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M6 SET TO BUY LAGARDERE’S KIDS BRANDS
• IN 2018, FREE-TO-AIR CHANNEL GULLI ATTRACTED A 16.3% SHARE OF ITS TARGET AUDIENCE.
• GULLI’S RATINGS CORNERED AN ADVERTISING MARKET SHARE OF ALMOST 40% ON ITS TARGET AUDIENCE.
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MULTI-TARGET
FRANCE’S M6 GROUP HAS ENTERED INTO EXCLUSIVE NEGOTIATIONS WITH LAGARDÈRE ACTIVE TO ACQUIRE GULLI, CANAL J, AND TIJI CHANNELS.
“NOOBEES” WILL LAUNCH ITS SECOND SEASON After the pan-regional success of hit gaming series “Noobees”, Viacom International Studios announced that it has greenlit a second season (60 x 60’) for Nickelodeon Latin America with co-production partner, Mediapro Group. The announcement was made by Tatiana Rodríguez, Senior Vice-president of Programming & Creative Strategy for Nickelodeon Latin America and Javier Méndez, Head of Content at Mediapro Group, at the recent NATPE. The first season of the show, which premiered in September 2018, yielded more than 10.4 million pay-tv viewers in the region.
• LAGARDÈRE’S HAS TWO PAY-TV CHANNELS FOR YOUNG VIEWERS: CANAL J, WHICH IS FRANCE’S FIRST CHILDREN’S CHANNEL FOR AGES SIX TO 12, AND TIJI FOR KIDS AGES THREE TO SIX.
ULLI STOEF AND STUDIO 100 PART WAYS Ulli Stoef, CEO of Studio 100 Media AG and m4e AG, will be stepping down from his functions within m4e AG and the Studio 100 Group by end of June 2019 as the further integration of m4e AG and Studio 100 Media AG businesses continues. Until his effective resignation, Ulli Stoef will continue to carry out his current duties in order to ensure a smooth transition, after which he will devote himself to his passion as independent entrepreneur again. Mr. Stoef will announce his next steps and new venture in due course. Hans Bourlon will continue to act as Member of the management board of Studio 100 Media and will assume Mr. Stoef’s tasks along with the local Studio 100 Media management team. A replacement for Mr. Stoef as CEO of m4e and member of the management board of Studio 100 Media will be announced in due course.
WILDBRAIN WELCOMES THE SMURFS WildBrain, a leading digital kids’ network and studio, has been appointed by International Merchandising, Promotion and Services to be the YouTube manager of the iconic Smurfs brand on an exclusive worldwide basis. Under the agreement, WildBrain will assume management of 41 existing localised Smurfs channels for IMPS and implement a global strategy to grow The Smurfs’ audience on YouTube and YouTube Kids, including optimizing distribution of The Smurfs’ content catalogue, beginning with The Smurfs TV series. 2 · SEÑAL INTERNACIONAL
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KESHET KIDS’ DIVISION SIGNS DEAL WITH MEDIALAAN LICECENSING DEAL IN ITALY FOR “FIND ME IN PARIS” Federation Kids & Family announced its licensing partnership in Italy with leading kids entertainment company Planeta Junior, for its premium time-traveling ballet series “Find Me In Paris”. Now in its second Season, the show (52 x 26) launched on the Disney Channel Italy in November 2018, alongside a worldwide debut on the most important platforms across the globe including: NBC Universal Kids and HULU (US), Nickelodeon (UK), France Télévisions (France), Disney (France), ZDF (Germany), ABC (Australia), and VRT (Belgium), among others. Planeta Junior will take on the licensing rights to the series, concentrating on the extraordinary opportunities provided by a tween live action series revolving around music, ballet and modern dance – set against the backdrop of the most iconic opera house, in the most famous city in the world. A first key book deal has already been signed with publishing giant, Mondadori, which will launch in 2019.
The Kids’ division of Keshet International has signed another high-volume licensing deal for three of live-action tweens’ and teens’ finished series totally 188 hours of content. Keshet has licensed Belgium broadcaster Medialaan all three seasons of the Israeli ratings recordbreaking daily-drama “The Greenhouse” (175x22’), three seasons of the live action series “Spell Keepers” (150x22’) and three seasons of the sitcom “Bed & Biscuit” (51x22’). All of these Hebrew language shows originally premiered on Nickelodeon Israel and Teen Nick exclusively on Yes TV and are produced by Nutz Productions, a subsidiary of the multi-channel media group Ananey Communications. This is the first time Medialaan has picked up any Hebrew-language live action kids’ series.
NELVANA SIGNS A WAVE OF DEALS FOR “ESME & ROY” SERIES
XILAM ANIMATION HITS 10 BILLION VIEWS ON YOUTUBE
Corus Entertainment’s Nelvana and Sesame Workshop confimred that the original animated series “Esme & Roy” has been picked up by ARD and ZDF’s joint children’s channel KiKA in Germany, alongside seven other networks internationally. The show launched in August 2018 on Treehouse in Canada and on HBO in the US. The new deals will expand the animated series by KiKA (Germany), Disney Junior Southeast Asia), NRK (Norway), SVT (Sweden), YLE (Finland), Minimini (Poland), HOP (Israel), and DKids (Middle East, North Africa).
The independent producer and distributor of original animated content confimed a major milestone in its digital growth: having reached 10 billion total views across its YouTube videos as of December 31, 2018. This achievement underscores the rapid growth of Xilam’s digital offering, with a 44% increase in traffic (number of videos viewed) across its YouTube programming, resulting in an impressive total of almost four billion views in 2018 that was driven by strong momentum in the United States (+100%). This increased traffic is also reflected in the number of subscribers to Xilam channels, which grew 162% to reach 6.3 million at the end of 2018 (vs. 2.4 million at end 2017). SEÑAL INTERNACIONAL 2019
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DISTRIBUTION
Pipeline Studios Expands Its Distribution Arm Juan Esteban López, President at Pipeline Studios; and Leyla Formoso, SVP Distribution and Acquisitions at the brand-new division Ohana Distribution, explain the new international expansion strategy of the company.
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ipeline Studios is a creative, driven studio, with a focus on the development, production, and distribution of award-winning kids and family content for a global audience. Recently, after ten years of serving companies with their content, the company decided that it was the right time to expand its distribution on an international basis. With that in mind, Pipeline Studios hired Leyla Formoso, who is now SVP Distribution and Acquisitions of the recently launched Pipeline’s distribution arm: Ohana Distribution. “I started to work at Pipeline Studios in January, opening our distribution area, Ohana Distribution. This new area is the birth of a new adventure, with a new name, and a new professional relationship. I know Luis Lopez for 20 years. He thought that this is the right moment to globalize all the company’s production and open up its business internationally, with sales, co-productions, and also keep looking for content to distribute. I will
m Juan López and Leyla Formoso
oversee this development, which will be managed from Paris. It is a super exciting time for me because it encompasses all the territories of the world. It’s a lot of work, but I’m thrilled to start something new,” Formoso said. At Kidscreen Summit 2019, Pipeline Studios will officially launch Ohana Distribution. “Given the relationship between Leyla and Luis, we decided that she was the best person to lead a global strategy of distribution, acquisitions, and partnerships. We believe that this is the best strategy and a natural progression over the last ten years. With a distribution arm q ”Flack” we will have even more flexibility,” Juan Esteban López, President of Pipeline Studios, stated. STRONG CATALOG Nowadays, Pipeline Studios has a catalog with 15 projects in different stages and, at Kidscreen, the company will launch the most ambitious of them all: a TV series based on the famous movie “The Nut Job,” from ToonBox Entertainment. “In the last ten years, Toonbox has been the
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only studio in Canada able to produce a successful mainstream animation film. This movie had a great box office performance. Now they want to adopt the film business model into a TV series. They were looking for a partner with whom to do that because they don’t handle distribution. We signed an exclusivity partnership to manage the global distribution rights for the series,” López explained. “Ori & Gami Show” is another series Pipeline Studios will showcase at Kidscreen. An original IP, the idea comes from Pipeline’s team, and it is developed using paper motion technology, an exclusive technique owned by the studios. According to Formoso, this series “has already had an amazing reception by the global buyers.” Both Formoso and Lopez are delighted with the quality of what Pipeline produces. “We think we are competing with the major companies in levels of quality, content, and stories. I do not doubt that international partners are going to open up to everything we are launching for global markets,” Formoso claimed. The SVP Distribution and Acquisitions at Ohana Distribution believes that the most exciting attribute of this new project is the triangulation between all the areas of the company. “We have the strength, experience, funding, creativity, and artists of Canada, and I’m based in Paris. All together makes it much easier to reach a global growth,” Formoso concluded. By Diego Alfagemez and Federico Marzullo /senalint
INTERVIEW
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“Striking and Original Ideas Engage Young Viewers”
Matteo Corradi, CEO at Mondo TV, describes the expansion approach of the company with shows like “Sissi the Young Empress” and “Robot Trains,” with seasons coming out in 2019
That success has also contributed to the development of a third series, a new, 3D season (52 x 11’) to be launched in 2019 with a new format”.
ondo TV started the year with huge news: free-to-air broadcaster Disney Channel Spain has scooped up rights to the first two seasons of live-action dramedy “Heidi Bienvenida” for 12 months. Señal Internacional interviewed Matteo Corradi CEO at Mondo TV, to analyze the company’s global business potential.
The first series of “Robot Trains” already broadcasts on several leading freeto-air channels. Do you observe even more global potential for the show? “Absolutely. The second season is coming soon, and takes the characters to a new stage, introducing Rail Watch, the trusted robot train guardians of Rail World, who transform from trains to robots to protect their home and its vital energy supplies. The ideas of the show are friendship, adventure, humor, and the environment. It has a universal appeal, and we will see it expanding across many more countries”.
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What specific needs do you recognize among the “Kids & Animation” programming genre? “Regarding production values, all children’s animation needs engaging characters, good storytelling, and appealing design. Those qualities have been essential to successful animation for over a century. Much kids’ animation also employs humor and adventure. Those qualities are central to shows like ‘Robot Trains,’ ‘YooHoo to the Rescue,’ and ‘MeteoHeroes.’ Many of our shows also reflect the interests of their time. For example, the environment is a strong theme in all three of these shows. Romance
and magic have a great appeal too, and both qualities are strong contributors to the success of “Sissi,” along with its delightful and free-spirited central character. Striking and original ideas is another way of engaging young viewers, as we did with ‘Invention Story,’ with a cunning fox who invents fantastic things”. Do you observe new business models in the international arena? “Regarding business models, coproductions are a good way to spread the risk and attract a wider range of talents. Many of our recent and soon-toarrive shows are co-productions. It’s also important to build a licensing programme alongside the development of a kids’ property. Young fans of a hit show cannot be expected to wait for product”. “Sissi the Young Empress” closed deals around 40 countries. What will the next expansion steps for the show? “The success of the two series so far is inspiring new agreements. Broadcasters in Austria, Germany, and Switzerland have recently signed up. We expect to make more announcements throughout the year.
By Diego Alfagemez
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Do you recognize certain differences between the trends for digital and linear platforms? “Linear TV will continue for a long time, but we are also embracing new platforms. ‘YooHoo to the Rescue’ will appear, in most territories, as a Netflix Original Series. We feel that the growth in viewing platforms like Netflix and online media has helped to democratize brand exposure. There are many more TV stations and ways of generally viewing, which is good for viewer choice. Digital platforms mean you can now reach vast audiences quickly across multiple media, which appeals to licensees. You can also target innovative shows to smaller audiences willing to pay to see them, which encourages diversity. On the other hand, audience measurement is no longer simple, and audiences may be less willing to stick with a show. However, whether digital or linear, it’s still important to have a property offering strong content”.
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INTERVIEW
“We Want to Build Stronger Partnerships with Latin American Key Players” Raphaelle Mathieu, Senior Vice President, Sales, Acquisitions & New Media at Cyber Group Studios, describes the new trends for the animation genre and defines the business potential of shows like “Gigantosaurus” and “Taffy.” together. In Europe and Latin America, the trend for pure action/boys-oriented show has strongly decreased and gave more space to gender inclusive shows”.
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ast November, Cyber Group Studios held the opening ceremony of its brand-new animation studio. With more than 120 employees in Paris, the new facilities are one of the largest in Europe, with its new 4,305sqft animation studio based in Roubaix. To describe the new business perspective of the company, Señal Internacional interviewed Raphaelle Mathieu, Senior Vice President, Sales, Acquisitions & New Media at Cyber Group Studios. Do you recognize any new trend for the animation programming genre? “The need for comedy shows is critical either for traditional shows or for other elements such as adventure, action or edutainment. More channels are requiring more programs that are gender inclusive. I use the term inclusive because it reflects the need for bringing all the audiences
What specific international expectations do you have for “Sadie Sparks”? “‘Sadie Sparks’ is an amazing series. The main girl character is teaming up with the super talented grumpy rabbit wizard. It is a perfect recipe to reach both girls and boys! The series has already been sold to Disney EMEA and Discovery Latin America. ‘Sadie Sparks’ has also been sold to Cartoonito in Italy, Disney Channel in Germany and Spain. The show will have great exposure, and we truly believe in its potential for Latin America. We want to build stronger partnerships with Latin American key players. We should have great news to announce at the upcoming MIPTV”.
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How do you evaluate the global expansion of “Taffy”? “‘Taffy’ is our first co-production with Turner international and we are proud to say it is the first Boomerang original. We are so happy to see the massive support they gave to the series in terms of promotion in all the territories where it has been released. We are discussing a new deal for the US market, and we closed new deals like the one with Disney Germany”. Cyber Group launched “Gigantosaurus” at the last MipJunior. How was the buyers’ feedback about this new comedy/adventure animation show? “‘Gigantosaurus’ is a gigantic-enormous moment in the life of Cyber Group Studios! The feedback from buyers worldwide after our worldwide premiere event in Cannes was wonderful. We already sold the show to Disney Worldwide (excluding India and China) and Netflix for a subsequent global SVOD window. ‘Gigantosaurus’ will also be launched by Super RL in Germany, RAI in Italy, SRC in Canada, and France Televisions. The next stops for the series will be Brazil, Mexico, Poland, and China, to name a few of the undergoing negotiations. We’ve also closed a deal with Jakks Pacific as our toy partner, and as we will announce a new partnership for video games at Kidscreen”. What will be Cyber Group’s new launches for 2019? “Our goal is to keep on working on the growing success of the three main series launched in 2018/2019. We will keep on working on the progression of ‘Zack Jinks,’ ‘Ernest and Rebecca’ and ‘Mini Ninjas.’ Also, we will launch a new exciting version of the great ‘Tom Sawyer’ (26x22’) with ARD/HR Germany, RAI Italy, SRC, and TFO Canada; with a big launch for Mipcom”. By Diego Alfagemez
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INTERVIEW
“SVOD Players and New Platforms Has Revitalized the Industry”
How do you manage content sales for television, online and digital media? “Our sales execs work across all platforms so we can drill down into the timing and roll out of our franchise brands such as ‘My Little Pony,’ ‘Transformers’ and ‘Rescue Bots Academy.’ It’s imperative to have a robust launch strategy across each platform, maximizing the different audiences across linear and digital and sustaining them for maximum impact.
Finn Arnesen, SVP, Global Distribution & Development at Hasbro Studios, highlights the goals of the company, which wants to reach all screens where kids and families are, with huge brands as “My Little Pony” or “Transformers.”
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You work closely with the Consumer Products division. How important is to increase that synergy to improve IP’s performance? “We work very closely with our Brand teams and Consumer Products teams to make sure we have best in class campaigns across media, CP and Retail and tie programming, CP and Retail as One Voice. Our partners across broadcast and retail welcome the cross-genre value we can add to ensure our IP stands out in a crowded marketplace”.
eteran children’s programming executive Finn Arnesen joined Hasbro Studios in 2010 as Senior VP, Global Distribution & Development. In his role, Arnesen manages Hasbro Studios’ global content sales, distribution, channel, and program development activities extending across television, online and digital media, working closely with the Consumer Products division. Señal Internacional spoke with Arnesen to describe the current strategy of the company.
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How would you define Hasbro’s international distribution strategy? “Our team is focused on global sales across all platforms. Sales of pay and free tv are significant for exposure and mass awareness building, and subsequent window sales to all global SVOD partners are equally important. We are committed to being on all screens with our omni channel strategy to be where kids and families are, engaging with our content across multiple touch points including YouTube and other AVOD platforms. Rights management plays an essential part in this strategy.
increased competition. Great shows with great characters and stories will always break through, and we are fortunate to have strong, recognizable brands such as ‘My Little Pony’ and ‘Transformers,’ that kids and families enjoy and engage with across entertainment, CP and merchandise. YouTube has been a great test as a marketing platform for the industry, and lots of new IP and brands have emerged. Data and real-time analytics are challenging the industry to look at success in different ways. It is an exciting time for the kid’s animation business”.
What specific context do you observe in the “kids and animation” genre? “It has been relatively challenging over the past few years, as broadcasters have had fewer slots and decreasing budgets for shows, but the emergence of the SVOD players who have robust investment and having new platforms to pitch to has somewhat revitalized the space and 10 · SEÑAL INTERNACIONAL
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What will be the main launches and pipeline projects for 2019? “We will be launching ‘My Little Pony, Friendship is Magic’ season 9 at the end of Q1. We will also debut our new ‘Rescue Bots Academy’ show globally in the first half of the year, and we have the second season of ‘Transformers Cyberverse’ bowing in Q4 with our partners at Cartoon Network. The first season was launched across all platforms as part of our omni channel strategy across linear, digital and YouTube to great success and we shall continue this for season two”. By Diego Alfagemez
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INTERVIEW ENTREVISTA
“We Will Develop Complimentary Windows That Maximize Global Audiences” Natalie Setton is the new Head Global Distribution at Genius Brands International, and she is focused on building a global distribution business that supports the upcoming launches of preschool series “Rainbow Rangers” and “Llama Llama”.
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ast month Genius Brands International appointed Natalie Setton as the Head Global Distribution of the company. Based in London, UK, she is tasked with driving international sales of the Genius Brands’ programming library. Señal Internacional interviews Setton to describe the new global strategy of the company.
What will be your main personal and professional challenges for your new position at Genius Brands? “In my new role, I will be tasked with growing all of Genius Brands’ engaging, original series across all media platforms around the world. While I’m confident in the various skills, knowledge, and experience I bring to this position; I’m also excited to apply my talents to Genius Brands’ entire product offering. The challenge will be ascertaining the best of all the appropriate platforms for each series and how to leverage new content distribution opportunities to garner the widest audience possible for the company’s ever-expanding content offerings.
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I’m eager to work with all the children’s entertainment outlets in developing complimentary windows that maximize the global audience for each of the unique content brands while keeping the introduction of the series fresh and engaging on every platform and in every market”. How do you analyze the international positioning of the company? “Broadcasters, streaming platforms, anyone dealing with children’s entertainment content knows Genius Brands and our CEO, Andy Heyward, who has produced more hours of children’s programming than practically anyone else. It’s a brand and company that everyone benefits from being associated with, as the company has a proven reputation for producing uniquely engaging content that goes beyond entertainment and empowers young viewers to think and explore the world around them. That’s a fascinating proposition; I’m honored to be on the front line, introducing the latest innovative series from Genius Brands, forging the relationships with media outlets and programmers that I know will last well into the future”. What will be the international content sales strategy of Genius Brand for 2019? “‘Rainbow Rangers’ launched on Nick Jr. in the US this past November, earned impressive ratings and collected a great deal of media attention for both the brand and the company. I want to focus on continuing that performance in every international market, proving this series
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is a stellar example of consumer-driven content. I’m excited to present ‘Rainbow Rangers’ and ‘Llama Llama,’ the endearing pre-school series that our company developed with Netflix, which will be available to international buyers in 2020, along with our other catalog series to buyers at Kidscreen. It’s a great way to begin my career with Genius Brands”. Will you focus your sales strategy on any specific territory of the world? “I’m fortunate to have many solid relationships with numerous broadcasters and content platforms all over the world, and I can’t wait to introduce our content to every one of them. My strategy will begin with Europe, the Middle East, and Africa, then move on to Central America, South America, and Asia Pacific regions, primarily traveling the globe throughout 2019 and then circling back to follow-up with partners as launch dates near. There is a great deal of work to be done, but I am confident in the content’s global appeal and ability to attract audiences”.
By Diego Alfagemez /senalint
PRODUCTION
Animar, the Best of Argentinean Animation The Argentinean Animation Cluster combines six local companies with more than ten years of experience in the business. With a new perspective, they try to mix their resources to reach global objectives.
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nimar is the Cluster of Animation Companies, VFX and Immersive technologies from Argentina. Based in Buenos Aires, the group of companies shares the same international goals and the blend more than ten years of experience to in the promotion of production, co-production, and distribution of the Argentinean animation business. “Argentina’s background in the audiovisual industry and our experience in the animation field is the real key factor for the country’s business potential”, Laura Gagliesi, General Manager and Coordinator of the Cluster, said to Señal Internacional. One of the companies that shapes Animar is Malditomaus, specialized in creating visual worlds through CGI, VFX, and immersive technologies. Another cluster’s company is Nuts Media, the first studio to produce a stereoscopic 3D movie in Argentina: “La Máquina que Hace Estrellas”. The company has two series in co-production with Paka Paka Argentina and Verdeo: “Krakatoa” and “No tan distintas”; The company is also developing two feature films, “Pueblo
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m Gonzalo Speranza, Gonzalo Azpiri, Marilina Sanchez, Luciana Roude y Laura Gagliesi.
Chico” and “Santo Gato”. Malabar is also part of Animar, specialized in the development and production of children’s 3D animation series. It has produced more than 2100 minutes of animation with shows like “Robotia” (two seasons, 26x13’), “Monstruos de la Guarda” (13x11’), “Mati y Rocco” (13x7’), “Minimalitos” (91x13’), “Monstruos Rodantes” (26x7’), “La Cocina de Tomás” (26x7’) and “Animaolímpicos” (13x13’). Another Animar member, Hook Up Animation, is one of the best 2D and 3D animation studios in Latin America. The company is currently producing his feature film “Gilgamesh” and the series “El canal de Gina”, in co-production with Paka Paka. Furthermore, the company launched “Go-Yello” (26x 11’) “Rock D ‘ House” (26x11’), and “Baloca” (26x 11’). Another company in the structure of Animar is Caramba Studio, specialized in 2D animation. The company released is “King of the Worlds” series (52x 11’), a co-production with Copernicus Studio Canada; and “Mystery Network” (26x 11’), a co-production with Split Studio Brazil. Animar also counts with Can Can Club, a regional reference in stop motion, also producer of the television series “El hombre más pequeño del mundo”, co-produced with France Television and Paka Paka. It also features “Mandinga” (26x 2: 30’), “Cuentos de 2 metros” (26x 7’), “WawiPox” (26x 5’) and “2 Pajaritos” (26x 3’), in co-production with Palermo Studio Uruguay. “All our companies are already working in the international environment, and they mix their focus to face more ambitious projects together”, Laura
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Gagliesi stated. Regarding the contribution of Argentinean animation for the international industry, Gagliesi highlighted that the current peso currency value helps to attract producers to work in the country. “Moreover, the European and Latin American cultures are mixed in Argentina, so it is easier to produce content for global audiences”, she added. For 2019 Animar will participate in all major international animation markets. In Kidscreen, the association will search for new minority co-production stakes for upcoming TV series, which are already in advanced stage of production. Later in the year, Animar will participate in Annecy MIFA, MipJunior and Mipcom. “Since we are part of an audiovisual cluster, we added experiences and resources, strengthening the competitiveness of our productions, co-productions, and services of each company, promoting collective projects,” Laura Gagliesi said. By Romina Rodríguez /senalint
QUICKIES
9 Story Launches Live-Action Division
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Story Media Group launches of a new live-action division and the appointment of Jeremy Slutskin to the role of Vice President, Live-Action Development and Production. Slutskin, who will be based in New York and report to Chief Creative Officer, Angela Santomero, will lead the creative live-action content strategy. The newly minted division will make its debut at Kidscreen with a robust slate of properties for kids 2-14, plus families. “Launching this new live-action division is a natural next step in the company’s expansion,” said Vince Commisso, President & CEO for 9 Story. “Building on our live-action successes in the past
including Harriet the Spy: Blog Wars and the YouTube Original Furze World Wonders, we will be creating compelling and unique live-action content in a more purposeful way. With a robust slate and sound strategy under the experienced leadership of Jeremy Slutskin, the new live-action division will produce a whole new array of exceptional kids content you won’t be able to find anywhere else.” Kick-starting this new division is the debut of an exciting and diverse live-action slate at next month’s Kidscreen Summit, which includes 3-Series Development Deal with Emmy Award-winning producer Tom Lynch;
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and “TombQuest” (9-14; Family), based on the New York times best-selling “Scholastic” book series from author Michael Northrop. This new slate joins the previously announced preschool series “Blue’s Clues & You” for Nickelodeon, which is currently being produced by 9 Story’s new in-house live-action team, as well as Brown Bag Film’s extraordinary 3D and 2D animation teams.
First Kidscreen for Rmvistar’s
kids’ catalog
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he independent distribution company will attend Kidscreen for the first time and will present a line-up of kids programming, with exclusive animation series in 2D, 3D, and Live Action. The first highilight of Rmvistar’s catalog shows the soccer world of “Robotia”, where every team player has something to contribute. An Argentinian series, it was produced for local broadcast (26 x 11’) and new episodes are partially financed,
established talents from all over Latin America, and we welcome the opportunity to discuss the license of finished programming and new originals. Some are already financed and other are in early development stages”, Rose Marie Vega, Founder at Rmvistar, said.
looking for an international partner for global launch. From Brazil, Rmvistar also launch “Lupita”, the series is led by a curious astronaut ready to explore the earth. “Lupita” is created by the same producer of the highly successful series “Universo Z”, a mix of live action and animation, entering in its third season on Nick Jr Latin America. “Universo Z” now has 156 episodes available for international sales. “We have several originals from
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