them discover their environment.

preview magazine I March 2017 I www.miptv.com

Charley Goes To School (FranceTV Distribution)

Junior Product News TURNER BROADCASTING A PRIORITY at MIPTV from Turner

Broadcasting’s extensive catalogue of programming is The Happos Family, about a family of hippos living in a European safari park. When the park is open they wallow in the mud, laze by the pool or sleep in the shade of a tree, but when the gates close it is time to get dressed up for their adventures. The series is made up of 20 two-minute nondialogue shorts. Other titles include: 78-episode series The Powerpuff Girls, about superhero sisters who protect their metropolis from sinister evildoers; and a new series of Ben 10. When Ben, his cousin Gwen and grandpa Max travel the US in their motor home he discovers a mysterious watch which gives him the ability to transform into any one of 10 spectacular aliens.

Belle And Sebastian (Gaumont Television)

GAUMONT TELEVISION AT MIPTV, Gaumont Television presents Belle And Sebastian (52 x 11 mins), an HD

animated series based on an original live-action TV series from the Sixties. Multiple key partners for the series which will debut later this year, include ZDF (Germany), M6 (France), Piwi+ (France), Radio Canada (Canada), VRT (Belgium), RTBF (Belgium) and RTS (Switzerland). In Belle And Sebastian, a slightly wild seven-yearold orphan boy from the Alps befriends a large and generous dog. In these stories they have a new gang of friends who help them protect their friendship and accomplish the missions they set for themselves. Belle And Sebastian is a coproduction with Canadian Producer PVP Group.

ATLANTYCA ENTERTAINMENT ITALIAN production and distribution company Atlantyca Entertainment heads its

The Happos Family (Turner Broadcasting)

ABOUT PREMIUM CONTENT KIDS (APC KIDS) APC KIDS is launching its new animated

series Kid-E-Cats (52 x 5 mins) at MIPTV, based on an original Russian series which currently airs on CTC and Carousel in Russia. APC Kids is collaborating with producers Studio Metranom/Metrafilms to make the international version of the series. Kid-E-Cats tells the story of three kittens — Cookie, Pudding and Candy — who through fun adventures learn life’s lessons and challenges. APC Kids holds global rights to the series (excluding Russia and China).

Kid-E-Cats (APC Kids)

slate of children’s programming at MIPTV with two key returning properties. The New Adventures Of Geronimo Stilton (26 x 22 mins) is a co-production with French company Superprod along with the participation of RAI Fiction and France Televisions. The company is also seeking additional broadcast partners for its newest season of Geronimo Stilton (78 x 23 mins/2D/HD), a series that focuses on the adventures of the mouse journalist and head of the Geronimo Stilton Media Group. Also on offer are: new animation Bat Pat (52 x 11mins); Nutri Ventures (52 x 23 mins/2D/HD); and Jurassic Cubs (91 x 13 mins/3D/CGI).

CYBER GROUP STUDIOS CYBER Group Studios brings the first episodes of its latest production The Pirates

Next Door (52 x 11 mins/ HD/CGI) to MIPTV, a comedy series developed for France Televisions. The series has already been pre-sold to Tele Quebec (Canada), SVT (Sweden), NRK (Norway), AB Svensk (Scandinavia), among others. The French producer and distributor also brings: new episodes of Zak Jinks (52 x 13 mins/2D/HD), about a likeable shirker and mischief-maker; Leo The Wildlife Ranger (60 x 11 mins/HD/CGI), targeting three- to sixyear-olds, about a young adventurer who explores the diversity of wildlife treasures with the help of his puppy Hero; and pre-school series Zou (156 x 11mins/HD/CGI). The Pirates Next Door (Cyber Group Studios) preview magazine I March 2017 I www.miptv.com

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To read more about Screen Internationalâ&#x20AC;&#x2122;s unique insight into the most important trend in the business today

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Entertainment Product News Here we look at some of the entertainment shows and series available in Cannes during MIPTV BBC WORLDWIDE COMEDY series White Gold (6 x 30

mins), is set in the UK in the Eighties, at uPVC double-glazing firm Cachet Windows. The degree of their sales success varies, but they are all trying to get rich quick. The series is made for the BBC by Fudge Park and stars Ed Westwick, Linzey Cocker, Joe Thomas, James Buckley, Lauren O’Rourke and Nigel Lindsay.

PBS INTERNATIONAL PBS INTERNATIONAL’s new HD slate for

MIPTV includes: Why Trains Crash (1 x 60 mins), looking at pioneers of train technology to discover the advancements which may usher in a new age of safer, faster and more modern trains; The Age Of Consequences (1 x 60 mins/90 mins), investigating the impact of climate change on the growing scarcity of resources, human migration and conflict, through the lens of US national security and global stability; and Trump’s Road To The White House (1 x 60 mins), featuring interviews with key players.

CINEFLIX RIGHTS CINEFLIX Rights has signed a deal with

US producer Bellum Entertainment which sees the distributor launching its new series Bizarre Murders (52 x 30 mins) at MIPTV. Every episode of Bizarre Murders exposes an strange yet true criminal case, including: a man who blows up his twin in an explosive dispute over their inheritance; a driver who makes an alarming discovery after shooting a masked and naked assailant; and a woman who is gunned down by 14 state troopers after they mistake her for a target. Told by veteran investigators through re-enactments, these are not stories of calculating serial murderers evading the FBI, but rather tales of unusual characters and shocking whatwere-they-thinking twists.

White Gold (BBC Worldwide) Bizarre Murders (Cineflix Rights)

THE TELEVISION SYNDICATION COMPANY (TVS) TVS RETURNS to MIPTV with World

Salsa Championships, a one-hour special showcasing the best salsa dancers in the world. Known as the “Olympics of salsa”, the two-day competition has five divisions: On1, On2, Cabaret, Teams and Same Gender. The show includes dancers from Brazil, Peru, Mexico, Italy, Colombia, Puerto Rico, Chile, Panama, Ecuador, Argentina and the US, and is available in neutral Spanish and English.

Why Trains Crash (PBS International)

MGM TELEVISION MGM TELEVISION’s MIPTV line-up of

non-scripted series includes: Steve Harvey’s Funderdome (13 x 60 mins), where entrepreneurs competitively pitch ideas, products or companies; The New Celebrity Apprentice (13 x 60 mins) hosted by Arnold Schwarzenegger; MTV’s hiphop competition Signed; Lucha Libre wrestling series Lucha Underground; Lauren Lake’s Paternity Court; Couples Court, where couples in crisis come to share their stories of cheating and get help from a married team of judges; and Bold, a live, interactive, multiplatform topical entertainment programme.

World Salsa Championships (TVS)

ZDF ENTERPRISES (ZDFE) GERMANY’s ZDFE brings 4 For Family –

The Big Family Competition to MIPTV. The 150-minute entertainment format pitches three families against each other, each scoring points and winning the approval ratings of the public while undertaking challenges. Each family has the chance to win €100,000.

4 For Family – The Big Family Competition (ZDFE) preview magazine I March 2017 I www.miptv.com

Entertainment Product News DCD RIGHTS UK-BASED distributor DCD Rights is

showcasing new daytime food and travel series James Martin’s French Adventure (20 x 60 mins) at MIPTV. Produced by Blue Marlin Television for ITV1, the series follows the TV chef through France as he visits locations that inspired his culinary career, while also paying homage to his culinary hero, the late chef Keith Floyd.

PASSION DISTRUBTION HIGHLIGHTS from Passion Distribution’s

programming slate at MIPTV include: Dr Christian Will See You Now (8 x 60 mins), which is set in a health centre and features Dr Christian Jessen (Embarrassing Bodies), and his medical team, as they deal in each episode with five carefully cast members of the public who visit the clinic with pressing health problems; and Baby Ballroom (8 x 60 mins), which follows a selection of the most successful and dynamic Juvenile (under 11-year-olds) and Junior (under 16-year-olds) dance couples as they train at one of the biggest dance schools in the UK and take part in competitions.

TCB MEDIA RIGHTS THE GREAT Australian Cookbook (10

x 30 mins) is a series based on a hit cookbook of the same name featuring — a blend of cooking, travel and personalities. Big-name chefs may be famous for their cutting-edge dishes in exclusive restaurants, but this series explores how they cook at home for their family and friends. The show celebrates Australia’s rich tapestry of food from old traditions to new flavours, and provides a visually beautiful picture of Australia with landscapes, homes, people and kitchens as rich as the food.

RIVE GAUCHE TELEVISION THE DAY I Should Have Died (10 x 60

Dr Christian Will See You Now (Passion Distribution)

mins) tells the stories of ordinary people who come face-to-face with the most difficult of circumstances using actual footage, re-enactments and witness interviews. Told in their own words, the recollections give an intimate insight into what it is like to be the victim of tragedies that include facing a serial killer, a terrorist attack and a natural disaster.

CORUS ENTERTAINMENT CORUS Entertainment presents a newly

James Martin’s French Adventure (DCD Rights)

DW TRANSTEL SIX TIMES a week in English,

greenlit lifestyle travelogue series from Corus Studios at MIPTV, The Baker Sisters (13 x 30 mins). Celebrating the most mouthwatering baked treats across North America, the series follows siblings and bakers Rachel Smith and Jean Parker as they explore the world of sensational sweets. In each episode they visit three locations — including bakeries, delis and restaurants — seeking out and sampling signature baked goods.

German, Spanish and Arabic, magazine show Euromaxx gives viewers an inside look at life in Europe, at what’s trending in European culture and lifestyle — art, design, countries and customs, fashion, music, passions and people. Germany’s DW Transtel is also previewing the show’s new design at MIPTV. The Baker Sisters (Corus Entertainment) preview magazine I March 2017 I www.miptv.com

The Day I Should Have Died (Rive Gauche Television)

Entertainment Product News 9 STORY MEDIA GROUP NEW COMEDY series Monica Chef (40 x

22 mins) is brought to MIPTV by Canada’s 9 Story Media Group. After winning a scholarship to a prestigious culinary academy in the city, Monica is given a chance to make her dream of becoming a top chef come true, though the school’s cuisine is vastly different from her father’s pizzeria — and she must also curb her musical daydreams.

CANAMEDIA GHOST Dimension (10 x 60 mins/

HD) is a series featuring paranormal investigations using the latest technical instruments to collect and record evidence. Hosts Bex and Sean have an ever growing social-media fan base, especially in the UK. They have both had personal paranormal experiences as they grew up and they actually live inside a cemetery. The series is brought to MIPTV by Canada’s Canamedia.

HAT TRICK INTERNATIONAL LONDON -based Hat Trick brings Plum

Monica Chef (9 Story Media Group)

ZEE ENTERTAINMENT ENTERPRISES LIMITED (ZEEL) ZEEL returns to MIPTV with Finding

Fido (6 x 30 mins), in which dog expert Seth Casteel helps potential dog owners find the perfect pup for their specific lifestyle. Whether it’s a sociable dog that can help owners overcome shyness, an active dog that encourages exercise, or even a dog that can help detect the onset of an owner’s epileptic seizure, Seth makes the match. The Indian company also brings Phantasgomoria (12 x 60 mins), a series of twisted short stories focusing on an inconspicuous pawnshop. Each tale brings about a series of illusions, apparitions and deception based on the elements that are uniquely characteristic of each sign of the zodiac.

Finding Fido (ZEEL)

Pictures’ new series Design Your Way Out Of Debt (6 x 60 mins/working title) to MIPTV. Produced for Channel 4, the series features property expert Sarah Beeny, architect Damion Burrows and designer Max McMurdo who together meet and advise inspiring individuals who are self-building unconventional homes in an effort to be mortgagefree. The participants build using either savings or profit from a previous house sale, and employ ingenious design and affordable building techniques to realise their dream.

NEWEN DISTRIBUTION NEWEN Distribution is at MIPTV with

new episodes of game show Cash Vault, which airs on C8; new episodes of Passion Mansion, the dating reality format airing on NT1 in France; as well as weekly comedy talk show Truth Or Dare, airing on TF1. The French distributor is also showcasing the fifth season of comedy series Loopdido at MIPTV, a series which now numbers 260 episodes.

VIACOM INTERNATIONAL MEDIA NETWORKS (VIMN) INCLUDED on the MIPTV slate from

VIMN are two comedies. Jeff And Some Aliens (10 x 30 mins/HD), from Comedy Central, is an irreverent adult animation featuring average guy Jeff and three far from intelligent aliens who have been sent to Earth to observe the complexities of human life. Also from Comedy Central comes Detroiters (10 x 30 mins/HD), featuring Sam and Tim, two friends who are equally inexperienced and unconnected in the advertising world. Fuelled with self-belief and delusion, they set themselves the goal of creating an advertising empire to help restore their home town. VIMN also highlights Martha And Snoop’s Potluck Party (10 x 30 mins/ HD), in which lifestyle expert Martha Stewart and pop star Snoop Dogg invite celebrity friends to a weekly dinner party.

Sarah Beeny in Design Your Way Out Of Debt (Hat Trick International)

LIONSGATE LIONSGATE is showcasing the three-

hour filmed musical event Dirty Dancing at MIPTV. The adaptation of the beloved 1987 romantic film Dirty Dancing, which will celebrate its 30th anniversary in 2017, is produced by Lionsgate Television in association with Allison Shearmur Productions. As well as the songs from the original movie the show includes additional songs from the era, and stars Abigail Breslin as Baby and Colt Prattes as Johnny.

Jeff And Some Aliens (VIMN)

preview magazine I March 2017 I www.mipformats.com

Entertainment Product News POORHOUSE INTERNATIONAL A HIGHLIGHT from London-based

Poorhouse International’s extensive catalogue of arts programming is Caravaggio – From Darkness Into Light (1 x 53 mins/HD), directed by Jean-Michel Meurice. Often called the first modern artist, Caravaggio’s work only came under deep scrutiny at the beginning of the 20th century. Meurice — a painter himself — traces the artist’s shortlived career, profiling works in museums, monasteries and churches in Rome, Paris, Malta and on Sicily.

PRIME ENTERTAINMENT GROUP PRIME Entertainment Group presents

The Prophecy Of The Popes (1 x 90 mins) at MIPTV. Saint Malachy, a 12th century Irish archbishop, is said to have written a text called The Prophecy Of The Popes that was secretly kept in the Lyon Library. This 900-year-old document seems to predict every Pope with an incredible accuracy, and the Vatican itself does not deny using it for inspiration during the papal conclave.

AVALON DISTRIBUTION AVALON Distribution brings a new 8 ×

30 mins series to MIPTV. Produced for the UK’s Comedy Central, The Chris Ramsey Show is a high-energy celebrity talk and game show. The comedian is joined in his “man cave” by two of his funniest celebrity friends as they chat and compete in a series of physical feats and challenges.

The Prophecy Of The Popes (Prime Entertainment Group)

On Earth (13 x 48 mins) is now completed and worldwide rights are brought to MIPTV by Canada’s HG Distribution. The series includes artisans, producers and characters found in markets around the world. Countries featured include: Myanmar, China, India, the US, Indonesia, Laos, Ecuador, Tanzania, Benin and the United Arab Emirates.

ALBATROSS WORLD SALES ALBATROSS World Sales’ MIPTV

line-up includes: a new season of What’s Cookin’? (52 x 26 mins), which combines cuisine and travel, and explores traditions through families’ best recipes and secret ingredients. The German distributor also brings new episodes of Cuisine Royale (10 x 26 mins), exploring recipes from distinguished cooks that have a royal dimension.

group MTG, digital studio Zoomin.TV is launching Zoomin Studios, an outfit dedicated to creating longer-form content. At MIPTV Zoomin Studios is premiering a number of entertainment and factual formats, including online music format Continuum, which brings together four YouTube stars from different countries, who have never met each other, to create music and tap into their fan bases. The project is in partnership with Tiny Riot! Netherlands, the digital label of FremantleMedia. The company has also signed further deals to coproduce formats based around some of Zoomin.TV’s top talents, who between them have amassed more than 1.8 billion views on their YouTube channels.

NIPPON TV JAPAN’s Nippon TV heads to MIPTV

HG DISTRIBUTION THE SECOND series of The Best Markets

The Chris Ramsey Show (Avalon Distribution)

ZOOMIN TV PART OF the digital entertainment

The Best Markets On Earth (HG Distribution) preview magazine I March 2017 I www.miptv.com

with five new formats. Scripted format Lost ID is about a brilliant system engineer whose identity disappears, his bank accounts are seized and his employment terminated — however he refuses to give up. Another scripted format is Your Home Is My Business!, following a real-estate saleswoman who pries into the private lives of her clients, always finding them the right home. Non-scripted formats include: docu-reality series Meet Me There, in which couples return to their ‘special place’; Ghostwriters To The Rescue, featuring celebrities who help people by ghostwriting an important moment in their lives; and Grab The Chance, which randomly gives people on the street opportunities for adventure, including bungee jumping, swimming with dolphins or skydiving.

Lost ID (Nippon TV)

Machinima’s Street Fighter Resurrection

Stronger together When MIPDigital Fronts launched in 2014 to connect the online-video industry with the mainstream television business, the gap between the two worlds was wide, deep and disruptive. What a difference four years make, Juliana Koranteng discovers

S ENTERTAINMENT enterprises, the new generation of digital studios have come of age. The young Turks that shook up the TV industry with YouTube content and won over the youth that shunned mainstream broadcasters are evolving into fully developed multiplatform businesses. Gone are their reputations as creators of quirky short videos that had giggling teenagers notching up billions of YouTube views for them. They now consist of a premium-video entertainment sector that is growing the TV industry, even if they are approaching the business from different, but not necessarily opposing, angles. “The significant cost structure and

programming format inflexibility of traditional TV networks are in conflict with many of the digital-native business models that have emerged since Machinima’s launch 12 years ago,” says the company’s CEO Chad Gutstein. “Our business is built on the power of influence at scale, whereas traditional entertainment TV has typically relied solely on scale.” New Form, another fast-rising US digital studio, demonstrates how multiplatform digital-media firms complement the business models of linear broadcasters and their entrenched ways. “We focus on speed and volume, producing 43 pilots and 14 series in two and a half years,” says JC Cangilla, New Form’s chief operating officer. He adds: “We preview magazine I March 2017 I www.miptv.com

go from pilot to series in a matter of weeks, not months or years. And many of our formats are quickly adjusted depending on the platform. We have produced 11-minute episodes to be turned into classic 22-minute [versions] and made short-form series repurposed into movie-of-the-week formats.” But instead of conflicting, they balance each other, as the growing number of deals sealed between multiplatform studios and global TV media conglomerates demonstrate. Machinima, for example, is now a fully owned subsidiary of Hollywood TV and film studio Warner Bros. The established TV giants are no longer just silent investment partners in digital-media

Photo: Xxxx credit

Online Video

Online Video businesses. They are collaborating, co-producing and licensing each other’s shows. Moreover, their combined audiences are providing brands and advertisers with even wider reaches. The new generation of digital studios is platform-agnostic. The studios create content that could be at home on linear TV, streaming platforms, mobile apps, messaging-service Snapchat and even satellite radio. Their repertoire is varied and packed with high-end long-form content as well as premium shorts. There is an emotional engagement with young audiences, which include millennials. Forbes magazine is quoted as saying: “As we head into 2017, the millennial generation is now the largest domestically and worldwide, outnumbering even the baby-boomer generation from whose loins they sprung.” And they are now being joined by the younger Generation Z of people born between 1995 and 2012. Furthermore, they are expanding their revenue sources to include the creation of dedicated apps and merchandise.

More than YouTube The digital studios are extending their business models from the YouTubefocused strategies with which they started. And the owners of established

TV properties are providing them with business expertise and opportunities. Fullscreen, which has 600 million registered online subscribers and works with 70,000 content-creators, now operates a subscription-funded VOD platform. Its shows can also be watched on Audience Network, which is on the US satellitedelivered TV platform DirecTV. Machinima, which started as a gaming-centric YouTube channel, today records 151 million unique monthly viewers and collaborates with a talent pool of 30,000-plus content-makers. It recently became the co-owner of an SVOD service in Spain and Portugal in a joint venture with US-based AMC Networks International. In addition, Machinima has clinched an exclusive partnership deal with Chinese internet and media conglomerate Sohu, which will distribute Machinima on the PGC (professionally generated content) section of its Sohu Video streaming platform. The agreement with China’s second biggest online video platform is a major coup for Machinima as regulators have blocked YouTube from the country. This is in addition to Machinima content being

licensed to US VOD platforms, including Amazon Prime and PlayStation Vue. In terms of content genre, Machinima has stuck to its gaming origins, which has helped it to stand out in an increasingly crammed digital-entertainment sector. The company made history last year with Chasing The Cup, a digitalfirst show. When it aired on The CW — a Warner Bros. and CBS joint venture — it became the first ever programme about the rapidly growing games-centric esports entertainment phenomenon to air on US broadcast TV. “Chasing The Cup remains the top-rated eSports show to ever air on US television,” Gutstein says. “We also launched the Inside eSports programming brand, including an exclusive daily video series on US-based Verizon’s mobile platform go90, and Machinima’s Inside eSports Radio as a daily call-in show on SiriusXM.” Machinima also produced some of the most-watched scripted digital series, including Transformers: Combiner Wars, Street Fighter Resurrection and Happy Wheels: The Series. A growing catalogue of original premium content, a wider variety of platform

New Form’s sci-fi adventure series Miss 2059

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Online Video partners and an extended international reach has seen New Form add two new global broadcasters to its investor line-up. The company successfully raised $18m in new funds from the UK’s ITV and Discovery Communications last December. That news came just as it renewed its sci-fi adventure series Miss 2059 and dark comedy drama Mr Student Body President on go90. The latter show is also on All 4, the on-demand unit of UK commercial network Channel 4. “New Form has a proven track record in creating this type of successful digital content, which can now be seen internationally,” Cangilla adds. “We are able to create content that integrates viewing trends and consumer interests in real time. Because of this, we have a proven model that is responsive to the larger market demand for high-quality content, produced quickly and at scale.”

Shor ts make long -term money Reza Izad, Studio71’s CEO and co-founder, says his company can turn its hand to any form of content. This is demonstrated by its library of titles, which spans feature films (Be Somebody, Natural Born Pranksters, Maximum Ride); highend online series (Lifeline, starring Hollywood action hero Dwayne ‘The Rock’ Johnson); and premium shorts (Cyanide & Happiness). However, Studio71’s ability to turn video shorts into valuable intellectual properties lured two high-profile

broadcast-industry investors in January. France’s TF1 Group and Italian TV giant Mediaset committed a combined €53m to Studio71, giving the multiplatform network — which has 1,200 digital channels and six billion monthly views — a €400m valuation. Izad says the new investors were attracted to the business model at Studio71, which seems to have already served ProSiebenSat.1 well. This includes “bolstering our short-form content creation and distribution”, he adds. Studio71 is able to combine ProSiebenSat.1’s TV hits, such as reality series The Voice, The Voice Kids and magazine show Galileo, with its own roster of German online talent and influencers to create original short-form videos. Studio71 plans to replicate that approach in France and Italy. And the potential number of international buyers for this content is growing. “There is a proliferation of advertising and subscriptionfunded streaming platforms and they all need content,” Izad says. “Bear in mind that, in Europe for example, the digital element of some of these TV shows accounts for 3% to 5% of the revenues. The short-form that we will create will not be cannibalising the original long forms, which will be reserved for catch-up and other broadcast formats.”

Influential youth audiences These developments are not merely the result of digital natives being disillusioned with traditional media and entertainment services. They are providing

THE DIGITAL DISTRIBUTION UNIVERSE: GLOBAL REACH IN 2016 INTERNET: 3.55 billion users FACEBOOK: 1.79 billion monthly active users SNAPCHAT: 150 million daily active users WHATSAPP: 1 billion monthly active users INSTAGRAM: 600 million monthly active users WECHAT: 818 million monthly active users YOUTUBE: 1.1 billion registered users Sources: Internet Live Stats; Facebook; Snapchat; WeChat; YouTube

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Studio71’s CEO and co-founder Reza Izad the sort of genuine innovation with which millennials and Gen-Z audiences identify. B erlin - b a s e d digi t al me dia ne twork Divimove, which is part of the FremantleMedia empire, works with 1,200 content partners in Germany, Italy, France, Spain and Poland, has 150 million YouTube subscribers and records 1.5 billion monthly views. Philipp Bernecker, the venture’s chief marketing officer and co-founder, emphasises the need to understand how to use the different digital platforms available, no matter how captivating the original content. For example, experts say that, while Facebook videos have a greater reach than YouTube’s, they are not as easy to monetise as YouTube content. “Every platform has its own rules in terms of the type of content that needs to be created for it,” Bernecker says. “YouTube is still important for us, but there are new platforms emerging. While YouTube is ideal for long videos with longer life spans, you have to remember that Snapchat works best when capturing something memorable that’s happening live, right now.” An example is Divimove’s use of Snapchat and Instagram in a campaign for Dutch bank ING, which wanted to target young consumers about to open their first bank accounts. Last year, Brandboost, Divimove’s brandedcontent agency, created and launched a YouTube channel called Only Football, which was sponsored by ING and supported by the Dutch football association

Online Video “Gen Z ... a major influencer on the behaviour of other generations and how content is shared and consumed across platforms and devices” Richard Chambers KNVB to honour the Dutch national football team (also known as Oranje). An Oranje Fan Day was launched in various Dutch cities, where young football players and fans were invited for a fun day out, which was featured on Only Football. Participating social-media influencers then took over the KNVB’s Snapchat account and used its live-video tech to capture the day’s events, including a surprise appearance by the national team. Snapchat viewers were able to experience the events in the different city locations at the same time — something that Divimove says had never been done before online in the Netherlands. Amsterdam-headquartered international digital media group Zoomin.TV and its content-creation division Zoomin Studios target Generation Z, who they say are more democratic about how they share the things they enjoy. “Gen Z has a new ethos or philosophy, which pervades their lives and which they’ll take with them as they get older,” says Richard Chambers, head of Zoomin Studios. “They’re also the first generation to be a major influencer on the behaviour of other generations and, in particular, how content is shared and consumed across different platforms and devices. So although our content has been primarily created by Gen Z and for them, we believe it will continue to remain relevant to them as they age.” By focusing on this emerging generation of decision-makers, which it calls ‘Generation Zoomin’ for branding purposes, Zoomin.TV’s 20,000-plus YouTube channels is distributed via a myriad of digital platforms, with content created by Gen-Z influencers, as well as an international network of 3,500 video journalists. With Nordic broadcast goliath MTG as its majority shareholder, Zoomin.TV has access to the resources of traditional

broadcasters. “So at the same time as developing Gen-Z talent into big-budget TV stars for a wider audience, we can deliver associated content across multiple platforms to drive deeper engagement with the original Gen-Z fans,” Chambers adds.

Serving brands Among the digital studios’ strengths is the ability to produce high-end branded content for global marketers — a significant income source. BroadbandTV (BBT V), which is partly owned by German broadcast conglomerate RTL Group, has its content licensed to a host of third-party platforms, such as Amazon Prime Video and Netflix. Additionally, it offers its digital-creativity expertise to brand-owners seeking quality video entertainment aimed at their customers. An example of these brands is the US National Basketball Association (NBA). BBTV founder and CEO Shahrzad Rafati explains: “In May 2016, BBTV and the NBA announced the launch of NBA Playmakers, a first-of-its-kind millennial video network providing the creator community and NBA fans the opportunity to produce basketball-related content to distribute across the NBA Playmakers network, spanning YouTube, the NBA’s digital assets and other platforms.”

BBTV founder and CEO Shahrzad Rafati

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Also available to brand-owners are BBTV’s content-management services. The company creates and manages digital networks for clients that include Warner Bros., Viacom, Sony Pictures, FremantleMedia (its sister company in the RTL Group) and action-sport performance group Nitro Circus. Joining BBT V’s client roster last year was Univision, the leading US Spanish-speaking media and T V conglomerate. Melding the creative know-how at digital studios and traditional TV businesses can serve brands more efficiently, Studio71’s Izad says. “Brands having access to short-form premium content makes a powerful advertising mix,” he adds. “There’s a young generation of viewers on all these social platforms that we reach. Our broadcast partners can now add that demographic to their advertising sales strategy.”

Alternative content As an alternative revenue source, the digital studios are also investing in apps as merchandise linked to their most popular social-media stars. BBTV, which comScore says recorded 14 billion monthly impressions and nearly 320 monthly unique views in December, recently developed a mobile gaming app with its international digital star Fernanfloo. Within 24 hours, the Android and iOS-distributed app was number one in the 17 countries in which it was launched, and recorded 1.2 million downloads within 72 hours. For Christmas 2015, Studio71 worked with US-based YouTube comic star Roman Atwood (who is also on Twitter, Snapchat and Instagram) and showed how brands can generate business by working with multiplatform networks. When Cheetah Mobile, the Chinese mobile games developer, released its Piano Tiles 2 title, Atwood and his young family played the game at home and this was filmed for the YouTube channel RomanAtwoodVlogs. Studio71 was able to show that the video alone drove the app, which is monetised with in-app purchases, to be downloaded more than 12,000 times. On YouTube, the video itself has had more than 2.4 million views, more than 76,600 Likes and 11,000plus comments.

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Growing-up fast

New Form’s Mr Student Body President

As the influence of the digital studios has grown, so the mainstream TV companies have become increasingly interested in what they are doing — and vice-versa. Juliana Koranteng explains some of the partnerships AwesomenessTV HQ: Los Angeles Television connection: A subsidiary of DreamWorks A nimation and Verizon Hearst Media Partners, a joint venture of Hearst Communications (owner of several US TV stations) and Verizon Communications (owner of US pay-TV platform Fios TV).

BuzzFeed HQ: New York Television connection: NBCUniversal has invested $400m in the company.

Complex Media HQ: New York Television connection: It is a subsidiary of Verizon Hearst Media Partners.

BBTV (BroadbandTV Corp) HQ: Vancouver Television connection: It is majority owned by global TV conglomerate RTL Group.

Cracked HQ: Santa Monica Television connection: The humour website plans to hike its video content after it was acquired by US broadcaster EW

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Online Video

Online Video Scripps for $39m last year. Divimove HQ: Berlin Television connection: TV production goliath FremantleMedia (part of the RTL Group) majority owns this German multiplatform network. The Football Republic HQ: London Te l e v i s i o n c o n n e c t i o n : A n o t h e r FremantleMedia subsidiary. Fullscreen HQ: Los Angeles Television connection: It belongs to Otter Media, a joint venture of AT&T (owner of US-based satellite-delivered DirecTV) and The Chernin Group (investment vehicle belonging to former News Corp president/ COO Peter Chernin). Machinima HQ: Los Angeles Television connection: The pioneering games-themed multi-platform network became a fully owned subsidiary of Warner Bros. last year.

Maker Studios: Los Angeles Television connection: A subsidiary of The Walt Disney Company.

partnership with US movie studio Lionsgate and award-winning US TV production firm Serious Business.

Mashable HQ: New York Television connection: CNN parent company Turner Broadcasting System is an investor. Mashable recently agreed to create a Frenchlanguage edition for broadcaster France 24.

Studio71 HQ: Berlin/Beverly Hills Television connection: In January, giant European broadcasters France’s TF1 Group and Italy’s Mediaset poured 53m into the company. They join Germany’s ProSiebenSat.1, which owns 70% of Studio71.

New Form HQ: Santa Monica Television connection: It started with investors that included TV and movie-production superstars Ron Howard and Brian Grazer as well as Discovery Communications. Last year, UK commercial broadcaster ITV and Discovery invested a further $18m in the venture. The Onion HQ: Chicago Television connection: Although it originated as a print satirical magazine, The Onion is developing its digital-video production arm after 40% was sold to Univision Communications, the US-based Spanishlanguage TV, conglomerate in 2016. It 647_AJURI_PV_TV has formed a filmmaking unit following a

Vice Media HQ: New York Television connection: Its key investors include The Walt Disney Group and A+E Networks (a Disney and Hearst Media Group joint venture); it operates Viceland, a T V net work co - ow ned w ith A+E Networks; it is an investor in UK TV/film production firm Pulse Films; it co-owns a Canadian production facility with Rogers Communications. Zoomin.TV HQ: Amsterdam Television connection: Scandinavian media conglomerate MTG (Modern Times Media) is the majority shareholder.

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From virtual to reality

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Among recent ARTE360 VR titles is Expedition Antarctica

Virtual reality’s role in the content of the future is no longer in doubt: it’s here, it’s happening and it’s about to change everything. Juliana Koranteng asks how the marketplace for VR will develop

HE AUDIOVISUAL media sectors agree that applying VR to non-gaming content, such as branded entertainment, kids’ shows and drama, is still a totally new phenomenon. Best practices are only just being established. But the growing crosssector enthusiasm for the technology confirms that VR as a medium is getting very real. The stakeholders, from brand-owners through Hollywood studios to tech specialists, are spending time on ventures designed to educate content-producers and consumers about VR’s potential in the entertainment sphere. Reflecting this, MIPTV 2017 is devoting an entire section to immersive content, offering opportunities for delegates to discover and share their experiences, to explore the business models and, crucially, to work out how to get VR to audiences. “Although we still don’t know how big the related content market will be and when it will

go mass market, we’re convinced VR can be a new paradigm,” says Paris-based Morgan Bouchet, director of digital content and innovation, and head of VR at Orange, the French telecommunications giant. Consumers can access VR content via the headsets attached to smartphones, desktop computers or video-game consoles. The content is available as 360-degree videos, which can be viewed on any connected screen without headsets. It can also be experienced as

“Although we still don’t know how big the related content market will be and when it will go mass market, we’re convinced VR can be a new paradigm” Morgan Bouchet

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fully immersive VR, for which audiences are totally surrounded by a computer-generated world, isolated from their immediate environment. For that, users require dedicated headsets, such as Facebook’s high-priced Oculus Rift, the Samsung Gear VR, Sony’s PlayStation VR and the cheaper Google Cardboard. To stay on top of the game, Orange has brought out its own Orange VR1 headsets for watching 360-degree videos online. Its Orange Digital Ventures subsidiary is an investor in Wevr, a Los Angeles-based VR content and tech startup. As of December 1, Orange has partnered with Hollywood studios 20th Century Fox and Warner Bros., plus VR tech developers including Wevr and Canada’s Felix & Paul Studios on a series of experiments across Europe called Orange VR Experience. The initiative enables subscribers to the OCS

Virtual reality

Virtual reality (formerly Orange Cinema Series) streaming platform to wear Samsung’s Gear VR or Sony’s PlayStation VR headsets to watch movies and videos inside customised virtual living rooms. “For example, as you watch Game Of Thrones, you can be immersed inside your personalised living room, which will look as if you’re inside a medieval castle. It definitely has the wow effect,” Bouchet says. Like several of the experts interviewed for this article, Bouchet says there is still no established commercial VR content marketplace. But the foundation is developing rapidly. “We need to experiment and take time to understand how consumers are responding,” he adds. “VR on mobile handsets will evangelise the medium to the mass market, while premium VR [via dedicated headsets] develops at the same time. I’m very optimistic about that.” UK research group CCS Insight predicts that the worldwide sales of VR-compatible smartphones will reach 72 million units by 2020, and the more expensive bespoke headsets will hit 21 million units. There is a fight for market leadership among the headset-makers, which also include HTV Vive and the new Daydream View from Google. Each is investing in content, while highlighting the benefits of their respective VR hardware. ARTE, Sky, The Walt Disney Company, Discovery Communications, the BBC, Red Arrow Entertainment Group, A+E Net work s , N B C Un i ver s a l , V iac om International Media Networks, the US’ PBS, Sony Pictures, the European Broadcasting Union and Netflix are among the TVindustry heavyweights focusing on bringing VR entertainment to the masses. Even Amazon Studios, the TV-and-film division of the e-commerce giant, recently appointed former Tribeca Film Festival director Genna Terranova to be in charge of its VR projects. Franco-German public broadcaster ARTE commissioned the award-winning Polar Sea 360°, which it describes as the world’s first 360-degree documentary and is available on the network’s ARTE360 VR app. Kay Meseberg, ARTE’s head of VR/360, says the network’s public-service remit provides the freedom to take risks that would otherwise inhibit its commercial counterparts. “We’re a public broadcaster, so we don’t need to think too deeply about the commercial aspect,” he says. “For the most ambitious projects, a production

Digital Catapult’s Jeremy Silver

Vast Media’s Matthias Puschmann

company has to think about the revenues.” Among recent ARTE360 VR titles are Expedition Antarctica, a documentary made by Luc Jacquet, who won an Oscar for his March Of The Penguins feature film in 2005. Other productions from ARTE360 VR are Giuseppe Verdi: Messa Da Requiem (based on the opera as a ballet at Switzerland’s Opera Zurich), and New Zealand: Facing The Change, which centres on climate change.

and TV production powerhouse Dick Clark Productions among its existing investors, raised $80m in new funds last August. Another US startup, Baobab Studios, nabbed $25m in October from parties that included 20th Century Fox and Comcast Ventures. In November, IMAX Corporation, the entertainment group that distributes film on gargantuan-sized cinema screens, and its Chinese subsidiary IMAX China Holding landed $50m in new money to develop interactive VR content. The investors were led by UK advertising conglomerate WPP, Hollywood talent agency Creative Artists Agency, and several Chinese film and TV ventures including Enlight Media. And in January, Australia’s 3D Content Hub, France’s Cow Prod and Germany’s INVR. SPACE merged to create a new and more powerful VR-content production entity called Virtual Content Group. Such a burgeoning sector calls for some kind of international trade co-operation and co-ordination, says Matthias Puschmann, co-founder and managing director of Berlin-based research and consultancy company Vast Media. He points to the launch of the Global Virtual Reality Association, which includes the leading headset manufacturers Google, Sony Oculus and Samsung among its founders. “This is a big step for the VR industry and will foster the growth of the market as well as the distribution,” Puschmann says. “And it will give creators an idea of a more solid path to follow when it comes to content creation.” Meanwhile, European satellite TV goliath Sky has linked up with media and telecoms tech organisations Ericsson and Technicolor

“I believe that in 18 months we’ll see a real market beginning to emerge and it’s going to get very competitive” Jeremy Silver For content-makers, the VR market is fragmented but growing, says Jeremy Silver, CEO of London-based innovation centre Digital Catapult, a government-supported organisation that helps small and medium-sized tech businesses with their digital strategies and is setting up its own VR division. “There’s a realisation that the market needs to develop and that there needs to be more interoperability among the tech companies,” Silver says. “But I believe that in 18 months we’ll see a real market beginning to emerge and it’s going to get very competitive.” Private investment in dedicated VR content developers continues. California-based NextVR, which includes Time Warner Investments, Comcast Ventures (part of NBCUniversal) preview magazine I March 2017 I www.miptv.com

Virtual reality to form the Virtual Reality Industry Forum to introduce interoperable standards and promote best practices. Until these industry efforts streamline the processes required to do business, creating VR content remains a painstaking laborious experience. “Each device has its own shortcomings and strengths, and creators might be advised to find out which device would best suit their kind of content before turning to the most appropriate app stores and content hubs,” Puschmann adds. The content hubs also vary, ranging from socialmedia websites YouTube and Facebook to the headset companies’ respective websites and app stores. Then there are the content portals belonging to VR tech specialists that also produce or commission content. These include Jaunt, NextVR, Wevr, Rewind, Within, Littlstar and Steam. Cinema chains, including IMAX in the UK and La Geode in Paris, have also started offering spectators VR entertainment. The splintered VR content market is strewn with snags that need to be addressed, says Michael Boreham, senior consultant at UK research firm Futuresource Consulting. One of the key issues for VR content developers is how to gain the widest consumer reach for their repertoire, Boreham adds: “To this end, content has to be platform-agnostic for access on PC, console and mobile platforms. The flipside to a platform-agnostic approach is to sign a platform exclusivity deal of the type favoured by Oculus. This would ensure funding for content development and production in return for an exclusive distribution arrangement.” Other issues to be tackled are content discovery, in order to improve the way consumers search and find their VR content of choice. “Because there is no content marketplace right now, you need to know the right people for distribution and, even then, you need to negotiate with each individual platform,” says Brian Seth Hurst, president and chief storyteller at Los Angeles-based agency StoryTech Immersive. But the sector is expanding and its fragmentation might, in fact, help introduce the medium to wider range of consumers. As ARTE’s Meseberg says: “With VR, the production system offers consumers a wide variety of platforms for accessing content, such as Facebook, YouTube, Periscope, PCs, mobile handsets and tablets. Some of the initial expectations for VR were too high and the expectations for how fast it would grow were oversold.

30 Ninjas’ Julina Tatlock But that’s normal for any new phenomenon.” VR is undoubtedly the next great entertainment frontier. But as with all innovative leaps, there are obstacles alongside the opportunities, not least on the creative side. Producers of content, including branded entertainment, children’s programming and drama, are jumping on board the VR entertainment train. Arguably the most innovative medium since the invention of the cinema, VR has raised a number of obstacles that the TV industry needs to overcome in the real-life marketplace. According to Boreham, producers are still experimenting with issues relating to VR content creation, including monetisation models, the development of non-linear narratives and ascertaining appropriate programme lengths to maintain viewer engagement and comfort while wearing headsets. Nonetheless, ambitious content producers are grabbing the new creative prospects that VR brings. Invisible, which is hailed as the first major scripted series made for 360-degree and VR platforms, is co-produced by 30 Ninjas, the New York-based digital entertainment studio. The company is also acclaimed for creating Conan 360, a live 360-degree show that features US talk-show star Conan O’Brien on the TBS cable TV network. Julina Tatlock, 30 Ninjas’ founder, CEO and creative director, says: “We were really bitten by the [VR] bug after Invisible and we want to do more. With every project, whether it’s an action thriller or a live TV show, I try to experiment with new techniques and new ways to tell the story. How can I get the audience to connect preview magazine I March 2017 I www.miptv.com

emotionally? VR and 360 is moving fast and we are moving with it.” Tatlock advises aspiring VR content-makers to be prepared to take risks. “The most important thing is to start shooting and making — it’s the only way to know if your ideas are working. We shot tests for Invisible before we even approached what would be our future partners,” she says. But she offers a word of advice: “When hiring, make sure the team you're putting together, or the company you’re hiring, are truly representing themselves. We check everyone's references and don't just look at the reel. The technical knowledge is so important for success. It can be the difference between coming in on budget or being hundreds of thousands over budget, because post-production is very expensive.”

“Technical knowledge is so important. It can be the difference between coming in on budget or being hundreds of thousands over budget” Julina Tatlock The gimmicks associated with VR content must stop to allow artistry to begin, Hurst says. He adds that quality comes at a price — and VR content-makers should not underestimate the costs. “The post-production can be very expensive — sometimes it represents 33% of the total budget,” Hurst says. “You’re also doing the visual effects, the sound design and other special effects from scratch. That takes time, because a lot of the processes are not automated yet.” StoryTech recently completed My Brother’s Keeper, a nine-minute VR drama set in the American Civil War and commissioned for US public-service network PBS via its PBS Digital Studios. For the slow-motion scenes, StoryTech requested that the required cameras be readjusted to 120 frames per second (fps) instead of the standard 60 fps. My Brother’s Keeper premiered on the HTC Vive platform at this year’s Sundance Film Festival. It is also available on Viveport, (HTC Vive’s VR app store), distribution platforms Littlstar and Jaunt for a variety of compatible headsets, and YouTube and Facebook as 360-degree videos.

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Virtual reality The following is a round-up of the VR content available at MIPTV in the branded-entertainment, kids’ and scripted-drama categories

VR MEETS BRANDS Bahlsen

The German confectionary company and its biscuit brand PiCK UP!, which sponsors the reality show Ich Bin Ein Star – Holt Mich Hier Raus! on the RTL network, released a VR game linked to the series in January.

Dutch digital creative agency MediaMonks. The video takes viewers along for a ride with Kidman on Etihad Airways’ new Airbus A380 airliner.

Goggles, which sees McDonald’s Happy Meal boxes converted into games-VR goggles for kids. Jean Paul Gaultier

Dreams Of Dali

A VR experience produced by US ad agency Goodby Silverstein & Partners for the Dali Museum in the Florida city of St Petersburg. Visitors can immerse themselves inside one of the surrealist’s most famous works: his 1935 painting Archaeological Reminiscence of Millet’s Angelus. Etihad Airways Hollywood luminary Nicole Kidman is the star of Reimagine, a five-minute 360-degree video made by The Barbarian Group (part of Korean ad agency Cheil Worldwide) and

Here Be Dragons, the VR production house co-founded by immersive-content pioneer Chris Milk, has created a documentary mini-series for GE called The Possible. It allows viewers to explore the innovative, scientific and tech achievements that enable the multinational to make possible the things most people think are impossible. McDonald’s The Swedish subsidiary of fast-food giant McDonald’s commissioned ad agency DDB Stockholm and experience-design firm North Kingdom to create Happy preview magazine I March 2017 I www.miptv.com

Paris-based Okio-Studio produced and developed a 360-degree VR experience — #Bethebottle for French designer Jean Paul Gaultier.

FOR THE KIDS BBC

Virtual reality BBC Taster, the UK public broadcaster’s website for experimental content, collaborated with UK-based kids’ producer Plug-in Media to launch Angie’s Party, a short story about a dreaded 16th birthday party that allows 16- to 24-year-old viewers to personalise the narrative’s direction.

animation about a young girl who gets soaked with rain whenever she puts on her new sunglasses. It was made by Londonbased Nexus Productions. I See Ooo

Brain Zoo Studios

accompanied by five VR episodes to view via the Oculus Rift headset. Invisible

This US-based production firm has spent more than 20 years working on Nora, an animation short that combines CGI and VR to tell a comic fantasy sci-fi story set in the future. DreamWorks Animation

Last year kids international TV service Cartoon Network entered the VR fray with I See Ooo, a VR mobile game based on its Adventure Times animation series. The game is played by placing a smartphone inside a dedicated VR goggle designed to look like Jake the Dog, a character in Adventure Times.

DRAMA Defrost

The Hollywood kids’ entertainment behemoth and Japanese carmaker Honda have jointly been experimenting with VR and AR in-car content that will keep children occupied during long rides. Google Spotlight Stories

The search-engine goliath’s VR storytelling division has released Rain Or Shine, a humorous interactive 360-degree VR

The scripted supernatural drama was cocreated by 30 Ninjas, Samsung, Conde Nast Entertainment and VR specialist Jaunt. Driven by Hollywood talent, including director Doug Liman, it was hailed as the first mainstream VR series. The Monkey King

The 12-part cryogenics-themed VR sci-fi series premiered at the 2016 Sundance Film Festival. The viewer never sees the female protagonist because the drama is shot entirely from her point of view via a VR camera installed on a dummy inside a wheelchair. Defrost was co-produced by US-based Kleiser-Frederick Productions and the UK’s Immersive Media. Halcyon The pioneering sci-fi live-action and VR series was made by Canada-based Secret Location for NBCUniversal’s Syfy network. The crime drama consists of 10 short-form episodes for linear TV viewing, preview magazine I March 2017 I www.miptv.com

California-based cinema visual-effects supremo Digital Domain has embarked on its first cinematic VR creation. Called Monkey King, it is a VR series centred on the mythological Chinese character of the same name. It is jointly made with HTC Vive and US telecoms equipment giant Qualcomm Technologies.

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TARGET OUR INFLUENTIAL INTERNATIONAL READERS

BIGGER AND BETTER MAGAZINE DIMENSIONS ● NEWS & ANALYSIS ● INTERVIEWS ● HOT PICKS

? e r e h t e r e w u o y Wish Advertising and sponsorship opportunities

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Viewer behaviour

Seeing things differently AI, machine learning, cognitive software, wearable technology, algorithmic data analytics, the internet of things, VR, AR, mixed reality… Juliana Koranteng asks academics and industry experts how digital innovation is influencing the way audiences interact with content — and how television can retain viewer loyalty into the future

H E FA L LI NG cost of cloud technology and the emergence of innovative smart devices are set to change how professionally produced videos are created, accessed and consumed. Many cannot see it yet because live linear TV still rules the screen-entertainment kingdom. But the disruption created by the recent growth in time-shifted and VOD viewing and

the second-screen habits triggered by social media (on desktops, laptops, smartphones and smart T Vs) are only the beginning. At a time when most consumers are bombarded by a plethora of choices in internetdelivered media and entertainment, addressable TV (the relevance of what people are watching) matters more than ever. “Looking at the current technologies such preview magazine I March 2017 I www.miptv.com

as smartphones, tablets and wearables, viewers are enabled to watch content wherever and whenever they want, making context factors increasingly important in designing new products to optimise viewing behaviour,” says Netherlands-based Dimph de Feijter, research and development co-ordinator at the NHTV Breda University of Applied Sciences’ Research Lab Academy for Digital Entertainment.

Viewer behaviour Alternate realities Gamers’ enthusiastic adoption of VR enter tainment, which headsets by Facebook’s Oculus Rift, HTC’s Vive and Sony’s PlayStation VR hope to exploit, is forecast to be copied by mainstream consumers of video entertainment. But immersive VR at this stage in its development has its drawbacks — notably that it prevents viewers from seeing their immediate surroundings. The phenomenal success of AR game Pokemon GO, 2016’s most profitable app, indicates that consumers might prefer an experience that enables them to superimpose life-like computer-generated content on surroundings they can also see. Although VR and AR are still in their embryonic stages, NHTV Breda’s de Feijter advises the industry to keep an eye on the impact of both on consumers’ overall viewing habits. “VR, for example, can cause a decrease in secondary activities by enhancing the immersion in a fully virtual environment, where users will not be able to respond to the beeping sounds of their smartphone without pausing the viewing session,” she says. “On the other hand, AR supports quick access to second-screen actions, allowing the user to efficiently perform multiple tasks simultaneously, while staying engaged with the content.” The international media industry has made moves to tackle how viewers will focus on content in VR. OTT streaming-TV behemoth Netflix offers its own VR apps. Facebook plans to release the Oculus Social app, which TechCrunch describes as “an augmented social VR” experience. Both products aim to enable social interaction, even if you and your friends are watching the same immersive content via different devices. On the other hand, argues Ashley Cowan, CEO and co-founder of UK entertainment tech start-up VR City, VR’s totally immersive format might not be a bad idea for content-owners. Cowan, whose company has created VR content for the UK’s BBC, the New York Times and the MTV Europe Music Awards, and has had shorts featured at the Cannes Film Festival, welcomes the isolation VR offers. “Being cut off from your immediate environment needn’t be negative,” he says. “In fact,

IBM worked with Sesame Workshop for a TV commercial to examine AI’s potential, which featured actress Carrie Fisher

I think that’s the power of VR. You’re focusing on one thing alone, making it similar to the cinema experience.”

Artificial intelligence The machine-learning capabilities of IBM Watson, the computer giant’s flagship AI tech that has defeated humans in chess and TV game shows, was incorporated into the company’s recently launched Cloud Video technology. This means IBM Watson’s cognitive abilities could determine what drives viewers’ choices, identify the most-watched scenes in a video or offer a more granular analysis of social media’s use during a TV transmission. To demystify AI for consumers, IBM has been working with Sesame Street creator Sesame Workshop to examine AI’s potential in terms of educational content. It also commissioned a TV commercial during the 2016 Academy Awards show featuring the late Hollywood superstar Carrie Fisher. Google’s AI subsidiary DeepMind is collaborating with video-games giant Blizzard Entertainment in an experiment to push the boundaries of how to solve complex human activities. And Amazon. com’s voice-activated Alexa technology allows users to speak into wireless speakers and request a song to listen to or a video to watch. The Amazon Echo device, which was the e-commerce giant’s best-selling product over the Christmas holidays, now has a rival in the Google Home, which preview magazine I March 2017 I www.miptv.com

“Voice-activated devices may understand what we’re asking for, but they lack the intelligence to suggest what we might be interested in” Phil Birchenall can be integrated into Google’s digital media player Chromecast. Similar AI-driven devices are reportedly being planned by iPhone-maker Apple to use its Siri software in Apple TV. But Phil Birchenall, projects director at UK research firm K7 Media, says that machine learning in entertainment devices is still a work in progress. “Voice-activated devices may be able to understand what we’re asking for, but they lack the intelligence to suggest what we might be interested in. However, as we’ve learned from Google’s recent breakthrough in translation services, the machine is always learning,” Birchenall adds.

Apps Birchenall also believes something should be done about the “app-ification” of the TV content-distribution business, which remains fragmented and frustrates the viewer. “The continued app-ification of the industry will see tech and media brands grapple with how the television interface of the future will look,” he says. “Networks across

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Viewer behaviour

Dimph de Feijter of the NHTV Breda University of Applied Sciences

Futuresource Consulting’s David Sidebottom

Small Town Heroes’ Hendrik Dacquin

Reflect co-founder Antti Seppanen

Yahoo! Labs senior principal researcher Frank Bentley

Baer Bones’ Neal Baer

the world have launched stand-alone apps for streaming boxes and native TV operating systems. Can viewers be bothered to navigate individual apps to get to the shows they love?”

Context and social relevance University academics testing the future of viewing habits argue that addressable content — shows and commercials that reach viewers when and where truly relevant — is going to be more vital than ever. NHTV Breda’s de Feijter notes that second-screen behaviour, which sees viewers using social media while watching a show, has revealed flaws over time. “Viewers might have more difficulty to fully focus on the content because multitasking while watching content is becoming more common,” she says.

Her findings about the second-screen experience are similar to those of USbased Frank Bentley, Yahoo! Labs senior principal researcher and a visiting lecturer at the Massachusetts Institute of Technology and Stanford University. He concurs that social interaction during TV viewing has become normal. But it also depends on the type of show: “A Yahoo! study found that, while watching TV, participants were actively using their phones and tablets 35% of the time. But when looking at weeks of data, we only saw a few instances of browsing or app use that was related to the show that participants were watching.” Yahoo! is addressing the issue by introducing the chat features of its messaging platform Yahoo Messenger into its Fantasy Sports app. “This type of solution allows for much deeper interaction preview magazine I March 2017 I www.miptv.com

“That’s the power of VR. You’re focusing on one thing alone, making it similar to the cinema experience” Ashley Cowan than with strangers on open social-media platforms,” Bentley says. “And the focus on sports plays to people’s natural desire to talk about the plays and players during the ample downtime in games.” That approach, however, presents challenges when applied to immersive event dramas such as Game Of Thrones. “Creating social and second-screen interactions for these shows remains an open research problem,” Bentley adds.

Viewer behaviour Access to TV shows in a fragmented media landscape needs to be simplified, he suggests. The Yahoo! View service is the company’s effort to make a vast catalogue of TV content accessible “without needing an account”.

Gameified production “We’re more interested in how we can use new technologies to produce content,” says Antti Seppanen, co-founder of interactive entertainment agency Reflect, a joint venture between two Finnish production firms, Intervisio and Marginal Media. “Everything we do as content creators has to have an interactive element,” says Seppanen, whose company was

“The video-games industry tests things very early on in the production cycle and we like to bring that to our interactive TV” Antti Seppanen launched “to change the way television is experienced”. One such example is Tilt, the remake of a Nineties game show that combines the original format with a chat show and an online gaming component. The revamped edition, currently airing on Finland’s TV6 terrestrial network with

ARD and ZDF joint venture Funk preview magazine I March 2017 I www.miptv.com

a second season in production, is said to be the “world’s first TV show to use mixed-reality techniques with VR equipment”. It is also social-media friendly as its participants include YouTube influencers and superstar bloggers. Seppanen adds: “We try to implement the same production methods used in the video-games industry. They test things very early on in the production cycle and we like to bring that to our interactive TV.”

Live streaming Live-streaming apps are set to offer a refreshing alternative to the use of streaming tech for pre-recorded content on VOD platforms. Facebook Live, Twitterowned Periscope, Live.ly from Chinaoriginated Musical.ly, and Amazon’s live eSports platform Twitch are gamechangers that the TV industry cannot ignore, says Hendrik Dacquin, CEO of Belgium-based Small Town Heroes, an interactive mobile-video creative agency. He predicts: “The challenges for content-creators and broadcasters will be to monetise live streams, develop rewards for their most loyal viewers, build new collaborative workflows between userexperience designers and their contentcreators, and control and learn from all the data that will be generated.” Dacquin also believes that ephemeral messaging pioneer Snapchat, which is expected to list on a stock exchange this year under its new corporate name Snap Inc, is raising live streaming to a new level. In November, Snapchat introduced Snapchat Spectacles, its first hardware brand. By tapping the frame, wearers can shoot live snack-size videos of what they see in their immediate field of view and immediately upload them to their Snapchat messages. Dacquin says such developments are ideal for vertical videos (watching videos in the portrait mode on mobile handsets). “Snapchat brought vertical storytelling to the mainstream and have introduced glasses that capture circular video,” he adds. “Workflows for vertical stories still need to be invented and content-owners still have to adapt their skillset, but we will hopefully see the format being adapted beyond Snapchat.”

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Your MIPTV Experience 3-6 APRIL 2017

Palais des Festivals, Cannes, France MIPTV OPENING TIMES Opening hours 3-4-5 April: 08.30*-19.00 6 April: 08.30*-18.00 * Access from 08.00 for exhibitors

Registration hours 31 March: 16.00-19.00 1 April: 08.30-19.00 2 April: 07.30-19.00 3 April: 08.00-19.30 4-5 April: 08.30-19.00 6 April: 08.30-16.00

3 April: MIPTV Networking cocktail & Red carpet 19.30, The Grand Hyatt Cannes Hotel Martinez

We look forward to welcoming you in Cannes, but first here are some tips to prepare your Journey to MIPTV

Prepare for the show in 3 steps Visit MIPTV website to organise your travel • Book your transportation & accommodation with our partners to get the best deals • Check the Conference programme & Pitching sessions

Prepare your agenda and meetings ahead of time

Your badge: your key to getting into MIPTV

• Check out the programme of conferences and networking events

• Did you receive it by post? Don’t forget to put it in your luggage.

• Log in to the Online Database and – Fill out your profile and personalise your agenda – Browse participants and attending companies – Send one-to-one messages to other delegates and organise business meetings

• You have only your confirmation email? Pick up your badge at the registration area, located in Croisette 21. Be sure to check the registration hours above. • Save time with the e-ticket Print it out to collect your badge at a self-service delivery point or download the Mobile App and connect to your account.

• Download the Mobile App – Synchronised with the database and your email box

Please carry your badge all times, and be ready to show it at entry points around the show. Your badge is strictly personal and non-transferable.

Onsite: meet decision makers and get an overview of the market trends Transact What rooms can you use for your meetings? Participants’ Club (Palais -1, aisle D) • Open to all participants attending MIPTV without a stand • Features include a meeting area, free coffee service, telephone charging stations and a message system In association with

VIP Club (Palais 3) • Exclusive club reserved for VIP delegates to relax or discuss business in more private surroundings • Features include refreshments, daily press, professional concierge service and a dedicated staff Entry reserved by invitation In association with

Press Club (Palais 5, Verrière Californie)

Gold Business Lounge (Palais -1, aisle G)

Buyers’ Club (Palais -1, aisle C)

• Reserved for programme purchasing executives • Features include a lounge • Reserved for gold and terrace bar dedicated members of our • Features include to journalists and the Customer Recognition a lounge area, assistance of permanent Programme complimentary bar, staff members electronic message • Includes a private • A fully equipped editorial board organised by lounge area, room (Auditorium J, Palais 4) hostesses and telephone complimentary coffee includes computers, Internet charging stations and international connection and printers press

preview magazine I March 2017 I www.miptv.com

101

Your MIPTV Experience General map of MIPTV MIPTV Perimeter

NEW this year!

Security Checkpoint Left Luggage Badge holders only

1. Matchmaking programme 4 day-long programme of thematic meet-ups and matchmaking sessions, designed to assist you in making new connections and new partnerships. Consult full details in this magazine and programme schedule online on miptv.com

2. Innovation Hub (Palais -1) MIPTV 2017 is your one stop shop for immersive content. Hear firsthand from industry experts, meet the companies paving the way and experience the power of virtual reality. Exhibition zone, pitching sessions and conferences in the heart of the Palais des Festivals.

3. Junior@MIPTV (Palais -1) Meet us at “Junior@MIPTV” to learn all about Kids’ content and check out the new features of our Screenings Library, our dedicated tool that helps you doing business all year-round.

Connect, learn, share

Your first time at MIPTV? Don’t miss our First Timers Programme

MIPTV Networking cocktail & Red carpet Monday 3 April, 19.30 The Grand Hyatt Cannes Hotel Martinez Open to all on presentation of your MIPTV badge

4 DAYS OF CONFERENCES, SCREENINGS, AWARDS & NETWORKING EVENTS

Networking events*

inside the Palais des Festivals • Matchmaking Sessions • Meet the speakers • Pitching sessions • and many more

*Full schedule online and on the Mobile App

A “First Timers welcome corner” manned by our dedicated team available throughout MIPTV in the Participants’ Club Palais -1 and a daily programme to meet peers at the market. Sunday 2 April First Timers “How to” MIPTV presentation, discovery tour and welcome drinks 17.00: Meeting point: Main Croisette Entrance, Palais des Festivals 17.15: “How to” MIPTV including a presentation by The Pitch Doctor, Paul Boross, Agora, Palais -1 18.00: Discovery tour of the exhibition floors and MIPTV services From 18.30: Welcome drinks: Pitching Arena bar, Palais -1

Monday 3 April 10.30: First Timers’ catch-up discovery tour of the exhibition floors and MIPTV services, Agora entrance, Palais -1 19.30-21.00: First Timers’ meet & greet corner at the Opening Night Party Monday 3 – Thursday 6 April 08.30-09.30: First Timers’ Welcome Breakfast, Pitching Arena bar, Palais -1 Monday 3 – Wednesday 5 April 16.30-17.30: First Timers’ Coffee & Biscuits, Pitching Arena bar, Palais -1

See the programme p.102 and plan your journey

See you in Cannes!

For further information: www.miptv.com • Help desk: +33 (0)1 79 71 99 99

preview magazine I March 2017 I www.miptv.com

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2017 OFFICIAL SELECTION SELECTION CATEGORY: WORKS IN PROGRESS

BABYLON BERLIN

BAD BANKS

PRODUCTION: X FILME CREATIVE POOL, ARD DEGETO, SKY AND BETA FILM DISTRIBUTION: BETA FILM BROADCASTER: SKY ATLANTIC, ARD

PRODUCTION: LETTERBOX FILMPRODUKTION, IRIS PRODUCTIONS DISTRIBUTION: FEDERATION ENTERTAINMENT BROADCASTER: ARTE FRANCE, ZDF GERMANY

BAD BLOOD

BETTER THAN US

PRODUCTION: NEW METRIC MEDIA & SPHERE MEDIA DISTRIBUTION: SKY VISION BROADCASTER: FX / CITY

PRODUCTION: YELLOW, BLACK AND WHITE; SPUTNIK VOSTOK PRODUCTION DISTRIBUTION: YELLOW, BLACK AND WHITE BROADCASTER: CHANNEL ONE RUSSIA

GAP YEAR

RIDE UPON THE STORM

PRODUCTION: ELEVEN FILM DISTRIBUTION: ENTERTAINMENT ONE BROADCASTER: CHANNEL 4

PRODUCTION: DR FIKTION IN CO-PRODUCTION WITH ARTE FRANCE AND SAM LE FRANCAIS DISTRIBUTION: STUDIOCANAL BROADCASTER: DR / ARTE

MIPDRAMA SCREENINGS SELECTION JURY

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IGNACIO BARRERA HEAD OF ACQUISITIONS DEPARTMENT ALBAVISION

RÜDIGER BÖSS EVP PROGRAMMING & ACQUISITIONS PROSIEBENSAT.1

ALINE MARRACHE TESSERAUD SVP INTERNATIONAL ACQUISITIONS, CANAL+

20/02/2017 11:22

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SUNDAY 2 APRIL 8.00-9.00 WELCOME NETWORKING COFFEE

RE SP GIS EC ram For f u TR IAL as cre ll de AT en tail ing s c ION s@ on ree tac

Grand Auditorium, Palais des Festivals, Cannes

13.00-14.30 NETWORKING LUNCH Sponsored by Kanal D

14.30-19.00 SCREENINGS & AWARDS CEREMONY

9.00-13.00 SCREENINGS

19.00-20.30 NETWORKING COCKTAIL

Sponsored BRFT - Beijing Municipal Bureau of Press, Publication, Radio, Film and Television

dm t: ide m.

SELECTION CATEGORY: FULL EPISODES FROM PATRICK HARBINSON, WRITER AND EXECUTIVE PRODUCER OF HOMELAND STARRING HELEN M c CRORY

CLIQUE

FEARLESS

PRODUCTION: A BBC GHP AND BALLOON ENTERTAINMENT CO-PRODUCTION DISTRIBUTION: ALL3MEDIA INTERNATIONAL BROADCASTER: BBC SCOTLAND/BBC THREE

PRODUCTION: MAMMOTH SCREEN DISTRIBUTION: ITV STUDIOS GLOBAL ENTERTAINMENT BROADCASTER: ITV

JAILERS

MISSIONS

PRODUCTION: GLOBO DISTRIBUTION: GLOBO BROADCASTER: GLOBO

PRODUCTION: EMPREINTE DIGITALE DISTRIBUTION: AB INTERNATIONAL DISTRIBUTION BROADCASTER: OCS (FRANCE)

THE TERRITORY

VENI VIDI VICI

PRODUCTION: SREDA PRODUCTION, BEST EPISODES MEDIA DISTRIBUTION: SREDA PRODUCTION BROADCASTER: CHANNEL 1 RUSSIA

PRODUCTION: HANDSUP STOCKHOLM DISTRIBUTION: VIAPLAY NORDIC BROADCASTER: VIAPLAY NORDIC

ANETTE ROMER HEAD OF ACQUISITIONS & FORMATS, TV2

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ZELDA STEWART HEAD OF ACQUISITIONS MEDIASET

SARAH WRIGHT DIRECTOR OF ACQUISITIONS SKY

20/02/2017 11:22

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MIPTV 2017 PROGRAMME

MATCHMAKING AT THE HEART OF MIPTV

3-6 April 2017, Cannes

Networking and making new business contacts has never been more efficient at MIPTV, thanks to a new Matchmaking Programme. Get ready to spark partnerships with producers, commissioners, digital studios and brands.

MATCH & MEET PRODUCER MEET-UPS Producers are at the heart of MIPTV. This year benefit from a brand new programme of regional and thematic meet-ups especially designed to meet new potential partners. Where & When? The Producers Meet-ups are scheduled each day of the market and take place in the Pitching Arena of the Innovation Hub (Palais -1). How to attend? Register on miptv.com by 15 March 2017.

FIRST TIMERS PROGRAMME The First Timers Programme is back to help new comers at the market make the most of MIPTV. Where & When? The Innovation Hub (Palais -1) will regularly host First Timer events, from the now regular First Timers Tour (Sunday 2 April 16.30-18.30), to the daily networking events at 8.30 for breakfast and at 16.30 for coffee & biscuits break. How to attend? Open to all registered delegates, come and join us.

MEET THE SPEAKERS SESSIONS Each year thought leaders and decision makers of the industry take the stage at MIPTV, don’t miss the opportunity to meet them one on one. Where & When? The Meet the Speakers Sessions are planned after many conferences taking place in the various auditoriums of the Palais des Festivals. How to attend? Open to all registered delegates, come and join us.

THE KIDS BUYERS BRIEFING SESSIONS A selection of top acquisition executives has been appointed to share their plans and priorities in content development. Don’t miss the opportunity to get insight and meet them at MIPTV. Where & When? Tuesday 4 April, 10.45-11.45 & Wednesday 5 April, 10.45-11.45, in the Pitching Arena of the Innovation Hub (Palais -1). How to attend? Register on miptv.com by 15 March 2017.

DRAMA CO-PRODUCTION ROUND-TABLE BREAKFAST Especially designed for producers registering through the pavilions at MIPTV, this breakfast will give participants the opportunity to be mentored on the new creative and business trends in international co-production. Where & When? Wednesday 5 April, 8.30-10.00, Verrière Grand Auditorium. How to attend? Registration available to producers registered through the Pavilions, contact your Pavilion representative for full details.

PITCHING SESSIONS Discover the digital companies exhibiting in the MIPTV Innovation Hub through a series of sessions featuring the innovative technologies and digital studios at the market. Where & When? Twice a day in the Pitching Arena of the Innovation Hub. (Palais -1). How to attend? Open to all registered delegates, come and join us.

Check miptv.com to register & get the full schedule of matchmaking events

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20/02/2017 11:23

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MIPTV 2017 PROGRAMME

MIPTV SCREENINGS

3-6 April 2017, Cannes

MIPTV ASIAN WORLD PREMIERE TV SCREENING

MIPTV WORLD PREMIERE TV SCREENING

TUESDAY 4 APRIL, AUDITORIUM A, 11.45-13.00 Followed by Suchi & Sake Lunch / Cocktail

‘CRISIS’ MONDAY 3 APRIL, GRAND AUDITORIUM, 18.30-19.45 - DOORS OPEN AT 18.00

PRESENTED BY

An exceptional Japanese action TV series The Metropolitan Police Department’s Special Forces protect the public from extreme danger! “Crisis” tackles today’s most topical issues - international terrorism, religious cults, military espionage, illegal drug organizations, political assassination. Shun OGURI and Hidetoshi NISHIJIMA play the main investigators who stand up to a wall of criminality. This outstanding series is created by the top talent in the Japanese entertainment industry, but the only way to fully appreciate the high production quality of this Japanese police series is to watch it for yourself!

PRESENTED BY

Julia Stiles heads to the glamorous French Riviera for a tense and gripping new 10-part drama created by Oscar®- winning writer Neil Jordan. Directed by Philipp Kadelbach, this series also stars Lena Olin, Adrian Lester, Iwan Rheon, Dimitri Leonidas and Roxane Duran. Sky Vision handles the worldwide distribution for Riviera.

PRE-LA SCREENINGS SHOWCASE

INTERNATIONAL DRAMA SCREENINGS

MIPDRAMA - GOOD MORNING AMERICA! TUESDAY 4 APRIL, GRAND AUDITORIUM, 8.45-10.00

New at MIPTV, top Hollywood studios gather to showcase their hottest new series coming out in 2017.

MONDAY 3 APRIL AUDITORIUM K, 10.00-11.30

MONDAY 3 APRIL AUDITORIUM K, 16.00-17.30

‘4 BLOCKS’

WORLD PREMIERE OF THE BRAND NEW TURKISH SERIES

PRESENTED BY TNT

MIPDRAMA LATAM SCREENINGS WHAT’S NEW FROM LATIN AMERICA MONDAY 3 APRIL, AUDITORIUM A, 8.45-10.00

‘THE LAST EMPEROR’

New at MIPTV, get a first-look at top drama series for the international market from top Latin American studios.

PRESENTED BY MISTCO/TRT

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09/01/2017 12:43

TUESDAY 4 APRIL AUDITORIUM K, 10.15-11.45

TUESDAY 4 APRIL AUDITORIUM K, 16.00-17.30

‘MALTESE’

‘CALL MY AGENT! SEASON 2’

PRESENTED BY ZDF ENTERPRISES

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PRESENTED BY FRANCETV DISTRIBUTION

FOCUS ON JAPAN WEDNESDAY 5 APRIL AUDITORIUM K 12.30-13.40

WEDNESDAY 5 APRIL AUDITORIUM K 14.15-15.45

HAYAO MIYAZAKI

‘DRAGON DENTIST’

PRESENTED BY NHK Sushi lunch cocktail from 13.40 to 14.15

PRESENTED BY NHK

20/02/2017 11:24

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MIPTV 2017 PROGRAMME

THE NEW FRONTIERS OF STORYTELLING

3-6 April 2017, Cannes

MEDIA MASTERMIND KEYNOTES MONDAY 3 APRIL

MONDAY 3 APRIL

IVANA KIRKBRIDE Chief Content Officer go90

JORGEN MADSEN LINDEMANN CEO MTG

ROY PRICE Vice President Amazon Studios

PAUL TELEGDY President, Alternative & Reality Group NBC Entertainment

MEREDITH AHR President of Universal Television Alternative Studio, NBC Entertainment

TUESDAY 4 APRIL

WEDNESDAY 5 APRIL

DAVID SHING Digital Prophet AOL

ADAM HARTER Vice President of Marketing & Cultural Connections PepsiCo

RIKARD STEIBER President of Viveport HTC VIVE

GRAND AUDITORIUM, 11.45-12.15

GRAND AUDITORIUM, 12.20-12.50

GRAND AUDITORIUM, 17.10-17.40

GRAND AUDITORIUM, 16.45-17.15

GRAND AUDITORIUM, 17.20-17.50

GRAND AUDITORIUM, 12.30-13.00

MIPTV GALA DINNER ‘MEDAILLES D’HONNEUR’ RECIPIENTS

ALEXANDER CORIDASS President & CEO ZDF Enterprises

VIACHESLAV MURUGOV CEO CTC Media

ZHAO YIFANG President & Co-Founder Huace Group

ROY PRICE Vice President Amazon Studios

Join the premier global digital content market bringing together the online video ecosystem with the TV industry. MONDAY 3 APRIL

GRAND AUDITORIUM, 16.05-16.35

TUESDAY 4 APRIL GRAND AUDITORIUM 15.50-16.20

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TUESDAY 4 APRIL

GRAND AUDITORIUM, 11.00-11.30

TUESDAY 4 APRIL

GRAND AUDITORIUM, 11.40-12.10

TUESDAY 4 APRIL

GRAND AUDITORIUM, 16.30-17.00

CHECK MIPTV.COM FOR REGULAR UPDATES ON THE DIGITAL FRONTS

20/02/2017 11:20

Drama takes center stage at MIPTV. Explore future trends in drama content creation and coproduction INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT MIPTV’S ANNUAL INVITATION-ONLY GATHERING OF THE CREATIVE AND BUSINESS LEADERS DRIVING INTERNATIONAL DRAMA RAN TELLEM Head of International Content development, Mediapro, Spain

JENNA SANTOIANNI EVP, Television Series, Sonar Entertainment, USA

JOE LEWIS Head of Original Programming, Amazon Studios, USA

TUESDAY 4 APRIL, MAJESTIC HOTEL 9.00-12.30, followed by cocktail Supported by United Talent Agency By invitation

Discover fresh content, new launches and future trends in Kids content creation in the heart of the Palais des Festivals INTERNATIONAL EMMY® KIDS AWARDS

SEBASTIAN DEBERTIN Head of Fiction, Acquisition & Co-Production, KIKA, Germany

JANINE WEIGOLD Head of Children’s Content, SUPER RTL, Germany

VIRTUAL REALITY

PHILIPPE SOUTTER President, PGS Entertainment, France

THE INTERNATIONAL ACADEMY OF TELEVISION ARTS & SCIENCES AWARDS WILL BE PRESENTED AT MIPTV ON TUESDAY 4 APRIL TUESDAY 4 APRIL GRAND HYATT CANNES, HOTEL MARTINEZ FROM 19.30, by invitation

Go beyond the stunning experiences and storytelling disruption, and get real about VR and business! IMMERSIVE CONTENT LEADERSHIP SUMMIT

SOLOMON ROGERS Founder/CEO, REWIND, UK

GREG IVANOV Head of Daydream Business Development, GOOGLE, UK

MIPTV Digital Short Form Series Pitches

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JANE FANG Director of Business Development, AltspaceVR, USA

THE BRAND NEW PITCHING FORUM TO SPOT THE BEST CREATORS AND PRODUCERS OF DIGITAL NATIVE SHORT FORM SERIES IN KIDS & DRAMA.

THE INAUGURAL INVITATION-ONLY GATHERING OF INDUSTRY PIONEERS DISCUSSING, SHAPING AND CONCEIVING THE RULES OF VR’S TRANSACTIONAL CONTENT MARKETPLACE WEDNESDAY 5 APRIL, MAJESTIC HOTEL 8.30-11.30, by invitation

MIPTV’S ULTRA HD CONFERENCES AND SCREENINGS SHOWCASE THE LATEST IN 4K DRAMA, FACTUAL, MUSIC AND SPORT

20/02/2017 11:23

THE NEW FRONTIERS OF STORYTELLING

3-6 April 2017, Cannes

MIPTV CONFERENCE & EVENTS PROGRAMME SUNDAY 2 APRIL

MONDAY 3 APRIL

TUESDAY 4 APRIL

MIPDRAMA LATAM SCREENINGS

9.15-10.00

THE OFFICIAL SELECTION GRAND AUDITORIUM PALAIS DES FESTIVALS 8.00-9.00 WELCOME NETWORKING COFFEE

Esterel

8.45-10.00, Grand Auditorium MIPDRAMA - GOOD MORNING AMERICA!

DRAMA 10.15-11.00 Auditorium A

ONE TV YEAR IN THE WORLD: CRACKING AUDIENCE TRENDS

REINVENTING GLOBAL DRAMA CONNECTIONS

BY EURODATA TV WORLDWIDE

10.00-11.30

10.15-11.15

INTERNATIONAL SCREENING: ‘4 BLOCKS’

Esterel

INNOVATION TALKS: WHEN ACADEMICS DECIPHER ENTERTAINMENT Followed by Meet the Speakers

Auditorium K

PRESENTED BY TNT

11.10-11.40 Auditorium A

BEST OF WEB SERIES

13.00-14.30 NETWORKING LUNCH Sponsored by Kanal D

14.30-19.00 SCREENINGS & AWARDS CEREMONY

NETWORKING COCKTAIL Sponsored BRFT Beijing Municipal Bureau of Press, Publication, Radio, Film and Television

Check miptv.com to register for MIPDrama Screenings

Agora

PRODUCERS PROGRAMME: PITCH PERFECT, HOW TO GET THERE? Followed by Meet the Speakers

JUNIOR 10.30-11.00 Agora

9.30-10.00 4K Theatre

WELCOME INTRODUCTION 10.00-11.00 4K Theatre

DRAMA & FACTUAL FROM JAPAN IN HIGH DYNAMIC RANGE ULTRA HD

TIPS AND TRICKS ON BOOSTING YOUR LICENSING SUCCESS RATE

VR ECOSYSTEM: LATEST TRENDS AND DEVELOPMENTS 15.00-15.30 Esterel

THE FUTURE OF VR IS SOCIAL Followed by Meet the Speakers

DRAMA Auditorium A

FUTURE OF DRAMA: DOES DATA TRUMP CREATIVITY?

TRENDS 15.30-16.15 Agora

A GLOBAL VIEW: THE FUTURE OF TV FROM INSIDE THE LIVING ROOMS OF THE WORLD

DRAMA 14.00-15.30 Auditorium K

INTERNATIONAL SCREENING PRESENTED BY BETA FILM

16.00-17.30 Auditorium K

WORLD PREMIERE OF THE BRAND NEW TURKISH SERIES

‘THE LAST EMPEROR’ PRESENTED BY MISTCO/TRT

JUNIOR 14.15-15.15 Agora

MIPTV DIGITAL SHORT FORM SERIES PITCH : KIDS CONTENT Followed by Meet the Speakers

4K ULTRA HD 15.30-16.30 UHD SUPER SESSION: DRAMATIC ENTERTAINMENT IN ULTRA HD

16.45-17.15, Grand Auditorium ROY PRICE, HEAD, AMAZON STUDIOS 17.20-17.50, Grand Auditorium PAUL TELEGDY, PRESIDENT, ALTERNATIVE & REALITY GROUP, NBC ENTERTAINMENT & MEREDITH AHR, PRESIDENT OF UNIVERSAL TELEVISION ALTERNATIVE STUDIO, NBC ENTERTAINMENT

MIPTV Thanks its Sponsors & Partners

preview_at_a_glance_6_7.indd Toutes les pages

Followed by Meet the Speakers

BY CANADA MEDIA FUND & TELEFILM CANADA

10.00-11.00 Esterel

DESIGNING THE FUTURE OF KIDS TV

DRAMA

9.00-10.00

9.00-12.30

4K Theatre

Majestic Hotel Followed by cocktail

VARIETY PROGRAMMING IN ULTRA HD

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT

10.15-11.15 4K Theatre

GERMANY EMBRACES ULTRA HD

SUPPORTED BY UNITED TALENT AGENCY By invitation

PRESENTED BY ZDF ENTERPRISES

11.00-11.30 Auditorium A

10.00-11.00

INTERNATIONAL SCREENING

ITALY IS BUSY WITH ULTRA HD

IMMERSIVE CONTENT LEADERSHIP SUMMIT

UHD: THE LATEST DEVELOPMENTS

PRESENTED BY ALL3MEDIA

10.15-11.15

10.30-11.15

FACTUAL ENTERTAINMENT IN ULTRA HD & HDR

THEY MADE MIPTV: CATCH-UP SESSION FEATURING EXCLUSIVE INTERVIEWS OF TOP EXECUTIVES & THOUGHT LEADERS IN CANNES

Auditorium A

DRAMA COMMISSIONERS: WHAT DO THEY WANT? Followed by Meet the Speakers

SCRIPTED VR: MAKING SERIALIZED CONTENT INTERACTIVE

4K Theatre

10.30-11.00

KIDS COMMISSIONERS WHAT DO THEY WANT?

HOW MIXED REALITY MAY BRING AR MAINSTREAM… AND WHY IT MATTERS

Auditorium A

DIGITAL FRONTS

Auditorium K

SPECIAL DOCUMENTARY SCREENING: ‘HAYAO MIYAZAKI’ PRESENTED BY NHK Sushi lunch cocktail from 13.40 to 14.15

TRENDS 14.00-15.00, Agora MIPTV TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET

Salon Croisette

BRANDS STORYTELLING LUNCH

INDUSTRY TRENDS DRAMA

By invitation

BRANDS

JUNIOR

DRAMA

4K ULTRA HD

14.30-15.30

15.15-16.15

HOW AR/VR MAY TRANSFORM KIDS CONTENT… AND KIDS LIVES

MIPTV DIGITAL SHORT FORM SERIES PITCH: DRAMA

MUSIC & CULTURE IN ULTRA HD

Agora

4K Theatre

DRAMA

15.15-15.45

16.00-17.30, Auditorium K SCREENING: ‘CALL MY AGENT! SEASON 2’ PRESENTED BY FRANCETV DISTRIBUTION

14.15-15.45

TURNING BRANDS INTO CONTENT STUDIOS

SCREENING: ‘THE DRAGON DENTIST’

Auditorium A

VR BRANDED CONTENT: IMMERSION IS THE NEW BLACK

15.50-16.20, Grand Auditorium ZOOMIN 16.30-17.00, Grand Auditorium AWESOMENESS TV

MEDIA MASTERMIND KEYNOTES 17.10-17.40, Grand Auditorium MIPTV 2017 BRAND OF THE YEAR: ADAM HARTER, VICE PRESIDENT OF MARKETING & CULTURAL CONNECTIONS, PEPSICO 17.45-18.15, Grand Auditorium VARIETY’S 2017 ACHIEVEMENT IN TELEVISION AWARD AT MIPTV

BRANDS

Auditorium K

PRESENTED BY NHK

14.15-15.15 15.15-15.45

JUNIOR

TRENDS

14.30-15.00

Agora

PLAYSTATION VIRTUAL REALITY BRINGING IMMERSIVE ENTERTAINMENT INTO THE HOME

14.30-17.00

Grand Auditorium

MIPDRAMA SCREENINGS: CATCH-UP SESSION Open to all delegates

4K ULTRA HD VR & AR SESSIONS SCREENINGS

Followed by Meet the Speakers

DIGITAL FRONTS

From 19.30, Grand Hyatt Cannes Hotel Martinez INTERNATIONAL EMMY® KIDS AWARDS By invitation

THE VERY BEST IN ULTRA-HD

HEADLINE SESSIONS

13.15-14.15

13.15-14.00, Grand Auditorium FRESH TV FICTION

14.15-15.00

GLOBAL BRAND LAUNCH: TALES OF A MAGICAL BRAND STRATEGY

PRODUCERS PROGRAMME: WHAT TO DO NEXT? KEYS TO A SUCCESSFUL POST-MARKET

MEDIA MASTERMIND KEYNOTE 12.30-13.00, Grand Auditorium RIKARD STEIBER, PRESIDENT OF VIVEPORT, HTC VIVE

BRANDS

12.20-12.50, Grand Auditorium DAVID SHING, DIGITAL PROPHET, AOL

Esterel

Agora

12.30-13.40

MEDIA MASTERMIND KEYNOTE

Followed by Meet the Speakers

Agora

4K Theatre

11.30-12.30

DIGITAL FRONTS

11.00-11.30, Grand Auditorium STUDIO 71 11.40-12.10, Grand Auditorium JUKIN MEDIA

Esterel

4K Theatre

Followed by Meet the Speakers

11.50-12.20, Grand Auditorium TO BE ANNOUNCED

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

Agora

11.15-12.00

TRENDS

9.30-10.15

11.15-11.45, Grand Auditorium TO BE ANNOUNCED

DRAMA

By invitation

JUNIOR

DIGITAL FRONTS

WHEN MEDIA AGENCIES BECOME PRODUCTION POWERHOUSES

Majestic Hotel

4K Theatre

BRANDS Auditorium A

4K ULTRA HD

10.00-11.00

Followed by Meet the Speakers

10.15-10.45

TRENDS

8.30-11.30

Auditorium K

SCREENING: ‘MALTESE’

TRENDS

9.00-10.00

10.15-11.45

Followed by Meet the Speakers

4K Theatre

MEDIA MASTERMIND KEYNOTES

From 19.30, Grand Hyatt Cannes Hotel Martinez MIPTV NETWORKING COCKTAIL & RED CARPET

DISCOVER HOW CANADIAN VR AND AR GIVE A NEW DIMENSION TO THIS ARTFORM

DRAMA

PRESENTED BY KANSAI TV Followed by Sushi & Sake Lunch / Cocktail

16.05-16.35, Grand Auditorium NEW FORM

PRESENTED BY SKY VISION

GLOBAL KIDS: A SUPERFAST BINGE SESSION

12.00-13.00, Esterel INTERNATIONAL KIDS SCREENING: WHAT’S NEW AT MIPTV?

DIGITAL FRONTS

18.30-19.45, doors open at 18.00, Grand Auditorium ‘RIVIERA’

Agora

4K ULTRA HD

THURSDAY 6 APRIL

8.30-10.00

Auditorium K

JUNIOR

15.30-16.00, Grand Auditorium TO BE ANNOUNCED

MIPTV WORLD PREMIERE TV SCREENING

9.45-10.15

Esterel

Followed by Meet the Speakers

13.15-14.15, Grand Auditorium & Balcony FRESH TV FORMATS

14.30-15.15

9.15-9.45

DIGITAL KIDS – THE NEW ESSENTIALS OF YOUR ONLINE STRATEGY

12.20-12.50, Grand Auditorium JØRGEN MADSEN LINDEMANN, CEO, MTG

TRENDS

Esterel

11.45-12.15, Grand Auditorium IVANA KIRKBRIDE, CHIEF CONTENT OFFICER, go90

14.15-14.45

JUNIOR

11.15-11.45

MEDIA MASTERMIND KEYNOTES

Esterel

19.00-20.30

9.45-10.15

4K ULTRA HD

Followed by Meet the Speakers

9.00-13.00 SCREENINGS

TRENDS

4K ULTRA HD

DRAMA

PRE-LA SCREENINGS SHOWCASE

8.45-10.00, Auditorium A WHAT’S NEW FROM LATIN AMERICA

TRENDS

WEDNESDAY 5 APRIL

TRENDS

DRAMA

4K ULTRA HD

16.00-16.30

16.00-16.45

16.30-17.30

UNLEASHING YOUR SENSES WITH VR EXPERIENCE

PRODUCER PROGRAMME: WORKING WITH CHINA

UHD: THE LATEST DEVELOPMENTS

Followed by Meet the Speakers

IN PARTNERSHIP WITH MIPCHINA

Auditorium A

Agora

From 20.00, Carlton Hotel MIPTV GALA DINNER: MEDAILLES D’HONNEUR By invitation

4K Theatre

VISIT MIPTV.COM FOR REGULAR UPDATES As of 17 February 2017, subject to change.

Capital Radio & TV Program Producers Associa on

20/02/2017 14:24

RYTELLING

3-6 April 2017, Cannes

SDAY 4 APRIL

WEDNESDAY 5 APRIL 4K ULTRA HD

DRAMA

9.00-10.00

9.00-12.30

4K Theatre

UND

Majestic Hotel Followed by cocktail

VARIETY PROGRAMMING IN ULTRA HD

INTERNATIONAL DRAMA CO-PRODUCTION SUMMIT

10.15-11.15 4K Theatre

GERMANY EMBRACES ULTRA HD

SUPPORTED BY UNITED TALENT AGENCY By invitation

10.00-11.00

INTERNATIONAL SCREENING

ITALY IS BUSY WITH ULTRA HD

IMMERSIVE CONTENT LEADERSHIP SUMMIT

UHD: THE LATEST DEVELOPMENTS

PRESENTED BY ALL3MEDIA

10.15-11.15

10.30-11.15

FACTUAL ENTERTAINMENT IN ULTRA HD & HDR

THEY MADE MIPTV: CATCH-UP SESSION FEATURING EXCLUSIVE INTERVIEWS OF TOP EXECUTIVES & THOUGHT LEADERS IN CANNES

KING ENT

Auditorium A

DRAMA COMMISSIONERS: WHAT DO THEY WANT? Followed by Meet the Speakers

4K Theatre

10.30-11.00

KIDS COMMISSIONERS WHAT DO THEY WANT?

HOW MIXED REALITY MAY BRING AR MAINSTREAM… AND WHY IT MATTERS

Auditorium A

11.45-13.00, Auditorium A MIPTV ASIAN WORLD PREMIERE TV SCREENING: ‘CRISIS’ PRESENTED BY KANSAI TV Followed by Sushi & Sake Lunch / Cocktail

Agora

4K Theatre

11.15-12.00

TRENDS

9.30-10.15

Agora

4K Theatre

11.30-12.30 Agora

PRODUCERS PROGRAMME: WHAT TO DO NEXT? KEYS TO A SUCCESSFUL POST-MARKET

THE VERY BEST IN ULTRA-HD

Followed by Meet the Speakers

12.30-13.40 Auditorium K

SPECIAL DOCUMENTARY SCREENING: ‘HAYAO MIYAZAKI’

11.50-12.20, Grand Auditorium TO BE ANNOUNCED

DRAMA

By invitation

JUNIOR

11.15-11.45, Grand Auditorium TO BE ANNOUNCED

WHEN MEDIA AGENCIES BECOME PRODUCTION POWERHOUSES

Majestic Hotel

4K Theatre

DIGITAL FRONTS

Auditorium A

4K ULTRA HD

8.30-11.30

BRANDS 10.15-10.45

TRENDS

9.00-10.00

Followed by Meet the Speakers

TESE’

TRENDS

8.30-10.00

Auditorium K

4K ULTRA HD

THURSDAY 6 APRIL

PRESENTED BY NHK Sushi lunch cocktail from 13.40 to 14.15

TRENDS 14.00-15.00, Agora MIPTV TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET

MEDIA MASTERMIND KEYNOTE

HEADLINE SESSIONS

12.30-13.00, Grand Auditorium RIKARD STEIBER, PRESIDENT OF VIVEPORT, HTC VIVE

DIGITAL FRONTS BRANDS 13.15-14.15

13.15-14.00, Grand Auditorium FRESH TV FICTION

Salon Croisette

BRANDS STORYTELLING LUNCH

INDUSTRY TRENDS DRAMA

By invitation

BRANDS DRAMA

4K ULTRA HD

14.30-15.30

15.15-16.15

MIPTV DIGITAL SHORT FORM SERIES PITCH: DRAMA

MUSIC & CULTURE IN ULTRA HD

Agora

…

4K Theatre

DRAMA 16.00-17.30, Auditorium K SCREENING: ‘CALL MY AGENT! SEASON 2’ PRESENTED BY FRANCETV DISTRIBUTION

14.15-15.45

TURNING BRANDS INTO CONTENT STUDIOS

SCREENING: ‘THE DRAGON DENTIST’

Auditorium A

VR BRANDED CONTENT: IMMERSION IS THE NEW BLACK

BRANDS

Auditorium K

PRESENTED BY NHK

14.15-15.15 15.15-15.45

JUNIOR

TRENDS

14.30-15.00

Agora

PLAYSTATION VIRTUAL REALITY BRINGING IMMERSIVE ENTERTAINMENT INTO THE HOME

14.30-17.00

Grand Auditorium

MIPDRAMA SCREENINGS: CATCH-UP SESSION Open to all delegates

4K ULTRA HD VR & AR SESSIONS SCREENINGS

Followed by Meet the Speakers

TRENDS

16.30-17.30

UNLEASHING YOUR SENSES WITH VR EXPERIENCE

PRODUCER PROGRAMME: WORKING WITH CHINA

UHD: THE LATEST DEVELOPMENTS

Followed by Meet the Speakers

IN PARTNERSHIP WITH MIPCHINA

Agora

AWARD AT MIPTV From 20.00, Carlton Hotel MIPTV GALA DINNER: MEDAILLES D’HONNEUR By invitation

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4K ULTRA HD

16.00-16.45

Auditorium A

NG & CULTURAL CONNECTIONS, PEPSICO

DRAMA

16.00-16.30

4K Theatre

VISIT MIPTV.COM FOR REGULAR UPDATES As of 17 February 2017, subject to change.

20/02/2017 11:27

Visit us at MIPTV Stand P3.B38 •••••

bbcworldwidesales.com

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co-produced with BBC America, WDR and France Télévisions

A BBC Open Universit y partnership

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