STAFF President / CEO Sebastian Lateulade EXECUTIVE DIRECTOR Soledad Saldías OPERATIONS DIRECTOR Rodrigo Ros SALES AND PRODUCTION MANAGER Darío Aleman EDITORIAL MANAGER Sebastián Amoroso EDITOR Stephanie Biscomb EDITORIAL TEAM Sebastián Torterola Josefina Mezzera IT Manager Alejandro Barros IT ASSISTANT Ricardo Pereira DATA OPERATIONS Fernando Moreno Webmaster Nazario Pereira TRANSLATOR Josefina Caviglia FINANCE MANAGER Cr. Michel Schwartz MANAGEMENT Mónica Iriarte ART & DESIGN Unik design info@unikbureau.com www.unikbureau.com Headquarters Aguada Park Paraguay 2141 Of. 403 Ph./Fax: (1) 305 4792772 Montevideo - Uruguay CP 11800 Production Guide 2011 is an annual publication owned by TodotvMedia. Its distribution is free of charge. The articles reflect the opinions of the individual authors on the topics covered, without implying editorial control or endorsement of the content by the management and ownership of the magazine. For all purposes, the advertisements and their content are the sole responsibility of the advertiser. Reproduction in whole or in part, in electronic or print form, of the content of this publication, without express written permission of TodotvMedia is strictly prohibited.
Production Company Profiles Central Park Producciones _/28 Ideas del Sur Producciones _/30 LCAcci贸n Producciones _/32 Mandarina Productora _/34 ON TV Llorente & Villarruel Contenidos _/36 Pol-ka Producciones _/38 Quark Contenidos _/40 Telefe _/42 BossaNovaFilms _/54 Casablanca _/56 Mixer _/58 Prodigo Films _/60 BE-TV _/72 Caracol Televisi贸n _/74 Fox Telecolombia _/76 Metro Studio _/78 Televideo _/80 Vista Productions _/82 Dubbing House_92 Mediamates_94 The Lift_96 Contenidos TV _/100 Locomotion _/102 Microtime _/104 Oz Media _/106 Disney Media Networks Latin America _/116 FremantleMedia Latin America _/118 HBO Latin America Group _/120 MTV Networks Latinoamerica_/122
Special Reports Argentina _/18
A Track-Record in Audovisual Production
Brazil_/46
Production in its Prime
Colombia _/64 Inside Collywood
Mexico _/86
A Consolidated Duopoly
Interviews Claudio Villarruel & Bernarda Llorente_/ 22
Fernando Gaitán_/69
Founders, ON TV
VP of Content and Products, RCN Televisión
Diego Andrasnik_/ 23
Doris Martínez_/70
Executive Producer, Pol-ka Producciones
Mariano Elizondo_/ 24 General Manager, Ideas del Sur Producciones
Mariano Chihade_/ 25 CEO, Mandarina Productora
Martín Kweller_/ 26 Director, Endemol Argentina
Mariana Pérez_/ 27
VP and General Manager, Fox Toma 1
Arlette Siaretta_/49
Vice Manager & Producer, Metro Studio S.A.
Francisco Muñoz Calle_/71 President & CEO, Televideo
Rosy Ocampo_/89
Head of Innovation & Executive Producer, Televisa
Marcel Vinay Jr._/90 CEO, Comarex
Jorge Arregui_/91 President, Dubbing House
Michela Giorelli_/110
President & Owner, Casablanca
VP of Production and Development, Discovery Networks Latin America/US Hispanic
Hiran Silveira_/50
Luis Peraza_/111
TV Drama Director, Record TV Network
Adriano Civita_/51 CEO, Prodigo Films
Ricardo Scalamandré_/52 Head of International Business, Globo TV International
Denise Gomes_/53
Partner and Executive Producer for the Entertainment and Branded Content Area, BossaNovaFilms
Samuel Duque Rozo_/66 President & CEO, Fox Telecolombia
Darío García_/67
VP of Production, Caracol Televisión
Jaime Sánchez Cristo_/68 General Manager, Vista Productions
Executive VP of Production & Acquisitions, HBO Latin America Group
Brendan Fitzgerald_/112
SVP of Productions in Latin America, Sony Pictures Television Television
Leonardo Aranguibel_/113 Director of Production, Disney Media Networks Latin America
JC Acosta_/114
SVP, CFO & Executive in Charge of Production for MTV Networks Latin America, US Hispanic & Canada
Jack Alfandary_/115
SVP of Sales & New Media Development, FremantleMedia Latin America
ARGENTINA
A Track-Record
in Audiovisual Production
The Argentine market’s rich TV production history changed the Latin American paradigm, establishing a new way of conceiving and creating television. By Sebastián Amoroso and Sebastián Torterola
The
paradigms of Argentina’s TV industry changed in the 90s, with three men standing out as drivers of a new professional and aesthetic trend. Adrián Suar, Mario Pergolini and Marcelo Tinelli would, in just one decade, change the way of conceiving and making local television. A different way of interpreting reality emerged and traditional production schemes were replaced with small working structures headed by these young innovative entrepreneurs, who took the lead in a complex and dramatic process. These three industry stakeholders founded true media empires: Pol-Ka Producciones (Adrián Suar), Cuatro Cabezas (Mario Pergolini) and Ideas del Sur (Marcelo Tinelli). Over the decade, independent production earned considerable experience through iconic TV shows such as ‘Poliladron, Una historia de amor’ (Pol-Ka, 1995, Canal 13), ‘Caiga Quien Caiga’ (Cuatro Cabezas, 1995, América TV) and ‘Video Match’ (Ideas del Sur, 1989, Telefe). The years after Argentina’s economic crisis were marked by macroeconomic recovery. The currency exchange policy contributed with Argentina’s economic situation. A national currency policy keeping the Argentine peso at one third of the US dollar boosted domestic production and had outstanding effects, renewing the television industry. Some production companies even started exporting their formats and fiction content, while a fierce competition ruled over the local market.
to an Official Report by the Argentine Association of Advertising Agencies (AAAP), these three countries concentrate 80% of the continent’s ad spending. Argentina accounted for 13.5% of total ad spending in 2009. “The year 2009 will be remembered in the advertising industry as one of the worst years in modern history. Worldwide ad spending dropped 10.2% (...) which means that overall investment went down from US$493,988 million in 2008 to US$443,704 in 2009,” the report says. Eastern Europe was one of the most affected markets (down 21.7%; US$ 7.6 billion less), as well as North America (down 12.7%, US$ 22,790 million less). Latin America was the only region in the world to “escape economic contraction” with a meager 0.3% growth over 2008. The Argentine market experienced a “slight recovery in volume of advertising activity compared to the downward trend experienced over the previous years,” especially in 2008. Considering that 2009 was an election year -something that always boosts ad spending in any country- total ad spending in Argentina grew 16.67%, bringing 2009’s total spending to US$2.3 billion and very close to its historic record in 1998. As for television, overall ad spending amounted to US$977 million, 18.6% over 2008, concentrating 41.7% of all advertising investment. The overall amount breaks down into US$771 million for broadcast TV (12.2% growth) and US$207 million for cable TV, an outlet that recorded an outstanding 50.2% growth rate.
Since then, everyday life stories became massive entertainment products, made by talented local teams at a cost that was remarkably low compared to the world’s market prices. These factors and other reasons combined transformed Argentina into a highly competitive producer. The Argentine market started to attract foreign investment in the form of co-production partnerships and production service contracts and slowly started to emerge as the perfect market for major global players: Dori Media Group, Endemol, Disney Media Networks, FremantleMedia, MTV Networks, Televisa, Sony Pictures Television, Discovery Networks and Cookie Jar, among others.
Despite the sector’s proven growth, local industry executives feel that the advertising industry is stagnant and has declined. “Total ad spending in US dollars should grow by 50% or more,” Mariano Chihade, director of Mandarina Productora, told ttv. Yet the market’s growing number of production houses significantly increases the sector’s competitiveness, in a domestic industry that is close to reaching its saturation point. “This company wouldn’t survive if it only worked for the local market,” said José Luis Massa, CEO of Illusion Studios one of the largest animation production companies in the region.
BUSINESS LANDSCAPE Argentina’s 40 million people make it one of the top three markets in Latin America with Brazil and Mexico. According
Argentina’s broadcast TV scene is clearly outlined: ratings are split up in three, shared between Telefe (Canal 11, Grupo Telefónica), Artear (Canal 13, Grupo Clarín) and Canal 9
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(Alba Communications Group). Meanwhile, the rest of the audience is captured by América TV and Canal 7-ATC, a public channel with national coverage. In terms of content, Pol-Ka Producciones and Ideas del Sur fulfill Canal 13’s grid requirements. Telefe is basically self-sufficient thanks to its in-house production company but also takes in Eyeworks/ Cuatro Cabezas productions. Endemol Argentina also operates in this market since 2001 and has produced and co-produced for all the aforementioned channels, playing an active role in local programming. But Argentina’s TV industry does not end there. There are 23 independent production companies nucleated under the Argentine Chamber of Independent TV Production Companies (CAPIT) which, according to data provided to ttv, represents more than 3,000 industry professionals.
INDEPENDENT PRODUCTION COMPANIES ASSOCIATED TO CAPIT 1 BBTV S.A. 2 Carburando S.A. 3 Eyeworks Cuatro Cabezas S.A. 4 Dori Media Contenidos S.A. 5 Central Studios S.A. 6 El Oso Producciones S.R.L. 7 Endemol Argentina S.A. 8 G.P. Media S.A. 9 Ideas Del Sur S.A. 10 Innovo Producciones S.R.L. 11 Kapow 12 L C Acción Producciones S.A. 13 La Cornisa Producciones S.A. 14 Mandarina 15 Medios Y Contenidos Producciones S.A. 16 Pensado Para Televisión S.A. 17 Pol-Ka Producciones S.A. 18 Promofilm S.A. 19 Sonotex S.A. 20 Underground S.A. 21 Varenike Contenidos 22 WIN TV SRL
INCIPIENT ALBEIT PROMISING REGULATIONS A lack of government incentives is possibly one of the worst deficiencies in the Argentine production industry yet this too is set to change. Initially planned for the second quarter of 2010, the Government of Buenos Aires announced that it would sponsor an Audiovisual Production Center aimed at increasing Argentina’s content exports to the world. In late 2009 Argentina was ranked as the world’s number four country in format exports according to the Format Recognition and Protection Association’s (FRAP’s) second biannual report. The FRAP concentrates over 100 producers, distributors and broadcasters and analyzes the sector’s 11 most influential areas. Argentina’s cultural industry -which includes the production of books, movies, music and TV shows- grossed US$10 billion in 2008, 3.27% of the country’s GDP. According to the Government’s Ministry of Economic Development, this trend of sustained growth is based on new technology-related businesses, enhanced by strong TV content production. According to Francisco Cabrera, Minister of Economic Development of the city of Buenos Aires, one of the keys to this growth lies in a significant increase in format sales for local adaptations abroad. Argentina’s cultural industry is the fastest growing sector in the country. An official report says that this sector registered a GDP growth rate of 17.2% in 2008, closer to growth rates recorded in Spain or France and the highest in South America followed by Uruguay. This sector is worth US$1.5 billion in Argentina and receives support from the Government of Buenos Aires, which is promoting the new Audiovisual Production Center. This project includes granting tax exemptions to over 400 production companies that are currently located in the Federal Capital. The bill, which is still under discussion, includes a gross income tax reduction of 1% for companies with an annual turnover of over US$15 million and a total tax exemption for those companies with turnover under said amount. It also states that companies located at the audiovisual production center will be exempted from paying the ABL tax (lighting,
sweeping and public cleaning). This exemption will be valid for ten years for foreign companies and 15 years for local companies. According to the project’s forecasts, the Audiovisual Production Center will gather 550 companies by 2020. Its number one priority will be production companies developing TV and advertising content. According to Cabrera, Underground, Pol-Ka Producciones, Patagonik, Pioneer, Cámaras y Luces, Pampa Films, Film Suez and
Endemol have already expressed their support for the project. The Production Center is scheduled to open in June 2011 and will feature a Metropolitan Audiovisual Center, with studios to shoot and screen content. This particular part of the project required a U$S30 million investment, Cabrera told the local press. The center will also hold the headquarters of the BA-SET (Buenos Aires Shooting Set) and the BACF (Buenos Aires Film Committee). Both are government agencies that promote the city as the perfect shooting location.
CAEA LAUNCH AT MIPCOM 2010 At MIPCOM 2010, held last October in Cannes, the Argentine Chamber of Audiovisual Exporters (CAEA) was presented to industry producers, customers and executives. The event was sponsored by Argentina’s Ministry of Foreign Affairs, particularly its Department of International Trade, and hosted by Ambassador Luis Kreckler. Julieta Camarada, president of CAEA, emphasized that the initiative sought to promote “for export content” that’s made in Argentina. The presentation aimed to highlight the position Argentine audiovisual content holds worldwide, as well as the country’s ability to provide production services based on its international quality standards, know-how, production facilities, the latest digital production and post-production equipment, creativity and innovation in content creation and its natural locations. The CAEA is an association comprised by private TV, animation, film and advertising companies that export audiovisual content.
ARGENTINA: AN AUDIOVISUAL OPTION “The industry is currently divided among 60 television companies that are dedicated to production, distribution and digital-content platforms, 60 advertising firms and 15 film production companies. Estimates say that there are about 80,000 jobs generated by the audiovisual sector in Buenos Aires,” Florencia Stivelmaher, COO of the Buenos Aires Creative Industry Administration of the Ministry of Economic Development, told ttv. Considered a strategic sector for the economy of Buenos Aires, the General Bureau of Creative Industries has a strong commitment to develop and strengthen the local audiovisual industry through three offices: The Buenos Aires Filming Committee (BACF), the Audiovisual Option program and the Buenos Aires Shooting Set (BA-SET). These three initiatives are aimed at promoting content production across several genres, linking professionals with corporations. They also handle shooting permits and support small- and medium-sized companies at a local and an international level. “One of the objectives behind the Creative Industries Administration is to provide audiovisual business training, seminars, workshops, pitching sessions, financial counseling and promotional activities,” Stivelmaher said.
20_ PRODUCTION GUIDE
Interview CLAUDIO VILLARRUEL & BERNARDA LLORENTE
Founders of ON TV Llorente & Villarruel Contenidos
Founded in January 2010, this production company has already found its place in the Argentine and regional markets. Premium quality, unique storytelling and engagement in all production process are its signature features.
For this young production company 2010 was a year to risk, grow, learn and work hard. Both of its founders share the same enthusiasm for this project. “We rediscovered our love for the daily routine implied in any project: the freedom to create an idea, develop it and put it into practice from its conception,” they say. ON TV is strongly committed to original production and the executives name two reasons why they’ve always stood up for local fiction. “First, because we believe that these are suitable and well-developed products and second, because the industry and the market always compare locally-produced content with content produced in the US. It’s good to talk about what comes from abroad but we also think not all of it is that fantastic,” they say. Villarruel and Llorente also highlight the telenovela’s positive trend in the global audiovisual market. “Fictions now feature quality performances and seek to be closer to reality,” they say. “It’s become increasingly common to avoid that naïve and outdated patina that used to reign.” And Latin Americans also have another distinctive skill: “producers
“Producers in the US find it hard to tell stories based on feelings; that’s why they buy Latin American telenovela formats.” 22_ PRODUCTION GUIDE
in the US find it hard to tell stories based on feelings; that’s why they buy Latin American telenovela formats.” The region also offers many advantages when it comes to production. “Having skilled people working on every aspect of a comprehensive production process is very important,” the executives say. “Latin America is already known for its high quality logistics, writers, technicians, camera operators, photography crew and cast performances and this makes a difference that we must continue to fuel.” UNIQUE STYLE Original ON TV productions point toward a new and unique style. “The user guide to create a telenovela is extensive and inaccurate. So what really counts is unique storytelling, not only in terms of the plot itself but in the way the story is told,” the company’s leaders say. The best way to do this is by anchoring the story on contemporary topics. “The idea is to let fiction stir debates on certain hidden matters,” they say. En example of this is their telenovela ‘Cain & Abel’, broadcast on Telefe from September to December 2010, Mondays through Thursdays at 10:30 PM. Its sub-plot about shady deals and corruption in the construction business and how this struggle over power reaches every sphere of society, caused a strong social impact. “The ‘micro-chauvinisms’ in Alfredo’s character -that turned his wife Vea into a victim- cut so deep that his performance was acknowledged by INADI, Argentina’s National Institute Against
“We offer a familiar experience and passion for the projects we tackle, which we undertake with absolute devotion.” Discrimination, for its contribution against gender violence, one of the silenced dramas haunting society today,” Llorente and Villarruel say. The company is currently developing ‘Contra las cuerdas’, a fiction made by ON TV for Canal 7, Argentina’s public channel. “It’s a 60-episode mini-series about the lives of those who live in big cities. They’re looking for a job, somebody to love and to make their dreams come true,” they say. The production company has also begun to pre-produce one entertainment show and two fictions scheduled for midyear. “We are optimistic and have the best expectations for 2011. We offer a familiar experience and passion for the projects we tackle, which we undertake with absolute devotion. We have the energy to meet new creative and production challenges,” the executives conclude.
Interview
“Digital platforms are still emerging and the industry hasn’t found a business model that makes them profitable so far.”
In 15 years Pol-ka Producciones has found a personal and distinctive way of making television, leaving its mark across international markets to consolidate its position in the region.
DIEGO ANDRASNIK Executive Producer at Pol-ka Producciones
Pol-ka Producciones has 350 employees and five studios in a 1,100 m2 (11,840 ft2) lot in Buenos Aires, plus two more 700 m2 (7,534 ft2) studios and a 4-hectare property in the neighborhood of Pilar. The producer could be defined as a perfectionist and meticulous company, which follows a certain filmmaking model with a highly-qualified professional crew. Since Adrián Suar and Fernando Blanco founded the company in 1994, it has developed its own trademark style, making its productions easily identifiable. “The production company plans to further strengthen its leadership in Argentina and to continue forging alliances abroad, developing new productions for the international market,” says Diego Andrasnik, executive producer at the production company. Pol-ka goes beyond borders with large productions such as ‘Epitafios’ I and II for HBO Latin American Group or local adaptations of ‘Amas de Casa Desesperadas’ (‘Desperate Housewives’) for Disney ABC International Television. This last project had four Latin American adaptations (Argentina, Colombia, Ecuador and Brazil), apart from its US Hispanic versions. The executive finds significant advantages to producing in Latin America, such as “natural scenarios, low costs, state-of-the-art technology, talented professionals, good actors and actresses and highly-trained technicians with a lot of experience,” he says.
“If we consider the region, Pol-ka is the non-network production company with the highest number of production hours in the most diverse formats and genres.” Pol-ka’s high-quality original productions and its particular way of telling stories have earned the production company a place in the industry. Today, Pol-ka is one of the largest audiovisual producers in Argentina and Latin America. “If we consider the region, Pol-ka is the non-network production company with the highest number of production hours in the most diverse formats and genres,” the executive says, later listing the company’s main strengths: “Technical capacity, organizational skills, fiction know-how, 15 years of experience, market leadership and experience in managing large projects.” Pol-ka achieved great success in all timeslots with all of its products in 2010, showing a very stable performance within the domestic market. “The company has kept the same local production average in the last ten years,” Andrasnik says. The production company has two main products in the making, meant for daily broadcasts: ‘Herederos de una Venganza’, a melodramatic novela, and ‘Los Únicos’, a fantastic comedy in the detective genre. Apart
from these, Pol-ka is also making its classic weekly formats, which take up a higher portion of its budget. “These are high-quality projects. They represent a huge storytelling challenge and are entirely developed in HD. This time, we delve into the world of politics following the life and rise of a politician,” the executive says, talking about ‘El Puntero’, a series expected to air during the second half of 2011. Last year was dedicated to reorganizing the company after being impacted by the global crisis and a cautious 2009 market. “The year 2011 will be a year of growth and high expectations,” Andrasnik says. DIGITAL MEDIA New technologies and platforms are a familiar business unit to Pol-ka, which is constantly conceiving new formats. Yet, “digital platforms are still emerging and the industry hasn’t found a business model that makes them profitable so far,” he says. In his opinion, they are networks’ second or third options, or even mere marginal experiences. “Until a proper business model comes up, fiction will continue to follow traditional standards,” he concludes.
PRODUCTION GUIDE _23
Interview
“In 2010 we produced the most hours ever: over 30 per week during the last quarter and 1,300 overall in the year.”
Ideas del Sur HAD closing a record year in terms of original productions, celebrating its excellent metrics con Argentine TV. Mariano ELIZONDO, its General Manager, describes the company’s strategy for 2011: to continue following the same successful formula used in 2010.
MARIANO ELIZONDO
General Manager of Ideas del Sur Producciones
The Argentine production company was founded in 1996 by businessman and TV host Marcelo Tinelli. Grupo Clarín acquired 30% of its shares in late 2005, after signing a fiction and live entertainment volume agreement with Canal 13 (also owned by Grupo Clarín). Ideas del Sur has mainly produced for the channel since then. Yet original production for both the domestic and international markets continues to grow. “Generally speaking, it has grown over the last months compared to the previous year. In 2010 we produced the most hours ever: over 30 per week during the last quarter and 1,300 overall in the year,” Elizondo tells ttv. In a business scenario where digital media is becoming increasingly popular and ubiquitous, the Argentine production company seeks to have one business model for every situation. “We generated high revenues based on 360 business deals, a business model that reports profits beyond domestic TV,” Elizondo says. “We have several alternatives, like original productions, co-productions with the channel or selling local and international formats.” STRENGTHS Doing one’s best isn’t enough to make the cut anymore. Given the increasing competition among companies developing ideas, formats and productions, producers need to differentiate themselves offering real and substantial competitive advantages. The Ideas del Sur 24_ PRODUCTION GUIDE
executive summarizes the company’s key strengths as a production services provider in the following way: “creativity and capacity for both operations and human resources.” The company also counts with a significant production capacity. About 260 people work hard in a 4,000 m2 (43,055 ft2) building with two studios (1,000 m2 and 300 m2 - 10,763 ft2 and 3,229 ft2 respectively) equipped with cutting-edge technology, eight editing stations, an animation and special effects department and two masterization and audio dubbing rooms. ALONG THE SAME LINES For 2011 the production company plans to produce a similar number of hours to those in 2010. “We have two daily entertainment shows on Artear and three entertainment shows for the weekends. In 2010 we were 100% focused on entertainment and in 2011 we will repeat the same formula, which worked out very well,” he says. The executive thinks that Latin America is a region with particularly positive benefits
“We generated high revenues based on 360 business deals, a business model that reports profits beyond domestic TV.”
to those investing in production. “Creativity, hard-work and prices in US dollars below the market average are the common factors,” he says. Elizondo concludes by highlighting that all production companies competing in the same market as Ideas del Sur achieved good results in 2010. “The way I see it, next year will be very similar to 2010,” he says.
“In 2010 we were 100% focused on entertainment and in 2011 we will repeat the same formula, which worked out very well.”
Interview
As the mind behind this young but experienced production company, Mariano Chihade explains how Mandarina has managed to grow and consolidate itself in the local and pan-regional markets.
MARIANO CHIHADE CEO of Mandarina Productora
Since its foundation in December 2005, this Argentine production company has grown strongly by offering its ideas, formats and productions to local broadcast TV and panregional pay TV. Its products include ‘Argentinos por su Nombre’, ‘La Comunidad, Zoom’, ‘Gourmet India ‘(elgourmet.com), ‘Once Chicas y un Hombre Perfecto’ (Cosmopolitan TV) and ‘Sounds of Freedom’ (Claxson). “We constantly strive to create new products for both the local and the international markets. In 2010 we increased our original entertainment and fiction productions,” the director of Mandarina Productora says, highlighting how competitive the original production market has become. EXPERIENCE According to Chihade, Mandarina’s strength lies in the international productions and original products that his team has developed over the time. “I would say that Mandarina’s strength relies mainly on one thing: experience,” he says. “From production to shooting and editing, we have a team that knows how to read into every product’s needs,” he says. The executive also talks about the relationship between his company and emerging digital media, describing it as “optimal (…). We think digital media creates new opportunities for the production business,” he says. Yet he also points out that there is an undeniable need for ad spending to increase.
“I would say that Mandarina’s strength relies mainly on one thing: experience.”
The problem lies in a well-known cycle: for ad spending to grow, production companies need to develop more content for that market. Chihade comments on the good results that Mandarina’s work has achieved in this field. “We have produced a lot of content for digital media, such as a reality show for the web, and the experience was excellent in every case,” he says.
“We think digital media creates new opportunities for the production business.”
rience in international format development.” Chihade finds year-end results for 2010 to be “very satisfying” and has ambitious expectations for 2011. “The ‘Project Runway’ experience positioned us as a production company that produces major formats. With this in mind, we have developed content that has led to negotiations with some pan-regional TV channels,” he says.
PRODUCTIONS Mandarina also produced the first Latin American version of ‘Project Runway’ in 2010. “It was an international product that was 100% made in Argentina except for its last three episodes, which were shot in the Bahamas,” the executive says. The company is developing two projects for the local market and three international products. One revolves around the DJ world and has raised great interest among major international channels. “I think the cost-product ratio combined with our producers’ talent make Latin America a great place to produce,” Chihade says. “Over the years, the region has gained a lot of expePRODUCTION GUIDE _25
Interview
In charge of one of the largest production companies in the region, Martín Kweller talks about Endemol’s projects and strengths in Argentina, Latin America and Europe.
MARTIN KWELLER Director of Endemol Argentina
Endemol Argentina has a rich history of programs that changed the course of TV productions in both the local and international markets. The production company originally specialized in entertainment programs, magazines and reality shows. Over the recent years, it’s also ventured into the world of fiction, documentaries and journalistic series, news magazines and children’s programs. Since 2002, Endemol Argentina serves as an international production factory that attracts foreign clients with its experienced professionals, low production costs and the country’s wonderful locations. Since 2008 the production house has a shooting park where hit formats such as ‘Wipeout’ (known in Argentina as ‘Hombre al agua’) and ‘101 Ways’ (known as ‘Alto Juego’) are produced for the local scene and abroad. “Endemol is very well positioned in regard to broadcasters and emerging digital media because it has a solid infrastructure that is able to provide high-quality services to the most prestigious channels broadcasting its formats, whether in Latin America or Europe,” Kweller tells ttv.
“We offer the market an international production center like no other in Latin America.”
26_ PRODUCTION GUIDE
“We have the capacity to deliver our customer a product that was made entirely by ourselves.” Kweller also highlights Endemol’s best advantage against other production houses. “We offer the market an international production center like no other in Latin America and original formats for sale both in the domestic market and abroad,” he says. But Endemol’s strengths to compete within the Argentine market go further than that. The executive says that apart from its specially designed mega-park for extremely high-quality productions, the company owns a huge infrastructure. “We have the capacity to deliver our customer a product that was made entirely by ourselves. That includes 5,000 m2 (close to 54,000 ft2) of shooting studios, a high-tech digital graphic design center, digital editing units and production offices,” he says. NEW PROJECTS After closing what Kweller calls a “very positive” and highly promising 2010, Endemol Argentina is working on the pre-production of its 2011-2012 season. “We are working to develop new fiction products and we hope to surprise our audience with original products,” the director says.
One of the projects the company is currently producing is ‘XXS’, an epic-scale game show that has already been successfully sold in Portugal, Brazil, Turkey and Ukraine. In line with top executives of the region’s major production companies, the director of Endemol Argentina argues that producing in Latin America poses highly attractive advantages to foreign customers. According to him, the continent’s main advantages are “its variety of landscapes, the quality of its services and products and its tempting production costs.”
“We are working to develop new fiction products and we hope to surprise our audience with original products.”
Interview
“This past year was very intense and positive for Fox Toma 1. It was a year of consolidation and growth across the Latin American market, the US and Europe.”
This Fox International Channels production house is focused on non-scripted original content and its expansion process during 2010 left positive forecasts for this year. Mariana Pérez explains how to grow while aiming at local and international markets.
MARIANA PÉREZ
VP and General Manager at Fox Toma 1
Based in Buenos Aires, Fox Toma 1 is a non-scripted production house owned by Fox International Channels (FIC). With a production capacity of over 1,200 hours of original content per year for Fox Latin American Channels, the company produces content for pay channel Utilisima, among other clients, for its feeds in Argentina, Brazil and the rest of Latin America. It recently started producing for the channel’s US Hispanic feed and for other clients spread around the world. “Production is growing strong,” the executive says, explaining that, unlike other years, the company dedicated itself 100% to original content last year, mostly for Bemsimples (Brazil), Utilísima (México) and the US Hispanic market. PRODUCING IN LATIN AMERICA Highly-trained human resources and a solid infrastructure capable of meeting quality production standards at a low cost are some of the factors that Pérez considers key when choosing Latin America to produce. “The region also has flexible production companies, which easily adapt to new work schemes,” the executive says, using Colombia as an example. “It has a privileged geographic location and a stable economic and political situation for foreign investors,” she says. The passion and strong commitment to new challenges come up as additional and intangible values that join the region’s list of advantages for producers. “Those who have had the chance to work in this region can confirm this,” Pérez says.
The FIC production company is equipped with all the necessary resources to deal with any kind of production in the region. Apart from being able to produce 1,200 annual hours of original content, its modular production scheme uses adaptable sets that suits a dynamic cost optimization model, complemented by the continuous search, selection and training of talented professionals from around the globe. “Fox Toma 1 has an infrastructure equipped with cutting-edge technology to produce commercials and non-scripted content and all kinds of formats that may be reproduced in different markets. Our production unit has a surface area of 7,000 square meters (over 75,000 square feet), including nine shooting studios combined with mobile outdoor locations and audio and image post-production stations where highquality content is produced for Latin America and the world,” Pérez says. READY FOR CHANGE Digital media stands as one of today’s key players in the audiovisual industry. This leads the executive to comment on how important it is for broadcasters to join them “in order to
“We aim at maintaining our leadership in creating new content formats for women in Latin America, the US and everywhere else.”
use their synergies and learn together within a changing, diverse and aggressive market,” she says. Consumers and/or viewers play a leading role in this process, since it’s their preferences and tastes what set the trend. Pérez highlights the importance of reading such synergy and consumer attitudes to generate income and survive “within an emerging market that is forced to follow new business models. Whoever manages to overcome this first positioning stage will make it to the top,” she says. OUTCOMES AND EXPECTATIONS “This past year was very intense and positive for Fox Toma 1. It was a year of consolidation and growth across the Latin American market, the US and Europe,” the executive says. During 2011 the production company will continue to focus on consolidating Utilísima’s growth and seek to conquer new territories. In terms of content, Fox Toma 1 is producing new seasons of ‘La Pastelería’, ‘Doña Petrona by Narda’, ‘Plan Belleza’, ‘Puntos y Puntadas’ and more for Utilísima’s feed in Argentina. It’s also producing ‘El toque de Aquiles’ and ‘Perú Fusión’ for its Latin American and US feeds and new seasons of ‘Cozinha Caseira’ and ‘Homens Gourmet’ for Bemsimples, especially produced for the Brazilian market. To conclude, Pérez comments on the company’s expectations for the year that has just begun. “We aim at maintaining our leadership in creating new content formats for women in Latin America, the US and everywhere else,” Pérez says. PRODUCTION GUIDE _27
i HEADQUARTERS
La Paz Street 1282, Martínez, Buenos Aires, Argentina Ph.: (+54) 4006 3500 Email: natalia@centralparkprod.com.ar Website: www.centralparkprod.com.ar
Doing Business Since: 2000 Business Area: Production company providing services and content for broadcast and pay TV.
Profile The company’s objective is to make an idea come true, taking care of all the processes involved in its realization. With a solid team of professionals that contribute with their talent, energy and experience -and with its own infrastructure- Central Park Productions creates its own content and has the capacity to produce tailor-made projects for the most demanding clients. It boasts three studios built on a 5,000m2 (53,820 ft2) lot, equipped with the latest broadcasting technology, adaptable to the size of each project. Each studio has its own separate facilities, having the capacity to carry out several projects at the same time. The most successful programs in television were shot at Central Park Productions: ‘LaLola’, ‘La Noche del 10’, ‘Sorpresa y Media’, ‘Sábado Bus’, ‘Ugly Duckling’ and ‘Date Blind’. Central Park Productions has also produced children’s formats, entertainment formats and telenovelas such as ‘El Refugio’, ‘Amanda O’ and the multi-award winning ‘LaLola’, which sold to more than 60 countries.
Main Features Central Park Productions has over 10 years of experience and has generated, produced and developed audiovisual content for the local and the international market.
BIAVEZ (Children’s Fiction - In Production) 28_ PRODUCTION GUIDE
Production Portfolio
MAGIUM (Entertainment - In Production) A master magician and his collaborators disclose the hidden side of magic by teaching a great number of tricks performed with everyday objects, making the experience easier and bringing it closer to us. The Master is who performs the most difficult trick -which is never explained- while his collaborators explain the tricks they perform. The format is made up of eight three-minute micro segments that can be programmed independently and a segment about the History of Magic, with archive photos and original reproductions.
SOAP OPERA STORIES (Documentary - In Production) A program meant to enjoy and recall the telenovelas that left a mark on the lives of millions of people. It’s a bridge that brings stars and audiences together to experience and see fragments of those telenovelas once again and to learn more about the stories that surround and make up this world of fiction. Each episode will be dedicated to a specific topic: telenovela heroines, telenovela love stories, telenovela endings and so on. With analyses about the genre, archive footage, unpublished clips and interviews with their stars, we will recall the most touching and entertaining moments of the most important telenovelas of our continent.
Executives
TOP Executive
Celina Amadeo, CEO ca@celinaamadeo.com
Main Clients AMERICA
ILLUSION STUDIOS
TELEFE INTERNACIONAL
TV PÚBLICA
Production Capacity LOCATION: Martínez, Buenos Aires, Argentina
STUDIOS: 3 studios; one has 1,000 m2 (10,764 ft2), another one has 600 m2 (6,458 ft2) and the third one has 400m2 (4,306 ft2).
TOO MANY WOMEN (Sitcom - In Production)
LALOLA (FICTION) General Production: Celina Amadeo. Studio services, set design, postproduction.
DATE BLIND (FICTION) Studio services, set design, postproduction.
i HEADQUARTERS
Olleros 3551, CP 1427, Capital Federal, Argentina Ph.: (+54) 4556 9000 Email: info@ideasdelsur.com.ar Website: www.ideasdelsur.com.ar
Doing Business Since: October 1996 Hours or Productions Per Year: over 1,300 hours in 2010 Owner: Marcelo Tinelli and ARTEAR (Canal 13, Argentina)
Profile Ideas del Sur is an integral independent production company that develops entertainment and fiction content, which is then exported to the five continents. Its solid structure in its production, editing and technical areas allow it to produce radio and television formats in an array of different genres: humor, entertainment, daily fictions and series, documentaries, shows, reality shows and sports. Marcelo Tinelli, its president and founder, is a reference in Argentina’s media landscape.
Production Portfolio
Main Features Ideas del Sur’s formats and taped products are sold in both Latin America and Europe. The company currently has shows airing in territories like Italy, Spain, Greece and Latin America.
Business Area Broadcast and pay TV.
Show Match (Entertainment)
Show Match (Entertainment) Timeslot: daily primetime Year: on air on broadcast TV since 1990 Client: currently airs on ARTEAR, Canal 13, Argentina. This entertainment show has earned the most ratings in Argentina. ‘Show Match’ is known for its great levels of production and development, combining dancing, singing, international celebrities, hidden camera segments, comedians and contests such as ‘Bailando por un Sueño’ (a local adaptation of ‘Strictly Come Dancing’).
The Roldans (Fiction)
30_ PRODUCTION GUIDE
THE ROLDANS (Fiction) Timeslot: primetime Year: 2004 and 2005 (2 seasons) Client: TELEFE Argentina. The ‘The Roldans’ format has been exported to Colombia, Mexico, Chile, Russia and Rumania. The Roldan family abandons their precarious house to live in a mansion and become neighbors to the millionaire Uriarte family. Both families learn to coexist, generating comic, conflicting and romantic situations in this daily fiction.
Executives TOP Executive
Mariano Elizondo, General Manager melizondo@ideasdelsur.com.ar
Main Clients ARTEAR - Argentina Date: 2010 Products: ‘Show Match’, ‘Este es el Show’, ‘Preparen, Apuesten, Juego’, ‘Baila Argentina’
MEDIASET - Italia Date: 2010 Product: ‘Ugly Duckling’
Disney Channel – Latinoamérica Date: 2010 Product: ‘Consentidos’
Production Capacity LOCATION: Capital Federal, Argentina
HUMAN RESOURCES 250 employees
STUDIOS: 2 studios; one has 1,000 m2 (10,764 ft2) and the other has 300 m2 (3,229 ft2).
EQUIPMENT: Full HD
UGLY DUCKLING (Teen Fiction) Year: 2007 and 2008 (2 seasons) Client: ARTEAR, Argentina. The program’s taped version was exported to Latin America, Spain, Italy, Portugal, France, Greece, Rumania and others. ‘Ugly Duckling’ tells the story of an 11 year-old girl that feels down for not being beautiful on the outside, not realizing that the most important thing in life is to be a beautiful person.
UGLY DUCKLING (Teen Fiction)
i HEADQUARTERS
Santiago del Estero 1450, Martínez, CP 1640, Argentina Ph.: (+54) 11 4793 7020 Email: material@estudiospampa.com.ar Website: www.lcaproducciones.com.ar
Doing Business Since: March 2010 Business Area: Broadcast TV, advertising, online.
Profile LCAcción Producciones is a production company lead by Diego Estevanez. The company is focused on producing content for Argentina and the world, such as ‘Love’s Guard’, ‘The Name is Love’ and, more recently, ‘Legacy of Passion’ -all co-produced with Telefewith a good sales record in 20 countries. It is currently producing ‘Dulce Amor’ featuring Gustavo Bermudez and Carina Zampani, ‘Prisionero de tu Amor’ and ‘Desafío Total’ hosted by Germán Paoloski, a big show set in a natural stage that features games, humor, music and families representing different neighborhoods competing for a prize.
Production Portfolio
LCA has an exclusive contract with Enrique Estevanez, writer of ‘Grande Pa!’, creator of the aforementioned telenovelas and currently writing content for Televisa. LCA also owns Estudios Pampa where several hits were made, including ‘Los Buscas’, ‘Como Vos y Yo’ and ‘De Corazón’. The studios were also leased by the Cris Morena Group for seven years to produce ‘Rebel’s Way’ and the five seasons of ‘Teen Angels’, among others. Estudios Pampa is comprised of two 1,200 m2 (12,917 ft2) studios equipped with cutting-edge technology. The studios also offer renting services. BREAKING RULES (Telenovela)
BREAKING RULES (Telenovela – 180 episodes) Year: 2007 Timeslot: afternoon. Renata Guerrico is a federal judge with great social prestige but hides a dark past that will come back to haunt her with full force. She arrests Lucas, a man she confuses with the real author of the death threats she keeps receiving on her phone. From that moment on she feels a great attraction for Lucas, until she finds out he’s the son of Ignacio Pinedo, her teenage love. And so, both lovers will reunite after 28 years even though Renata can’t stop thinking about Lucas. That relationship will reveal a deep and terrible mystery as the story goes on. LOVE’S GUARD (Telenovela - Over 250 episodes) Years: 2004 - 2005 Timeslot: afternoon This is the story of Paz, owner of an important fashion store, and her bodyguard Aguirre, who stumble across different obstacles, including their complicated pasts and the social differences between them. THE NAME IS LOVE (Telenovela - Over 250 episodes) Years: 2005 - 2006 Timeslot: afternoon ‘The Name is Love’ tells the story of a father and son put to the test by life itself. Patricio Benegas (Antonio Grimau) is an entrepreneur and former polo champion who knows about power and seduction. Bautista Benegas (Juan Darthés) is the country’s most coveted bachelor. Both suffered from unrequited loves and will fight against each other for the love of the same woman.
The Name is Love (Telenovela)
Executives TOP Executive Diego Estevanez, Director diegoestevanez@estudiospampa.com.ar
Main Clients Telefe Product: ‘Breaking Rules’ Year: 2010
Product: ‘The Name is Love’ Years: 2005-2006
Product: ‘Love’s Guard’ Years: 2004-2005
Production Capacity LOCATION: Buenos Aires, Martínez STUDIOS: 2 studios; both have 1,200 m2 (12,917 ft2). HUMAN RESOURCES: 15 employees
LOVE’S GUARD (Telenovela)
The company counts with equipment for production, in-house production design, post-production, special effects, an in-house creative department and multi-media and animation services.
i HEADQUARTERS
Humbolt 1967 1st Floor, Bs. As., Argentina, C1414CTU Ph.: (+54) 11 4778-4700 Fax: (+54) 11 4778-4701 Email: info@mandarinatv.com Website: www.mandarinatv.com
Doing Business Since: December 2005 Hours or Productions Per Year: 250 Owner: Mariano Chihade
Profile Mandarina Productora was born in December 2005. Throughout the years, Mandarina has produced several formats for broadcast TV and developed over 25 formats for the most prestigious pay TV channels.
Main Features The production company counts with over 500 hours produced internationally. Mandarina bets on the international market and aims at continuing its growth.
Business Area Broadcast and pay TV, advertising, online.
Production Portfolio Argentinos por su Nombre Hosted By: Andy Kusnetzoff Genre: Docureality / Journalism Length: 60’ Timeslot: primetime Client: Canal 13, Argentina Years on the Air: 2006-2007-2008 “The show that takes the studio to the people.” This docureality explores what’s typically Argentine: virtues and flaws, contrasts, customs and everyday situations. While not strictly being a comedy, the journalistic coverage of this reality has an ironic and relaxed approach. The host goes out into the streets and turns his car into a TV studio, creating his own reality show. The program’s concept is reinforced with visual and sound effects that not only enrich the show’s aesthetics but its content as well. ‘Argentinos por su nombre’ was a New York Festival 2008 Broadcasting Award finalist and received several nominations for the Martín Fierro and Clarín Espectáculos awards. El Camion de tus Sueños Hosted By: Nicolás Repetto Genre: Entertainment Length: 120’ Timeslot: access primetime Client: Canal 13, Argentina Years on the Air: 2006 A show that combines entertainment, surprises and emotion. Via phone calls and text messages, the audience participates in a contest that could very well change their lives. Each show, the winning families are visited by a truck full of electrical appliances, furniture, cash prizes and a new car.
Argentinos por su Nombre (Docureality)
34_ PRODUCTION GUIDE
Project Runway Latin America Hosted By: Rebecca de Alba Genre: Docureality Length: 60’ Timeslot: primetime Client: FTV Years on the Air: 2010 ‘Project Runway’ is a successful and entertaining series developed within the glamorous world of fashion. ‘Project Runway Latin America’ is the first original version produced for the region, where 15 ambitious designers have the chance to showcase their talent and convince prominent judges why they should be the best Latino fashion designer. Format and Production: FremantleMedia. Production: Mandarina Productora.
Executives
TOP Executive
Contact
Mariano Chihade CEO
María Fernanda Perassolo fernanda@mandarinatv.com
Main Clients FremantleMedia Date: 2010 Product: ‘Project Runway Latin America’ Artear S.A. Date: 2006-2010 Products: ‘El Camión de tus Sueños’; ‘Argentinos por su Nombre’, ‘La Comunidad’, ‘Los Memukis’ América TV Date: 2011 Product: ‘Los Unos y los Otros’
Pramer Date: 2006-2010 Products: ‘Once chicas y un hombre perfecto’, ‘Comando Gourmet’, ‘Hasta que la muerte nos separe?’ Claxson Date: 2009 Product: ‘Sounds of Freedom: Blues’ Telefe
Production Capacity LOCATION: Palermo Hollywood, Buenos Aires HUMAN RESOURCES: 60 employees
ONCE CHICAS Y UN HOMBRE PERFECTO
EQUIPMENT: Cameras, lights, editing units, production design, postproduction, creative department, multimedia and animation
i HEADQUARTERS
Castillo 1366, C1414AXD, Buenos Aires, Argentina Ph.: (+54) 11 6379 5000 Email: contacto@ontvcontenidos.com Website: www.ontvcontenidos.com
Doing Business Since: January 2010 Area of Business: Broadcast and pay TV Owner: Claudio Villarruel and Bernarda Llorente
Profile ON TV Llorente & Villarruel Contenidos is the company created by Claudio Villarruel and Bernarda Llorente, the TV producers behind Telefe’s programming and ten years of success as the #1 broadcast channel in Argentina. From 1999 to 2009, Villarruel and Llorente innovated implementing high-quality content in impacting products with a sense of social responsibility (‘Taking Lives’, ‘Montecristo’, ‘Forever Julia’, ‘Missing Identity’). This combination allowed Telefe to renovate its audience and assured its leadership year after year. Apart from having generated renowned quality products since their first year on the job, Llorente & Villarruel also offer consulting work on the television market and audience analysis, as well as teach courses and participate in conferences in several universities in Argentina and Latin America.
Main Features ON TV is a content producer for broadcast television that specializes in innovative primetime fiction and entertainment family programs.
CAIN & ABEL
(Telenovela – 60 x 60’)
36_ PRODUCTION GUIDE
Production Portfolio 3, 2, 1… LET’S WIN! (Entertainment format) This entertainment program combines games, competitions and humor. The format was created by ON TV Llorente & Villarruel and lead in its 6:00 PM timeslot. It was sold in Colombia, Perú and Bolivia. The show features fun inflatable games in a huge set where physical skill and strategy must be employed to win. It also includes phone games where people can win great prizes from their homes. CAIN & ABEL (Telenovela – 60 x 60’) This retold biblical myth on the confrontation of two brothers tells a story of good versus evil intertwined with the lives of two brothers from a powerful family. Both brothers will represent the two sides of a coin in a plot full of passion, betrayal, secrets, appearances, intrigue and tragedy.
3, 2, 1… LET’S WIN! (Entertainment format)
Executives
TOP Executive
Claudio Villarruel, President
Bernarda Llorente, Co-President
Ejecutivos de Contacto Fernando Nigro, Sales Director fnigro@ontvcontenidos.com
Principales Clientes Telefe Product: ‘3, 2, 1… Let’s Win!’ Date: January – December 2010 Product: ‘Secretos de amor’ Date: June-September 2010
Canal 7, la Televisión Pública Product: ‘Contra las Cuerdas’ Date: November 2010 – March 2011
Product: ‘Cain & Abel’ Date: September-December 2010
Contra las Cuerdas (Miniseries – 60 episodes) A story of adventure, love and police action in which a boxer escapes from his home town after a fight and lands in Buenos Aires in search of his long-lost brother. The miniseries features a renowned cast from Buenos Aires’ theatre and underground scene, which have the opportunity to be part of a fiction airing on Argentine primetime.
Contra las Cuerdas (Miniseries – 60 episodes)
i HEADQUARTERS
Jorge Newbery 3449, CP 1425, Buenos Aires, Argentina Ph.: (+54) 11 4588 9200 Email: contacto@pol-ka.com.ar Website: www.pol-ka.com.ar
Doing Business Since: 1994 Hours or Productions Per Year: 350 hours Owner: Privately-held and Grupo Clarín
Profile Pol-ka was founded in 1994 when Adrian Suar and Fernando Blanco joined forces to produce ‘Poliladron’, a TV show that became a milestone in Argentine television. For the last 16 years Pol-ka’s fiction has been leading the country’s primetime. The producer is one of the leading production companies in Latin America, with an important and numerous team of talent. Pol-ka has produced over 5,000 hours for Argentina and is currently selling its international rights in the world. In the international market, Pol-ka was chosen by Disney to produce four versions (Argentina, Brazil, Colombia/Ecuador & US Hispanic) of the ‘Desperate Housewives’ format. Pol-ka is also the creator of ‘Killer Women’, one of the most successful Argentine fiction formats and sold in several countries. Pol-ka also holds a distribution deal with Televisa.
Business Area Broadcast and pay TV.
Production Portfolio MalParida (Fiction - 150 x 60’) Timeslot: daily primetime Year: 2010 Renata (Juanita Viale) decides to take revenge for the death of her mother, who died from love 20 years ago when Lorenzo (Raúl Taibo) left her for a high-class woman. Beautiful Renata decides to take justice into her own hands but little does she know that one obstacle could ruin her plan: Lautaro (Gonzalo Heredia), the love of her life and son of the person she hates the most. KILLER WOMEN (Fiction/Based on true stories - 77 x 60’) Timeslot: weekly primetime Year: 2006/2007/2008/2009 What’s the difference between female and male murderers? Women don’t stab just once; they keep stabbing until they run out of energy. Domestic violence, abuse, affairs, greed and an unlimited ambition are some of the reasons behind these women’s murders. A series inspired on true stories. SLEEPING WITH MY BOSS (Comedy – 29 x 60’) A comedy with realistic humor and outrageous and ambiguous twists with a place for feelings and insights. Oscar Tzisca (Guillermo Francella) is a simple, working man. Enzo Tempone, the owner of the ad agency where Tzisca works, is very successful professionally but not with his family. After Tempone’s wife strips him of everything because of his attitude, Tzisca will let his boss stay in his house, sharing everything with him… even his bed.
MalParida
(Fiction - 150 x 60’)
38_ PRODUCTION GUIDE
KILLER WOMEN
(Fiction/Based on true stories - 77 x 60’)
Executives
TOP Executive Fernando Blanco, CEO and General Manager
Contacts
Diego Andrasnik, Executive Producer dandrasnik@pol-ka.com.ar
Adrián González, Producer agonzalez@pol-ka.com.ar
Marcos Carnevalle, General Content Coordinator
Paula Granica, Producer paulag@pol-ka.com.ar
Main Clients Canal 13 (Argentina), Disney, HBO, Televisa, Fox Italia Date: 1996 – present Products: 5,000 hours for Canal 13’s primetime, ‘Desperate Housewives’, ‘Epitafios I & II’, ‘Killer Women’.
Production Capacity LOCATION: Palermo Hollywood, Buenos Aires studios: 1,000 m2 (10,764 ft2) HUMAN RESOURCES: 450 employees EQUIPMENT: Full HD, Beta SP equipment, production and postproduction.
COUNTS WITH: In-house creative department (directors, producers and technical equipment), in-house multimedia department, production design, postproduction, special effects and an agreement with an associated animation company that enables it to offer animation services.
DESPERATE HOUSEWIVES (Comedy – 29 x 60’) ‘Desperate Housewives’ is one of the largest and most ambitious projects developed by Disney Media Networks Latin America (DMLA). It is not only an adaptation of the famous US series but the first co-production developed for four Latin American countries and the US Hispanic market simultaneously. This project is part of a global TV trend where content is adapted to reflect the taste and cultural traditions of local viewers. In a globalized world, ideas become flexible and adaptable to varying cultural conditions. ‘Desperate Housewives’ presents several local versions of a product that has shined on US screens, working with feelings, emotions and concepts that go beyond time and regional conditions.
i HEADQUARTERS
Maure 3310 / 3B. CP 1126, Buenos Aires, Argentina Ph.: (+54) 11 32 21 29 73 Fax: (+54) 911 53 17 95 65 Email: info@quarkcontenidos.tv Website: www.quarkcontenidos.tv
Doing Business Since: May 3, 2007 Business Area: Broadcast and pay TV, advertising, film, online. Owner: Jorge Nisco, QRK Quark Contenidos
Profile Quark Contenidos is a creative producer of content and formats for film, television and the Internet, created in mid-2007 by renowned director Jorge Nisco. Quark is comprised of a young and experienced group of screenwriters and creative professionals, coordinated by screenwriter Ramiro San Honorio (scriptdoctor and professor). In its beginnings, the production company was a creative factory that aimed to create new talent under the wing of an experienced screenwriter and creative director like Nisco. Several projects were born from this first experience, earning several achievements and great reviews while training new screenwriters for the market.
Production Portfolio PLOTS (Thriller – 13 x 45’) Timeslot: 10:00 PM – 11:00 PM Year: 2007-2008 Client: Fox Television Studios LA It all started out as an ambitious plan: a bank vault burglary. But unexpected events turn it into a matter of life and death. Inside many of the safe-deposit boxes are stories of love, tragedy, revenge and secrecy. This great Pandora’s box comes alive, changing and interweaving everyone’s fates. ‘Plots’ explores the universal connections between people’s destinies.
Main Features Quark Contenidos’ services include creative and professional assistance in all production processes, from the idea to screenwriting and promotional strategy, taking all production design alternatives demanded by different markets into account. Internationally, Quark Contenidos seeks to consolidate its narrative and creative brand that’s linked to new production and format models.
PLOTS
(Thriller – 13 x 45’)
GHOST HEART
(Sitcom - 24 x 25’)
40_ PRODUCTION GUIDE
GHOST HEART (Comedy – 24 x 25’) Timeslot: 7:00 PM – 9:00 PM Year: 2007-2008 ‘Ghost Heart’ tells the story of a relationship between a psychologist -who has spent all his money on his new house- and a ghost woman who is still in the 80s. Both will compete for the same goal: getting rid of the other. Yet against all odds an impossible love will emerge between them.
Executives TOP Executive
Contact
Jorge Fernando Nisco, Creative Director
Ramiro San Honorio, General Screenwriter Coordinator rshonorio@quarkcontenidos.tv
Main Clients Fox Televisión Studios Date: 2006-2007 Product: ‘Plots’
Televisa Date: 2008 Product: ‘Ghost Heart’
CATALEPSY
(Miniseries – 13 x 45’)
CATALEPSY (Miniseries – 13 x 45’) Timeslot: 9:00 PM – 11:00 PM Year: 2009-2010 Death is an unknown and mysterious place. But apparent death is worse than death. An impregnable dimension leaves us in the middle of nowhere. This is the story of Veronica, a photographer that suffers from catalepsy and during an attack sees her disappeared father, who was presumed dead. It’s also the story of a person stuck between life and death. Veronica will become a savior for these people who can’t rest in peace while searching for her destiny as she looks for her father.
MAXIMUM SECURITY (Miniseries – 13 x 45’)
MAXIMUM SECURITY Timeslot: 9:00 PM – 11:00 PM Year: 2009-2010 The most difficult robbery cases can only be solved by one person: the best white-collar thief. But what if he’s in jail? A great deal will help the police department improve its image and let the thief discover who sent him to prison.
i HEADQUARTERS
Prilidiano Pueyrredón 2989, 2nd Floor, Martínez, Bs. As., Argentina Ph.: (+54) 11 4102 5810 Email: sales@telefeinternational.com.ar Website: www.telefeinternational.com.ar
Doing Business Since: 1994 Hours or Productions Per Year: 4,500 hours Owner: Grupo Telefónica
Profile Telefe is the only Argentine channel that developed a strong presence in the international market through its four business units: program distribution, format distribution, production services and international signals. It has very complete catalogs that include a wide array of high-quality and original content productions. The production company has produced telenovelas, kids & teens series, documentaries, series, miniseries, comedies, movies and more. Its content is aired on over 100 countries and has been translated into more than 35 languages. Telefe is the leading distributer of Latin American content and world leader in Latin American fiction format sales. Telefe also offers its production services to develop third party formats and/or original ideas, as well as production consulting work in several countries where its productions are being developed and production services for third party productions.
Production Portfolio
Business Area Broadcast and pay TV, film, digital content. montecristo (Telenovela)
Montecristo (Telenovela) This is the story of Santiago Díaz Herrera, a young man that has everything: love, a future, family, success… that is until the betrayal of those who surround him turns his life into a living hell. Hate will take over Santiago up to the point where he can only think of one thing: revenge. This taped product was sold in over 40 countries while its format was developed and adapted in Russia, Spain, Colombia, Mexico, Chile, Italy, Greece, Turkey, the Middle East and Spain. It is currently being developed in Spain, China and Malaysia. PRETENDERS (Series) Some problems just can’t be solved. Until now. To solve the most diverse problems, this commando group organizes sophisticated shams to create false realities that help their clients reach their objectives. Its taped version was sold in over 60 countries while its format was developed and adapted in Mexico (three seasons), Chile, Spain and Russia. It is currently being developed for the US Hispanic market as well as in Italy, France, Germany and Colombia.
PRETENDERS (Serie)
42_ PRODUCTION GUIDE
FOREVER JULIA (Telenovela) A man falls in love with a woman engaged to a successful entrepreneur that is hiding dark and murky businesses behind his apparent defense for natural and organic products. Their love will be confronted by a true inferno but will survive through the most unexpected obstacles. Its taped version was sold in over 40 countries. Its format was developed and adapted in the US (English-speaking market), Mexico and Portugal. Fox acquired the telenovela for its production in the US, adapted into a 64-hour series format under the name ‘Watch Over Me’.
Executives
TOP Executive
Contact
Fernando Varela, International Business Director
Michelle Wasserman, International Business Manager mwasserman@telefe.com.ar
Production Capacity STUDIOS: 18 studios (7 in Buenos Aires and 11 in Martínez). Overall studio space is 12,176 m2 (131,061 ft2). HUMAN RESOURCES: 500 employees. MOBILE UNITS: Mobile production and broadcasting units for covering news, sports, shows and special national and international events. Counts with a fleet of 3 mini-mobile units, 2 mobile production units, 4 SNG mobile units, 1 trailer, transportation for personnel and loads and 8 power generators. All of its mobile units can be linked to the company’s Headquarters to then transport the signal to wherever it is needed. SETS: Set design and construction (art pieces, mega-structures, stand design and construction, etc.); special events (musicals, fashion shows, sports events,
FOREVER JULIA (Telenovela)
expos, etc.); design and construction of studio components (acoustic doors and gates, lighting grids, camera rails, structures, etc.); in-house workshops for set construction, carpentry, ironwork, upholstering, etc; workshops for graphic and plotting work; and set storage. POSTPRODUCTION: Over 30 editing and graphics – FX rooms, specially designed under light and acoustic absorption and/or isolation standards, offering the possibility to work with every format and standard. Leases can be contracted independently or including the company’s professionals. SATELLITE SERVICES: Its teleport counts with several antennae that allow it to receive several satellite signals, apart from its own satellite capacity on the Extended Ku Band Hispasat 1C.
BRAZIL
Production in Its Prime
Brazil is the Latin American market of the moment and its economic power is definitely felt in the region. In the following report, ttv and some of Brazil’s most representative voices explain how this production market works. BY Sebastián Torterola
Brazil has somehow always been labeled as the “promised
land” in the Latin American and global TV industries. ‘Regional giant’, ‘continent of its own’, ‘the land of great potential’ and many other epithets have been assigned to it. And with good reason: this immeasurable and heterogeneous country takes up over 47% of the South American territory. It is divided into 26 states and hosts a population of over 190 million inhabitants. It is the fifth country in the world in terms of extension and population and no longer ranks among third world countries: Brazil is quickly becoming one of the largest world economies of the future. Yet these aren’t the only reasons why Brazil is often considered ‘a continent of its own’. The country’s language and cultural barriers have historically caused large multimedia groups to look at the Brazilian market with moderate interest. Today, its consumers’ increased purchasing power (especially in the massive C and D social classes), its growing advertising investment and a 15% annual growth rate in local pay TV are some eloquent indicators evidencing the potential of its audiovisual sector. “Television has a territorial penetration rate of 98%. Internet usage is the highest in Latin America and the Brazilian government sees technology as the primary tool to raise the country’s educational levels. Brazil also has a multicultural society, a democratic political regime and over the last ten years, government incentives that have transferred nearly US$700 million into the sector,” says Eliana Russi, executive manager of the Brazilian TV Producers (BTVP) program. The government’s incentive policies for national productions are one of the reasons why this country stands out within the region. Another aspect that ranks the country as a regional leader is the creation of the Japanese-Brazilian DTT standard, ISDB-T, which has been successfully promoted around the world. Most South American countries have chosen it and negotiations are still being held with 20 African nations. Luiz Inácio Lula da Silva, Brazil’s former president, lobbied extensively across the world and managed to bring the region together around this initiative, positioning Brazil as the regional leader in digital TV implementation. Analysts say Dilma Rousseff will follow the same course of action.
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Pay TV is another rising market sector and local independent content is becoming increasingly popular on the country’s screens. Subscription TV in Brazil has been growing at an annual rate of 15% since 2003, reaching 8.2 million homes according to figures disclosed in May by Anatel (National Communications Agency, an autonomous regulatory agency for the sector). This amounts to 27 million viewers and a penetration rate over 15%. The sector reported a compound annual growth of 10% in 2010. Brazil has the largest absolute number of pay TV subscribers in the region and also leads in digital high definition channels in Latin America, with over 20 channels available. AD SPENDING: A QUANTITIVE LEAP. After the 2010 FIFA World Cup in South Africa and the Brazilian elections last year, the country’s advertising market showed impressive year-on-year growth. Figures disclosed every month by Projeto Inter-Meios, a service condensing over 350 media and communication groups -90% of all ad spending in Brazil- show that US$11.9 billion were spent in advertising from October 2009 to October 2010. Comparative figures for the previous year reported US$8.8 billion in ad spending, evidencing a 35.52% year-on-year growth. These final figures include advertising on the following media: broadcast TV, pay TV, radio, press, movie theaters, guides and lists, street advertising (outdoor, panels, urban furniture, digital out of home and mobile devices) and the Internet. The largest part of overall ad spending was absorbed by TV: 63.17% or US$7.6 billion, compared to the US$5.3 billion (62.64%) in 2009. Newspapers (12.6% or US$1.5 billion) follow, with magazines (7.32% or US$875 million), Internet and radio (4.42% or US$299 and US$291 million respectively) and pay TV (3.9%, or US$455 million) lagging behind. The consulting agency also reports that the “interactive digital media” category also grew 36.66% compared to the previous semester, keeping its three-year positive trend over 30%. According to IBOPE, the number of users accessing the Internet in Brazil climbed to 67.5 million people (16+) and IAB Brazil (Interactive Advertising Bureau) forecast that that
number would reach 73.7 million Internet users by the end of 2010. Meanwhile, data reported by Projeto Inter-Meios shows that mobile technology reached the 187 million mobile phone mark, increasing its penetration rate to 96.83 cell phones per 100 inhabitants. PRODUCTION LANDSCAPE. Brazil counts with a peculiar production market, where the country’s largest broadcast TV channels are absolutely dominant. These channels possess the capacity to supply 100% of their programming grids with original content produced in their own studio-cities. These studios are true moving picture factories. Based on a self-sufficient production model, Globo continues to lead Brazil’s broadcast TV industry, becoming a role model in content generation worldwide. Rede Globo, owned by business group Organizações Globo -the fourth largest media conglomerate in the world- is the fourth largest TV channel worldwide after US networks ABC, CBS and NBC. The Central Globo de Produção (known as Projac) located in Rio de Janeiro, is the largest production complex in Latin America and just a sample of the group’s infrastructure capacities. It extends over 1,650 km2 (637 square miles) and includes three studio-cities, ten production studios, 32 mobile units, 8,000 employees and a long list of other features. Over 2,500 annual hours of all kinds of content are produced there. The company has especially achieved worldwide recognition for the quality of its telenovelas, including world hits such as ‘Escrava Isaura’, ‘Tieta do Agreste’ and the recent Emmy winner for best telenovela ‘India - A Love Story’ (‘Caminho das Índias’). Globo’s most fierce competitor in the fight over Brazil’s broadcast TV market is Rede Record. This market pioneer first started broadcasting in 1953 under the name of TV
Record and became the second largest broadcaster after TV Tupi. Today, Rede Record ranks second in terms of audience. In the 90s the network doubled its bet on journalistic content and has recently shifted its focus onto telenovelas like ‘Prova de Amor’, ‘Bela, a Feia’ and ‘Another Power’ (‘Poder Paralelo’) and series such as ‘The Law and the Crime’ (‘A Lei e o Crime’) and ‘Esther, the Queen’. This original production strategy is led by RecNov, the station’s TV production center. Launched in 2005, it is located in Vargem Grande, Rio de Janeiro. Its whopping 208,000 m2 (2,238,893 ft2) in size make it the second largest production complex in Latin America. Three channels complete the Brazilian TV market’s top five stations. SBT, managed by the everlasting communicatorbusinessman Silvio Santos, owns eight studios in a 231,000 m2 (2,486,463 ft2) lot where the channel centralizes production for its screen. Rede Bandeirantes, chaired by Johnny Saad -son of João Saad, its founder- is now investing US$8 million to expand its production studios. Lastly, Rede TV! was created in 1999 to replace the old Rede Manchete and its recently renovated Centro de Televisão Digital (CDT) located in Sao Paulo. The center has seven fully digital studios sitting atop a 36,000 m2 (387,500 ft2) area. There are two other channels with national coverage, TV Cultura and TV Brazil, which are state-owned and have an educational/cultural profile. These two channels offer very good opportunities for independent production companies to have their original content broadcast across the Brazilian air. These five large media groups supply original production to most of Brazil’s broadcast TV, including 478 broadcasters and 9,896 re-broadcasters. During the past years co-production formats between these channels and large international companies have become more popular. This is the case of FremantleMedia (‘Price is Right’, ‘Idols’ and ‘The Apprentice’ in PRODUCTION GUIDE _47
partnership with Record, ‘Password’ with Rede TV!, among others) and Endemol (‘Big Brother’ with Globo and ‘Zero Bala’ with Bandeirantes, among others). Following this model, Casablanca, one of the largest independent production companies in the region, has played a leading role holding co-production agreements with Rede Record to produce, for example, seasons of the ‘The Apprentice’ (‘O Aprendiz’), comedy ‘Louca Família’ and the series ‘Turma do Gueto’. It is also co-producing the ‘Zero Bala’ format together with Endemol and Bandeirantes. Casablanca, run by Arlette Siaretta, is the only independent company holding a significant number of agreements with major broadcasting stations, a very rare exception in Brazil’s independent production landscape. INDEPENDENT PRODUCTION: VERSATILITY TO SURVIVE. The ABPI-TV (Brazilian Association of TV Independent Companies) is one of the organizations supporting the 107 production companies currently registered in Brazil. According to this association, producers face “distrustful competition” by Brazilian broadcasters that, unlike most countries in the world, operate as major content production companies. “These groups have everything they need: they broadcast, showcase and produce their own content. Fortunately, this situation has changed and legal regulations are starting to ensure the presence of Brazilian content in pay TV,” Marco Altberg, president of ABPI-TV, tells ttv. Almost 42.7% of all the registered production companies are located in Sao Pablo, 36.9% in Rio de Janeiro, 7.8% in Rio Grande do Sul, 4.9% in Brasilia and the rest are spread out in other states. According to a survey conducted by ABPI-TV, over 50% of all registered production companies have an annual turnover of up to US$580,000; 20% make between US$580,000 and US$2.9 million and the remaining 20% have an annual turnover over US$2.9 million. From the 103 registered production companies at that time, 52 produced documentaries, 27 specialized in animation, 18 in TV movies, 6 in telenovelas, 33 in TV shows, 12 in series and 29 produced films (feature and short films). REGULATIONS. One of the distinctive features of the Brazilian market is that the government is promoting regulations to favor independent production companies. These incentive policies started to arise in 2001 with Provisional Measure 2.228-1, which created the Film Industry Council and the National Film Industry Agency (Ancine, agency in charge of regulating, promoting and monitoring the sector’s activities.) Altberg provides other, later examples. “The government’s support has guaranteed resources based
on several provisions: Art. 1A of Lei do Audiovisual (2007), Art. 3A of the same law (2009), Funcines (2005) and Fundo Setorial do Audiovisual (2009). Thanks to this support, independent production has managed to develop highquality programs,” he says. The aforementioned legal provisions are primarily focused on implementing tax exemptions for companies operating in the industry. For instance, popular “Article 3A” states that: “Foreign tax payers may invest up to 70% of their due taxes on feature film productions by independent Brazilian production companies and co-produce filmic and audiovisual content of any size with independent Brazilian production companies, including documentaries, TV movies and miniseries.” This article is meant to connect the film and TV industry with independent production companies, helping local productions make their way into other local and international line-ups. “Over 90% of independent production companies are benefited by these regulations, which let public and private sectors invest in audiovisual productions with tax exemptions that are proportional to the invested amounts. These incentives and credits amounted to US$250 million in 2010. Brazilian producers can usually discount 30% of their total budget,” says Eliana Russi. The BTVP program she’s in charge of was created by the ABPI-TV to expand the horizons of domestic production toward the international market. A new legislative milestone is about to open more doors for the sector. Bill PLC 116 (formerly submitted as PL29 in 2007) will definitely impact on Brazil’s pay TV market. “Under article 3A, over US$35.5 million have been invested in local independent productions during the last five year. Yet once PLC 116 is passed, we will have an estimated investment of US$75.7 million a year,” says Adriano Civita from Prodigio Films. The bill has already been approved by the House of Representatives and is currently being discussed at the Senate. PLC 116 focuses on opening the pay TV market to telecommunications companies (to stimulate competition) and sets a minimum quota of local production on cable channels to stimulate national productions. The latter will become a gold mine for Brazilian independent companies. CONTENT EXPORTS: AN ATTRACTIVE WINDOW. Several associations were born in Brazil over the years to find new businesses for independent production companies. The Associação Brasileira Produtoras da Produção de Obras Audiovisuais (APRO), Cinema do Brasil and the aforementioned ABPI-TV are several examples. The ABPI-TV, together with the Brazilian Trade and Investment Promotion Agency (Apex-Brasil) and the Audiovisual Department of Brazil’s Ministry of Culture (SAV/MINC), has also developed the Brazilian TV Producers (BTVP) program. This program is meant to “promote cross-platform production opportunities, develop international business deals, stimulate Brazil’s audiovisual production sector and train companies to venture into the cross-platform business,” the agency says. One of BTVP’s most outstanding initiatives is the International Training Program (PIC) which is already on its third edition. These training sessions are heavily focused on financing, distribution and licensing issues. “We are very pleased with the results,” Marco Altberg tells ttv. “Good news is coming from young professionals trained in our project, producers that are currently working with companies like Turner and Viacom.” The ABPI-TV is also planning its first market event: the Rio Content Market on March 16-18 in Rio de Janeiro.
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Interview
Siaretta introduces Casablanca as the largest audiovisual production holding in Latin America and shares her experienced views on the industry’s current state in Brazil and the region.
“We have one of the largest RAM memory processing centers in Latin America.”
ARLETTE SIARETTA
President and Owner of Casablanca
Casablanca is an audiovisual holding that offers creative solutions but sets itself apart for its countless technical resources and advanced technological infrastructure. Its “one-stop shop” concept is based on independently operating business units that have an active role in every production, from its original conception to the final product distribution. “We have also developed a system that allows clients to participate in all of the project’s stages no matter where they are, in Brazil or anywhere in the world,” says Arlette Siaretta, the company’s owner. According to the executive, Brazil’s independent audiovisual production has matured during the last decade. “This progress is due, in the first place, to government incentives such as tax exemptions. These exemptions allow us to invest part of that foreign revenue obtained from broadcasting foreign content on our television. In second place, there is a growing demand for original local content and this will definitely help independent production to consolidate, since the number of independent production companies in Brazil is also increasing,” she says. This situation is not limited to the Brazilian market. As a representative of the Latin American production community, Siaretta applies the same logic to the regional landscape. “As founder and president of Latin America’s largest audiovisual production and post-production holding, I have no doubt that the region has proven its creative and technical
“TV screens are not only reflecting Latin America’s desire to reaffirm its diverse nature and identity but also setting new paradigms.” capacity in terms of audiovisual content. Brazil, Argentina and Mexico have always had a strong film industry and have produced prominent TV content, but Venezuela is also gaining relevance in the industry and there are more successful examples all over the continent. TV screens are not only reflecting Latin America’s desire to reaffirm its diverse nature and identity but also setting new paradigms for production and co-production services to satisfy the international market’s demands,” the executive says. CAPACITY AND CONTENT. Casablanca’s broad production and broadcast capacity -as well as its technical and locative infrastructure- are the main reason why the company is responsible for the postproduction of 80% of all Brazilian films. It has also co-produced some of the biggest blockbusters of the last decade, including ‘Pelé Eterno’, ‘O Cheiro do Ralo’ and ‘Se Eu Fosse Você.’ “We create, design and develop DVD versions for Fox, Paramount, Universal Music, Sony/BMG, Disney/Buena Vista and Globo Marcas. We also make compositions and special effects in 2D and 3D, including
stereoscopic 3D and we post-produce 70% of all advertising spots in Brazil,” says Siaretta. Casablanca Online, one of Casablanca’s business units, is Brazil’s leading supplier of satellite transmission services, broadcasting major events like the 2010 FIFA World Cup in South Africa, the Formula 1 and Rock’n Rio. “We have one of the largest RAM memory processing centers in Latin America and that translates into a huge capacity to mediate and project images in SD and HD. Apart from that, we are ready to broadcast HDTV in 2K, 4K and 6K resolutions, required for digital films. Our latest release is Casablanca Content, a unit created to meet content demand from the TV market, producing content for SBT, Record and Bandeirantes,” she says. The executive has great expectations for the short and medium run, both for business in Brazil and everywhere else. “I think a stable presence of independent production will increasingly promote programming diversity, using new formats and a new way of making TV in Brazil and worldwide. The fact that a certain percentage of production necessarily goes to independent producers is healthy for both programming grids and the economy, generating more jobs and increasing technical expertise and content diversity,” Siaretta concludes.
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Interview
Original production is a priority for this broadcaster. This implies investing heavily in the studios, ideas and talent involved in all of the production stages. Hiran Silveira talks to ttv about the channel’s projects and projections.
HIRAN SILVEIRA TV Drama Director at Record TV Network
Rio’s pioneering broadcaster is at the top of audience charts in Brazil, with an eclectic programming encompassing a wide range of genres that go from journalism and variety shows to entertainment and fiction. The channel has recently upped its investment in telenovelas, looking to produce more original content in this genre. This strategy is reflected by RecNov, the broadcaster’s TV production center and the second-largest complex in Latin America. TELENOVELAS Record TV Network’s Director of TV Drama knows what sets Brazilian telenovelas apart. “Brazilian telenovelas stand out for their quality,” he says. Silveira also highlights Brazil’s capacity to produce “all kinds of stories” thanks to its state-of-the-art technology and natural beauty, providing all imaginable locations to offer viewers “stories and beautiful images,” he says. “Our screenwriters write what audiences enjoy watching.” The executive claims this is the key behind the success of Record’s fictions. “Stories deal with current issues, which are suitable for the whole family and for all age groups and cultural profiles. These issues are always somehow representative of today’s reality,” he says. The company remains true to its commitment to quality, with an investment policy strictly focused on infrastructure, equipment and human resources. “Every episode of our 50_ PRODUCTION GUIDE
“Our screenwriters write what audiences enjoy watching.” telenovelas has an average cost of US$220,000 which amounts to an overall budget for each telenovela of around US$44 million,” Silveira says. A recent example is 2010’s ‘Rivers of Intrigue’ which required the construction of a scenic city with an investment of about US$2.75 million plus US$1.6 million spent on building the set. The RecNov filming center was built in 2005 in a 280,000 square meter (3,013,894 square feet) property in Vargem Grande, Rio de Janeiro. Since then, the broadcaster’s production capacity has been on the rise and keeps growing in extension, equipment, departments and employees. “By 2012, RecNov will be one of the largest drama production centers in the country,” Silveira says. GRID One of the network’s goals is focused on producing its own programming grid. Apart from the almost 30 writers working on new stories, Record’s board of directors is focused on studying potential new projects and choosing the best ones for every year. “Once the best stories are chosen, they are commissioned and developed, making up the channel’s new programming lineup,” he says.
The executive feels it’s this relentless work that sets the broadcaster apart. “We have a fleet of screenwriters that, once one story is completed, immediately start thinking about some new synopsis featuring unique stories. In other words, there is an ongoing commitment to projects and their evaluation,” he concludes.
“By 2012, RecNov will be one of the largest drama production centers in the country.”
Interview
In a promising and encouraging time for Brazil’s audiovisual sector, Adriano Civita talks about the independent production industry and how Brazil’s TV market is positioned in the region.
ADRIANO CIVITA CEO of Prodigo Films
An excellent macroeconomic situation, a TV industry that’s growing year after year, the continent’s highest penetration in pay TV and a seemingly unstoppable positive trend: there is no doubt that the Brazilian industry is at its prime. With this in mind, the CEO of Prodigo Films -one of the largest independent companies in the country- highlights the importance of being independent. “The largest part of the TV industry’s political and business structure is based in Argentina, Venezuela and, to a smaller extent, Colombia. Executives work from Miami and there are offices in Argentina because they need to speak Spanish with Latin America. This has not changed. What has changed is Brazil’s economic situation. It is the only country that has shown sustainable internal growth. Ours is a market that doesn’t have to worry about what’s going on abroad,” he says. Brazil is also leading the region when it comes to DTT implementation, conducting an intercontinental lobby to promote the Japanese-Brazilian standard. DTT’s subsequent multiplication of frequencies opens new opportunities and, according to Civita, has the potential to improve content quality. “It is said that broadcast TV networks will rather have four SD channels than one in HD. And, what do they win by doing that?” he asks himself. “New line-ups full of programs would have to be put together for three additional channels. But the advertising market did not multiply by three,” he adds, stressing that high definition and digital television come hand-in-hand.
DIVERSIFICATION The Brazilian market has another particular feature. Major broadcasters are their own content providers and, as a result, advertising becomes the main source of income for independent companies. The business run by Civita is a good example of a company that has broadened its horizons by incorporating different divisions. One of these divisions is Prodigo Advertising, which produces over 200 advertising spots per year. “Branded content projects, for example, are originated there,” he says. For these kinds of products, the production company and the advertiser develop an idea together, with the purpose of integrating a brand within a differential experience. These projects may also include Internet episodes, apart from their TV content. “It’s about integrating the brand while staying true to its products’ quality and attitude,” the executive says. But Prodigo’s search for versatility and innovation does not end with the advertising sector. The production company is also heading toward other areas, such as outsourcing services for TV, producing documentaries for big programmers such as HBO, managing distribution rights over its productions and planning development of consumer products while knee-deep in a pool of negotiations, coproductions, strategic partnerships, agents and platforms. “Prodigo produces a lot. We were recently in charge of developing and shooting the series ‘FDP (Filho da Puta)’ with a 9.16 million reais (about US$5.33 million) budget for HBO.
We have also produced for A&E and NatGeo. All this may lead broadcast TV channels into paying more attention to our content,” Civita says. The producer also has a feature film scheduled for February 2011 and several other projects underway. “We will produce the ‘PokerStars‘ series for broadcast TV channel Bandeirantes. We have another project for E! on Brazilian women who were victims of cruel murderers. We’ve also bought the rights to two books and we are planning the co-production of a feature film for 2015,” Civita says. The executive mentions another thing that’s happening in Brazil and may benefit his company. “Income distribution in Brazil is making social classes C and D more involved in society as a whole. Companies like ours are very interested in this phenomenon because this huge part of the population has more money to consume and is not longer satisfied with offerings from broadcast channels,” he concludes.
“What has changed is Brazil’s economic situation. It is the only country that has shown sustainable internal growth. Ours is a market that doesn’t have to worry about what’s going on abroad.” PRODUCTION GUIDE _51
Interview
TV Globo leads the list of Brazilian broadcasters and its growth seems to have no limits. The network produces 90% of its content in-house and stands out for its high-quality productions and strong international presence.
RICARDO SCALAMANDRÉ
Head of International Business at TV Globo
Brazil is Latin America’s leading media industry in size, production capacity and track-record. It stands as a gigantic and mature market, where investment in production and international projection are still rapidly growing. Brazilian broadcast TV reports the highest penetration rate, reaching 97.2% of the population, according to data provided by Ibope/TGI. Internet reaches 51% of Brazilians, pay TV is available to 27.7% of the country and the film industry completes the ranking with a 13.4% penetration rate. And right in the middle of this huge market, TV Globo stands out as an unquestionable star. It is one of the country’s top five broadcasters (Globo, Record, SBT, Band and Rede TV) and has the widest scope, reaching 98.5% of the territory. “We’re audience leaders across all segments, with high-quality programming. Globo content is always present on all platforms,” Ricardo Scalamandré tells ttv. The executive also stresses on the importance platforms in order to maintain -and improvecoverage. “Broadcast TV will earn more viewers through content on other platforms and this will increase its scope.” Apart from cross-platform content, Globo’s key to success is to concentrate all efforts on achieving the highest quality. “It is the formula that we have used for over 45 years. We offer audiences 90% of original programming, featuring 1,800 annual hours of news content and 2,500 annual hours of telenovelas and shows,” he says. “We learned, 52_ PRODUCTION GUIDE
“Broadcast TV will earn more viewers through content on other platforms and this will increase its scope.” very early on, that audiences love a good product.” GLOBAL AUDIENCES Globo TV productions travel the world. Every single idea is conceived to appeal to wider audiences. The company’s goal is to develop universal stories, which many times imply shooting in locations beyond Rio de Janeiro. “Globo TV’s role as a production company is to get everything ready to shoot such scenes. No doubt about it, a right selection of shooting locations is greatly valued by international buyers, who will bring highbudget productions into their programming grids,” the executive says. The company is been a big fan of the coproduction model. This model was first implemented to produce the telenovela ‘The Clone’ with Telemundo. “Co-production projects are part of our strategy to venture into new markets. Every entertainment area in the company is required commitment to the project,” Scalamandré says. TV Globo believes that its participation should go beyond selling a production’s script. The company actively works to make sure that the original idea
of its products is preserved and seeks for partners that can acknowledge its creative contribution. INNOVATION “There are currently many TV Globo professionals training to produce content using new technologies in the future,” the executive says. He also comments on the company’s previous experience during the FIFA World Cup 2010, when Brazil’s national soccer team games were broadcast in theaters using 3D technology in Sao Paulo and Rio de Janeiro. “Today, all primetime fiction production is made in HD. TV Globo was also the first broadcaster in Brazil to test 3D programming. We are constantly seeking to innovate in technology,” he concludes.
“Co-production projects are part of our strategy to venture into new markets.”
Interview
After a year of producing original content for different media outlets, DENISE Gomes talks about the projects and ambitions of BossaNovaFilms, a company that stands out for its cross-platform audiovisual services.
DENISE GOMES
Partner and Executive Producer of Entertainment and Branded Content at BossaNovaFilms
Denise Gomes is a fan of how independent production has grown in Latin America over the past few years and highlights the importance of conquering new spaces across different emerging media platforms, working with content in an intelligent way. “New formats are now produced using creativity, seeking new alternatives to reduce customer costs without risking quality standards required by the international market,” she tells ttv. Given Brazil’s positive and promising growth forecasts, BossaNovaFilms is working to increase its operations across the world. “We want the company to be known as a cross-platform production company, operating in entertainment, branded content and advertising,” the executive says. This is BossaNovaFilms’ distinctive feature. It seeks to make “all audiovisual languages converge together,” as Gomes says. “Our directors work for the advertising and the entertainment industry, in feature films, TV shows or new media projects. And our cross-platform approach allows us to make a positive contribution to the development of convergence projects.” BossaNovaFilms holds strong partnerships in the international broadcast and cable TV markets while also operating in the digital media market. “Thanks to the interaction of the different areas of our company (entertainment, advertising, branded content and interactive projects) we are able to offer intelligent solutions at competitive costs for
clients such as Nokia, Samsung, Ford Ecosport and others,” the executive says.
(Brazil), Mojo Pictures (US) and Revolution Films (England).
PRODUCTION The fact that BossaNovaFilms specializes in the four aforementioned areas has enabled it to offer comprehensive services for ad campaigns, creating cable TV series for major names such as ‘Across the Amazon’ (Toyota and Natgeo) and ‘Harmonize’ (Globosat and AmBev). In regard to TV, it is producing about six series at the same time, with different partners in cable and broadcast TV.
According to Gomes, producing in Latin America -more specifically in Brazil- has its advantages. “There is great diversity for casting calls and a great geographical wealth. The city of Rio de Janeiro, for example, is one of the most cinematographic cities in the world with its exuberant nature, forests, mountains, beaches and lagoons,” she says.
As for projects which are underway, Gomes mentions the feature film by director Georgia Guerra-Peixe on the Cerro de Mangueira Samba community, ‘The Samba Within Me’, which has just been completed. “The film won the Special Jury Award at the 34th Sao Paulo International Film Festival. It was coproduced with Filmes do Tejo, a Portuguese production company that produces Manoel de Oliveira films,” Gomes says.
Gomes also says 2010 was “even better than the year before,” largely due to the global economic recovery and Brazil’s current role as a strategic market for advertisers.
“Our cross-platform approach allows us to make a positive contribution to the development of convergence projects”.
Another co-production by BossaNovaFilms is Ugo Giorgetti’s ‘Corda Bamba’, shot in Sao Paulo and currently receiving its finishing touches. The production company is also coproducing ‘Río, Yo Te Amo’, a feature film with Premium Entertainment Group Oz Produções and Limite Produções. The Marcelo Machadodirected documentary ‘Tropicália’ is also on its way, co-produced by BossaNovaFilms, Record Entretenimiento and Fernando Meirelles PRODUCTION GUIDE _53
i HEADQUARTERS
Tabocas Street 170, CP 05445 020, Sao Paulo, Brazil Ph.: (+55) 11 3811 2000 Email: bossa@bossanovafilms.com.br Website: www.bossanovafilms.com.br
Doing Business Since: June 2005 Business Area: Broadcast and pay TV, film, digital content Owner: Denise Gomes, Eduardo Tiribiçá, Irma “Jimmy” Palma, Julio Xavier, Paula Trabulsi and Willy Biondani
Profile BossaNovaFilms is one of the largest audiovisual production companies in Brazil specialized in advertising, entertainment, branded content and interactive projects. Due to its cast of renowned awardwinning directors, who come from varied backgrounds, generations and profiles -and that have been awarded prizes both in Brazil as well as abroad- BossaNovaFilms offers a wide variety of different looks and styles in addition to developing audiovisual products for all media platforms. Supported by strong material and technological infrastructure, its team of executive producers is able to shoot films in any part of the world with absolute quality, agility and competition. In addition to having a full production base in Brazil, BossaNovaFilms has five more production bases in Argentina, Chile, Mexico, Uruguay and Venezuela. These production bases offer extra options for those clients who are interested in carrying out full production and production service projects in these countries.
Main Features Entertainment, advertising, branded content and interactive projects.
Business Area Broadcast and pay TV, film, digital content.
THE SAMBA WITHIN ME (Feature Film)
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Production Portfolio Harmonize (Series – 13 episodes) The series is about harmonizing the senses. Musicians, great chefs and guests get together to eat, drink, listen to good music and talk. Directed by Luiz Ferré and Ivy Abujamra from BossaNovaFilms. Created in partnership with GNT Channel, DM9DDB and BossaNovaFilms for Bohemia. THE SAMBA WITHIN ME (Feature Film) The first feature film produced by BossaNovaFilms. Directed by Georgia Guerra-Peixe, it was released during the 34th São Paulo International Film Festival, which took place in October 2010. It is a documentary that shows Georgia, one of our casting directors, meeting with her own history again. Departing from the Estação Primeira de Mangueira Samba school’s court, she ascends the Mangueira hill, moved by her desire to go beyond the samba. The film won the Festival’s Jury Special Award. ACROSS THE AMAZON (Documentary Series – 6 episodes) A documentary made by BossaNovaFilms in a partnership with National Geographic Channel and Toyota. A team of six adventurers crossed South America from East to West in 70 days, going through 35 cities and crossing seven Brazilian states up to Peru. The documentary has been transformed into a series and is shown in six 30-minute episodes.
Across the Amazon
(Documentary Series)
Executives
TOP Executive
Denise Gomes, Partner and Executive Producer of Entertainment and Branded Content
Irma “Jimmy” Palma, Partner and Executive Producer of Interactive and International Advertising
Eduardo Tibiriçá, Partner and Executive Producer of Advertising for the Brazilian Market
Contacts
Elisa Chalfon,
Executive Producer of TV and Entertainment echalfon@bossanovafilms.com.br
Mauricio Lains, VP of Entertainment Business Development mdlains@bossanovafilms.com.br
Main Clients RedE Globo
TV Cultura
Discovery Channel
Canal Futura
Bravo Canadá
Animal Planet
RedE Record
National Geographic Channel
Arté
GNT
FOX
Production Capacity LOCATION: BossaNovaFilms is located in a 1,500 m2 (16,146 ft2) building in Vila Madalena, Sao Paulo. HUMAN RESOURCES: 140 employees and close to 300 freelancers.
Harmonize
(Series – 13 episodes)
EQUIPMENT: cameras (1 5D, 1 DSR 300, 2 HVX 200, 1 PD 170, 2 HANDCAM), lights (2 KIT ARRI, 4 Mini Brut of 6 Light bulbs, 3 Fresnel 2000W and 1 Fresnel 1000W), 1 mobile unit and 12 editing islands.
i HEADQUARTERS
Av. República do Líbano 385, CP 04501-000, Sao Paulo, Brazil Doing Business Since: 1985 Ph. And Fax: (+55) 11 3889 2646 Hours or Productions Per Year: 3,000 hours Email: atendimento@cbsp.com.br Owner: Grupo Casablanca Website: www.cbsp.com.br
Profile Established in 1985, Casablanca started its activities as a postproduction company and soon expanded the act to production areas, animation, authoring, satellite transmission and post production in audio, telecine, color grading and special effects. Since then, it has became synonymous of excellency in audiovisual. Its independent units act on the cinema, television, advertising and sports markets and offer high technology and quality to all its media platforms. With headquarters in São Paulo and Rio de Janeiro, Casablanca has been consecrated as the biggest holding producer and finisher of audiovisual in Latin America.
Production Portfolio Busão Do Brasil Client: TV Bandeirantes and Endemol Brasil Brazilian adaptation of Endemol format ‘The Bus’. This is the first reality show in Brazil to place 12 participants inside a trailer that travelled through 11 Brazilian states, covering 5,000 km (3,107 miles).
Main Features
FORMULA Indy 300 São Paulo Client: Sony With a team made up of 30 professionals, Casablanca Online operated four 3D cameras and three mobile units to broadcast the Formula Indy 300 Sao Paulo event live in 3D and in HD.
Casablanca counts with an enormous infrastructure in all its indepent business units. Casablanca Online is the leading provider of satellite transmission in Brazil, directed towards television broadcasters, news agencies, producers and great companies. It has one of the biggest fleet of mobile uplink units (DSNGs) in the country that travels 30 thousand km each month.
SOUTH AFRICA CONFEDERATIONS CUP Client: Globo, GLOBOSAT and Bandeirantes Casablanca Online used a DSNG unit equipped with three cameras to shoot and broadcast a digital signal for GLOBOSAT; another one used exclusively for broadcasts in SD and HD for Globo and a mobile broadcasting unit for Bandeirantes’ digital signal.
Casablanca Content works with creation and production of several formats: dramaturgy (soap operas, series and mini-series), reality shows, game shows, kids programming, auditory shows, documentaries and special projects for producing companies and broadcasters. Responsible for the post-production on 70% of the advertising spots in Brazil, Casablanca Effects acts in non-linear digital edition, production of graphics and high quality animations in 2D and 3D. Casablanca 3D is a unit dedicated exclusively to the realistic effects in stereoscopic 3D.
SOUTH AFRICA FIFA WORLD CUP 2010 Clients: Rede Record, Portal Terra Casablanca Online operated a DSNG unit to record and broadcast at Rede Record’s disposal, using another one for Portal Terra, one of Brazil’s leading Internet providers. Casablanca recorded and broadcast audio and video signals live from Cape Town and from the studio that was specially made for the occasion.
For Audio services, Casablanca Sounds offers Sound Design; Dialogue Edition and effects in 5.1; mixing in 5.1 and 2.0; Foley; Dubbing; Sonorization; Masterization for DVD; Sound Restoring and creation of advertising pieces; sound vignettes and spots. Casablanca TV is reference of operationality and broadband access; they also process films in digital environment and have more than 250 hours of original programming. On top of all that, Casablanca also makes post-production for cinema; special effects and the digital intermediation for high definition; processing of negatives 16mm and 35mm; capitation of images; restoring of films; DVD authoring and mastering and distribution of movies for digital cinemas.
Business Area Broadcast and cable TV, film, advertising, live events, satellite broadcasts, animation and Internet.
SOUTH AFRICA CONFEDERATIONS CUP Clients: Globo, GLOBOSAT and Bandeirantes
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SOUTH AFRICA WORLD CUP 2010
Executives
TOP Executive Arlette Siaretta, President/Owner arlette@casablancacontent.com.br
Main Clients Endemol Brasil for SBT Date: 2009-2010 Product: ‘1 contra 100’
GNT Date: 2010 Product: ‘Por um Fio’, ‘Diário do Olivier’
Endemol Brasil for TV Bandeirantes Date: 2009 – 2010 Product: ‘Zero Bala’
FOX Date: 2009-2010 Product: ‘9MM Sao Paulo’
Endemol Brasil and TV Bandeirantes Date: 2010 Product: ‘Busao do Brasil’
Cinemat USA (Disney/ ABC) Date: 2010 Product: ‘The Amazing Race’ – Brazilian Stage
Production Capacity LOCATION: Sao Paulo, Brazil. Studios: 5 studios. Overall studio space is 2,000 m2 (21,528 ft2) HUMAN RESOURCES: 300 employees EQUIPMENT: Complete recording and shooting services as well as storage, mobile units, editing stations, postproduction, broadcasts via satellite with teleport in Sao Paulo. POST-PRODUCTION: 15 editing stations: 2 Inferno stations, 2 Smoke stations, 1 Final Cut station, 1 Digital Station High Definition (DSHF), 1 EQ station, 2 After Effects stations and 6 restoring stations.
Busão Do Brasil
Cliente: TV Bandeirantes y Endemol Brasil
ZERO BALA
Client: Endemol Brasil for TV Bandeirantes
SPECIAL EFFECTS AND ANIMATION: 25 editing stations: 8 Inferno stations, 7 Smoke stations, 2 Final Cut stations, 6 After Effects stations and 2 Rotoscopia stations. MULTIMEDIA DEVLOPMENT: Ibrasat, technological research and innovation center, new in-house product development (carbon fiber antennae and special rigs for 3D cameras). OTHER: Looking toward the 2014 World Cup, Casablanca is already carrying out a technical training project for the largest movie networks in Brazil since March 2010. Over 50 movie theaters in 12 cities will be receiving 3D HD signals live.
i HEADQUARTERS
Av. Chedid Jafet 222, Bloco D, 5 andar, Vila Ilímpia, CP 04551-065, Sao Paulo, Brazil. Ph.: (+55) 11 3046 8044 Email: info@mixer.com.br Website: www.mixer.com.br
Doing Business Since: 2003 Owner: Holding ETC
Profile Mixer is the most wide-ranging and award-winning production company in Brazil (47 Lions in Cannes and Emmy nominations among other prizes). The company operates in all sectors of audiovisual production including advertising, films, fiction series, entertainment shows, documentaries and animation.
Production Portfolio
Business Area Broadcast and pay TV, advertising, film.
DOGGY DAY SCHOOL (Animation – 26 x 11’)
DOGGY DAY SCHOOL (Animation – 26 x 11’) Year: 2009 Client: Nickelodeon ‘Doggy Day School’ is a safe, inviting place that dogs love to go to everyday. The animated series was created to develop and stimulate a world perspective that believes that diversity enriches lives and must be celebrated.
THREEDOM
(Series – 13 x 30’
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THREEDOM (Series – 13 x 30’) Year: 2009 Client: MTV Brazil ‘Threedom’ is about three young people that don’t know each other. They begin facing dilemmas, experience events, conquests and doubts that are typical to their generation in a Sao Paulo apartment they all share.
Executives
TOP Executive
João Daniel Tikhomiroff, President
Contact
Tiago Mello, Executive Director of Content tiago@mixer.com.br
Main Clients Globo
TV Brasil
TV Bandeirantes
MTV Brasil
Discovery Channel
VH1
Nickelodeon
TNT
TV Cultura
History Channel
Mothern
(Series – 13 x 30’)
Mothern (Serie - 13 x 30’) Year: 2008 Client: GNT (Globosat) Beatriz, Mariana, Rachel and Luísa are young professionals and mothers. On the verge of a nervous breakdown, they try to find balance in their lives and the best way to raise their children. They are friends but have very different personalities. Filled with doubts and imperfections, these “motherns” will have to find very personal solutions to universal dilemmas.
i HEADQUARTERS
Av. Professor Francisco Morato 5975, Vila Sonia, CP 05521-300, Sao Paulo, Brazil. Ph.: (+55) 11 3749 2555 - Fax: (+55) 11 3749 2560 Email: betao@prodigo.com.br Website: www.prodigo.com.br
Doing Business Since: 1998 Hours or Productions Per Year: 30-35 hours Owner: Adriano Civita, Francesco Civita, Caíto Ortiz, Herbert Gauss and Giuliano Cedroni.
Profile Prodigo Films is a Brazilian production company that works in cinema, television and advertising. For over 16 years, Prodigo has been responsible for the production of internationally awarded documentaries such as ‘Motoboys_Vida Loca’ (winner of the São Paulo International Film Festival Popular Jury Prize in 2003 and distributed by HBO), ‘The Day Brazil Was Here’ (film about the Peace Game between Brazil and Haiti and also distributed by HBO), ‘Rio Breaks’ (documentary about the life of the ‘favela’ surfers in Rio de Janeiro that was launched in the 2009 Rio de Janeiro International Film Festival and produced in association with the Sundance Channel) and ‘Pixo’ (‘Spray’ - about the street artists of São Paulo which was launched at the 2009 São Paulo International Film Festival and was granted the Honorable Mention prize). Prodigo has also recently produced two important TV programs: a reality show for Multishow (one of Globo’s pay TV channels) called ‘Mob Brasil’ and another for TV Bandeirantes called ‘Poker Stars’, a poker TV series. Several other projects are in development, among which are four fiction feature films, two documentaries, and three television series (for HBO, NatGeo and Multishow).
Main Features All products with the Prodigo seal are completely produced and developed within the own company. With ample knowledge on programming, Prodigo plays a strategic role for channels who wish to enter the Brazilian pay TV market.
Business Area Advertising, film and television.
RIO BREAKS Documentary
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Production Portfolio
THE GUIDE (O GUIA) (Serie)
The Guide (O Guia) Length: 13 x 26’ Timeslot: Sundays, 8:00 PM Year: 2009 Client: NatGeo A gastronomy traveling series hosted by the original Josimar Melo, a famous Brazilian food critic and journalist. Melo travels to several cities in Europe and South America in search of the most interesting stories related to food. He goes to Paris to visit the Michelin Guide headquarters; Normandy to hunt his own dinner; London to follow James Bond’s footsteps; Sicily to investigate the mafia’s menu; Turkey to experience a true sultan’s life; Tuscany to hunt for truffles; La Mancha to follow Don Quixote’s route and to Salamanca, Buenos Aires, Lima, Bahia and the Amazon. Mob Brasil Genre: Reality Show Timeslot: Thursdays, 10:30 PM Length: 16 x 23’ Year: 2009 Client: Multishow Inspired by the Flash Mobs Movement, the program’s main goal is to bring about questions of daily life with the purpose of calling people’s attention through interventions.
Mob Brasil (Reality Show)
Executives
TOP Executive
Contacts Herbert Gauss, Executive Producer betao@prodigo.com.br
Adriano Civita, CEO
Main Clients HBO Date: In Development Product: ‘FDP’ (Series)
TV BANDEIRANTES Date: June 2010 Product: ‘Poker Stars’ (‘Poker das Estrelas’)
RED BULL Date: September 2010 Product: ‘Better Than’ (Short Film)
NATGEO Date: July 2009 Product: ‘The Guide’ (‘O Guia’)
Production Capacity LOCATION: Sao Paulo, Brazil. Studios: One 900 m2 (9,687.5 ft2) studio. HUMAN RESOURCES: 60 employees EQUIPMENT: 5 editing stations with Final Cut (including Correction Color, After Effects, Sound Booth).
POSTPRODUCTION: Alexandre Boechat. Special Effects in 2D and 3D. CREATIVE DEPARTMENT: 3 artistic directors. ANIMATION: 3D
Poker Stars (Poker das Estrelas) (Series)
Poker Stars (Poker das Estrelas) Genre: Series Timeslot: Sundays, 10:00 PM Length: 13 x 26’ Year: 2010 Client: Bandeirantes A weekly program composed of 4 different Brazilian celebrities challenged to a poker game where the winner donates the prize of 10 thousand reais to a charity institution. At the end of the show, the winning star disputes a match with a special guest, chosen by the ‘PokerStars’ website. Prodigo and PokerStars are preparing a second season of the program for 2011.
COLOMBIA
Inside
Collywood This self-imposed neologism is not far from reality. Now that Hollywood is planning to shoot series for the US market in Colombia, the South American country could become an appendix of the dream factory. By Sebastián Amoroso and Sebastián Torterola
managed Canal UNO and Canal A struggle within a clear shift in Colombian audience preferences. In regard to its advertising market, Colombia stands out among the rest of Latin America with an overall ad spending of US$3.9 billion in December 2009, according to data provided by Ibope Colombia. The consulting firm’s report ranks the country behind Mexico (US$4 billion) and Brazil (US$13.5 billion). Comparing numbers recorded in 2008, the market grew by 10%, a more than reasonable figure considering the world’s financial crisis and Colombia’s 2% inflation rate.
Colombia
is one of Latin America’s most populated countries: its 45 million people rank it third after Brazil and Mexico. Over recent years the country has encouraged foreign capital investments into its marketplace, where several influential foreign companies and groups operate in the communications business. The country counts with two private TV channels, two public national channels and one mixed channel, a private local channel in Bogotá, 50 pay TV operators under service licenses, eight regional channels and over 41 non-profit channels, including seven university channels. Its National Television Committee (CNTV) is holding a call for tenders for a third private channel and the country is also in the process of implementing the European DTT standard. There are basically two private networks that split up Colombia’s broadcast TV market today: Canal RCN and Caracol Televisión. These channels account for nearly 95% of the Colombian audience. Meanwhile, government-
64_ PRODUCTION GUIDE
Television and radio captured most of the market’s ad spending. Ibope Colombia reports that the TV segment billed more than US$2 billion in its three categories: national TV (US$1.7 billion), regional TV (US$297 million) and international TV (pay TV, US$34.6 million). While national and regional TV reported growth rates of 16.6% and 14.15% respectively, pay TV fell by 45.3%. The bid for a third national network became a hot issue within the advertising world (by the time this edition went into print, bidding for the third channel had been provisionally interrupted by the CNTV). Many questions on whether the ad spending market would be able to handle a third player are still being asked while the industry shows concern over the market shrinking for traditional TV broadcasters RCN and Caracol. In pay TV, the market has changed a lot compared to 2008, when it reached record growth numbers in comparison to previous years. Even though it’s still a healthy market, the 45% drop reported by Ibope (from US$63 million in 2008 to US$34 million in 2009) shows troublesome numbers compared to its free counterpart. Over the last decade, Colombian TV has exported over 30 television productions -most of them telenovelas- which have sold in over 80 countries worldwide. ‘Ugly Betty’ is probably one of the great landmarks in international TV, registered in the Guinness World Records as the best-selling telenovela of all time. The list continues with titles such as ‘Without Breasts There is no Paradise’ and ‘Café con Aroma de Mujer,’ among many others. Recently, several international production companies disembarked in the country. One of them was Fox Television Studios, represented by Fox Telecolombia, which shot
‘Mental’ in its own studios in Bogota. ‘Mental’ is the first series for the US market produced in a Latin American country. After that, more multinational production companies began to produce some of their series in Bogota. Such is the case of Disney (‘A Corazon Abierto’, an adaptation of ‘Grey’s Anatomy’ produced by Vista Productions) and Sony (‘Los Caballeros las Prefieren Brutas’ by Laberinto Producciones). US major studios carried out three significant operations in the country. First, Fox Television Studios acquired a majority stake of Telecolombia Producciones in 2007, producing shows like ‘Countdown’ and ‘Mental’. The second most significant operation is the partnership between Sony Pictures Television and Teleset and, the third most recent milestone is a joint venture between Telemundo -owned by the NBC group- with RTI Colombia, giving birth to products such as ‘Hidden Passion’, ‘Victoria’ and ‘The Woman in the Mirror’. MARKET FEATURES Colombia presents many advantages for audiovisual productions. The country is located in the northwest corner of South America, which makes it close enough to cities like Los Angeles (7:40 hours), New York (5:30 hours), Miami (3 hours), Toronto (6 hours), Mexico City (4:30 hours), Buenos Aires (6:10 hours), Santiago de Chile (5 hours), Sao Pablo (5:45 hours), Paris (12:30 hours) and Madrid (10 hours). The country has a diverse architecture (old-colonial towns, monuments, modern cities) and a diverse climate (from snowy and cold mountains to warm, sunny beaches) all year long.
of races and its human diversity also give casting processes a broader scope for any kind of productions. There are also highly-trained professionals in production, direction, acting, art direction and post-production, with a background in TV series, telenovelas, reality shows, documentaries, cultural shows and kids’ and entertainment programming. Colombia has no unions in the audiovisual sector so there are no established or regulated rates in terms of salaries for technical crews. Each production company negotiates the professional services required for its project directly with the provider.
Colombia also offers low production costs compared to other countries in the region, especially in regard to accommodation and food, locations, transportation, qualified professionals, extras, equipment rental and production studios (TV, audio, recording). Its infrastructure is also supported by tax incentives for co-productions with local companies and tax refunds (such as with the VAT), provided by law to promote the exportation of services. Even though costs obviously depend on the specific project one wishes to produce, most people surveyed by ttv agree that Colombia’s production costs are on average 40% lower than in Mexico and Brazil. Production costs in Colombia can also be on average 10% to 15% lower than in Argentina. And talent doesn’t run scarce. Technical and artistic talented professionals, with experience in TV, advertising (30 international commercials per year) and film (13 productions released in 2008) production are easy to find. A wide range VISUAL 2010: OVER US$ 6MILLION IN BUSINESS The Visual 2010: Colombian Audiovisual Market was held in Bogota on November17-10. Several renowned representatives from production companies and local and international channels were at the event, where small- and medium-sized independent Colombian producers presented 220 projects. The market was evaluated as high positive by Any Vásquez Pérez, a member of the Colombian National TV Committee (CNTV). Over 700 business meetings were held to promote commercial exchange and content generation at an international level. These meetings resulted in almost US$6.2 million in business deals. “These numbers are proof of Visual 2010’s success as a business opportunity window for Colombian producers and creative professionals,” said Vásquez Pérez at the event’s closing speech. She also added that foreign channels were satisfied with the projects and products they had the chance to see.
PRODUCTION GUIDE _65
Interview “Now we pay attention to every detail: scripts, shooting, post-production, location, staging… absolutely everything.”
The company acquired by Fox Television Studios in Colombia has become one of the region’s leaders in infrastructure, talent and investment. Its president and CEO talks to ttv about FoxTelecolombia’s impeding race toward know-how and technological excellence in Latin America.
SAMUEL DUQUE ROZO
President and CEO of FoxTelecolombia
Four years ago, adding the word Fox to the name “Telecolombia” implied a huge challenge and a deep makeover. “It brought us new energy and renewed vitality, especially for us. This was a Colombian company that was taking its first shy steps into Latin America with some of its products. Fox’s quality requirements, which we quickly adopted, taught us a lot,” Samuel Duque Rozo, president and CEO at Fox Telecolombia, tells ttv. This partnership came at an excellent time to carry out productions in Colombia. According to Duque, local technical services, as well as photography and casts, are up to “higher” quality standards now. “We are more careful with the details. Colombia has always stood out for being quick and efficient but sometimes messy when it comes to the details. We learned to be more careful by working with other companies in co-productions or providing production services to foreign clients. Now we pay attention to every detail: scripts, shooting, post-production, location, staging… absolutely everything,” he says. BUSINESS MODELS AND RELATIONSHIPS One of the production company’s pillars is its business relationships with broadcasters, especially RCN. The Colombian channel has been a partner for 30 years now and FoxTelecolombia has been supplying it content for nine. “We talk a lot with RCN’s VP of products, Fernando Gaitán, about stories. It is a thorough process in terms of writing and rewriting. Likewise, we have an 66_ PRODUCTION GUIDE
excellent relationship with Univision and Telefutura, with whom we signed a number of production deals. And I only have good things to say about the wonderful relationship we have with Fox Utilísima, Fox Life and National Geographic, as well as with Discovery Channel,” Duque says, highlighting how important these relationships have been for the company to develop its know-how. In regard to digital media and the internet, the executive admits that FoxTelecolombia “hasn’t done much” in that area. “We have a content department where we develop several formats (web-telenovelas and reality shows) for cell phones and internet platforms but the market’s budgets for these kinds of investments are meager. The internet and other mobile platforms have indeed been growing worldwide and everything will someday be broadcast through these platforms. But now-a-days budgets for these kinds of content are scant,” he says. In fact, this production company follows more than one business model. It has a solid infrastructure, with three studios and one more in the making, apart from “highly trained” human resources in the technical and production fields. “We provide services by renting our infrastructure or doing what we love: develop projects from day one. We conceive an idea, hear what the client wants and take care of scripts, staging, shooting, post-production and deliver a completely finished product, with all the risks that implies.
We are open to different business models and also adjust ourselves to the needs of every particular project, whether they are small, medium or large productions,” the executive says. REGULATIONS AND MORE Today, Colombia has certain legal regulations that are meant to benefit the film industry. According to Duque Rozo, the possibility of bringing these benefits over to the TV industry is currently under discussion. This would most definitely boost foreign investment. Meanwhile, some other advantages do exist. “Exemptions for foreign companies, security provided if requested, taking people to shoots, inexpensive talented technical professionals and inexpensive locations but no specific incentives. We are still getting there but I think producing in Colombia isn’t expensive. And that alone makes up for it,” he says. The end of 2010 yielded positive results for the production company. “Last year the company registered a 10 to 15% growth rate, which is three times the country’s growth figures. We have already started to produce series for 2011 to broadcast during the first half of the year. I also see the country is going through a time of prosperity. President [Juan Manuel] Santos has remained true to a certain way of governing but has also introduced some changes. People say that the next ten years in Colombia will be the best years we have ever experienced in the last four to five decades,” Duque concludes.
Interview
Caracol TelevisiÓn is going through a clear expansion period, confirmed by a growing volume of original production and a constant search for new business models, heading toward international markets. Darío García describes the goals and projects of a channel that’s on its way to becoming a leading production pole for Colombia and the world.
DARÍO GARCÍA
VP of Production at Caracol Televisión
“We have increased our production volume and output, entering agreements with other channels. This situation requires that the company turn into an audiovisual content factory,”
Producing content for the local TV screen is no longer a challenge for Caracol Televisión. “We are now considering the possibility of feeding other screens, so we have increased our production volume and output, entering agreements with other channels. This situation requires that the company turns into an audiovisual content factory,” García tells ttv. Ever since the channel started operating within the private TV landscape, its production levels have increased year after year. And that is exactly one of Caracol’s strategic mediumterm goals. “We aim at becoming producers beyond local needs, venturing into international markets,” the executive says. LOOKING FOR NEW MODELS Given this landscape of new goals and expectations, Caracol Televisión’s production division must render a set number of hours of content a year and has to meet a previously defined budget of product, format and co-production sales. In order to do this, Caracol is exploring
different production models. “For example, we’re producing content for other screens, what we call made-to-order. This is the case of our agreement with Televisa,” García explains. Caracol also works in co-productions and is currently co-producing the telenovela ‘Love and Fear’ (‘Amar y Temer’) with Sony Pictures Television. “We are also producing for our own screen and we are opening a project design bank -scripts and plots- to seek international opportunities,” the executive says. The channel’s international division also sells its taped content and formats in foreign markets and looks to sell production services in the future. “We are expanding our business scope to whatever the market is willing to take and can be exploited,” García sums up.
and one drama); two contest shows; two reality shows and a “sop popera”, which García defines as “stories based on characters and on certain situations that have no set ending and can last as long as you want.” According to the executive, “Caracol is going through a time of new ideas and productions for this year.”
“This situation requires that the company turns into an audiovisual content factory.”
CONTENT IN THE MAKING Based on its long-term experience, Caracol Televisión has developed its own production processes and methods, making its work efficient in terms of time and costs. “A combination of quality and efficiency is what makes our work appealing and competitive in the global market,” García says. Caracol is developing an important number of projects that are currently in different stages of production: two telenovelas (‘The English Teacher’ and ‘Love and Fear’); a new format under the tentative name of ‘Jungla de Cemento’ featuring stories loosely based on real-life events; two new series about recent historical affairs in Colombia; two more telenovelas (one comedy PRODUCTION GUIDE _67
Interview
Disney Media Networks Latin America’s production arm continues to produce at a good pace after its productions yielded excellent results on RCN channel in 2010. Its general manager talked to ttv about production dynamics and projects to come.
JAIME SÁNCHEZ CRISTO General Manager of Vista Productions
In charge of producing huge original projects such as the four versions of ‘Desperate Housewives’ and the Latin American version of ‘Grey’s Anatomy’, Colombia’s Vista Productions is a synonym of production expertise, performance and talent. “Our strength relies on flawless productions, excellent casts and competitive market prices,” Jaime Sánchez Cristo, its general manager of production, points out to ttv. Operating in Colombia, Vista is known for its versatility and effectiveness. “On the one hand we develop projects from the initial idea to the finished product; on the other, we adapt world hit formats for the Latin American market,” Sánchez Cristo says. Productions are exclusively made for broadcast TV, with RCN’s grid as their main destination in Colombia. “Our productions obtained some of their best ratings in 2010. They led primetime in broadcast television and scored historic audience records,” he says. According to Sánchez Cristo, producing in Latin America -particularly in Colombia- has notorious advantages such as “professional working skills, high-quality format production and post-production, low costs and a universe of stories and locations to discover,” he says. The executive also refers to the sector’s current atmosphere and to the future of the business for this year. “From Vista Productions’ perspective, our local original production volume will be the same as in previous years, featuring two to three 68_ PRODUCTION GUIDE
“[In 2010 our programs] led primetime in broadcast television and scored historic audience records.”
productions a year. In 2011 we will keep the same number of productions but will raise the number of episodes per production, while continuing to increase the number of productions and episodes,” Sánchez Cristo says. UPCOMING PORTFOLIO The name ‘Vista Productions’ usually comes up when talking about any major coproduction agreement. This was the case of ‘A Corazón Abierto’ -now on its second season- made by a talented team who tried to meet the US series’ quality standards. “We are currently shooting the series, which is set to premiere in Colombia’s RCN soon. This version of ‘Grey’s Anatomy’ has the same quality as that of the original series, while tending to a different context and audience,” Sánchez Cristo says. Vista is also planning the adaptation of Chilean TVN’s ‘Where is Elisa?’ a co-production between Telemundo Internacional and Disney Media Networks Latin America that is about to begin shooting. “A third crew is also working on the scripts for a completely original series based
“We’re working on the scripts for a completely original series based on a true story. It’s called ‘El Estilista’”
“Our strength relies on flawless productions, excellent casts and competitive market prices.”
on a true story. It’s called ‘El Estilista’ and its set to start shooting in mid-2011,” the executive says.
Interview
The creator of the most popular telenovela in history -‘Ugly Betty’- talked to ttv about RCN’s present and shared insights on the Colombian production industry. Hot topics: genre diversification, agreements with major studios and the leading role of original production.
“Now productions are venturing into several genres, not only telenovelas.”
Fernando Gaitán
Vice President of Content and Products at RCN Televisión
Over a year ago, Colombian authorities considered including telenovelas into the country’s national heritage. Today, with no arguments against it, Fernando Gaitán sees the big picture. “The Colombian national product has expanded significantly and now productions are venturing into several genres, not only telenovelas. We are producing series, miniseries, sitcoms and TV movies, and new emerging TV formats like HD have a lot to do with this,” he says. According to the creator of the worldwide popular format ‘Ugly Betty’ -that has traveled the world as a taped product and format- high definition has led directors and producers to work in other genres. “RCN’s screen is comprised of 80% of original production and sometimes we even reach 100%. Apart from producing for Colombia, part of our production is meant to be exported. We now have very interesting agreements with Sony, Fox and Disney and we develop one or two projects a year with them -both series and telenovelas- for Colombia, Latin America and US screens,” Gaitán says. ORIGINAL CAPACITY RCN Televisión has three digital TV studios, ranging from 120 m2 (1291 ft2) to 1000 m2 (10.763 ft2) in size that are used for dramas, news and reality shows. “We are migrating 80% of our production to HD and have very little left to migrate. We have 12 high definition mobile units to produce drama, special effects, sports and music events.
“RCN’s screen is comprised of 80% of original production and sometimes we even reach 100%.”
In regard to 3D, we have carried out some research and development but since there’s no broadcast and distribution standard for audiences yet, this format is not included in our production line,” the executive says. The original content-oriented channel has a staff of 60 writers and 17 directors. This has enabled it to enter the remake and formats market. Last year was busy for RCN, ending with Disney Media Networks Latin America’s season one of ‘A Corazón Abierto’. The adaptation’s second season is currently being shot. RCN also produced ‘Rosario Tijeras’ for the local market and ‘Maureen: The Power of True Love’, “a very strong Colombian production,” according to Gaitán. The company was also busy with ‘La Pola’, a mega-production about the Bicentennial that was co-produced with Sony Pictures Television. ‘Don Pedro: Story of a Drug Lord’ (Fox Telecolombia) and the telenovelas ‘Chepe Fortuna’ and ‘Love’s Guard’ were also among 2010’s production line-up. Gaitán seems to have an infinite list of upcoming projects. “New productions for 2011 include ‘La Historia de Joe Arroyo’
about a Colombian folklore composer and musician; ‘Correo de Inocentes’ about drug mules; ‘Missing’, co-produced with Disney; ‘Un Sueño Llamado Salsa’ and ‘Retrato de una Mujer’, both co-produced with Fox; the series ‘Allá te Espero’ on Colombian immigrants in the US; the series ‘Tres Milagros’ and ‘Las Santísimas’ with Sony; and a line of stand-up comedy called ‘Hermanas y Hermanos’. We are covered; we have a wide variety of products. This is one of our grid’s distinctive features: diverse domestic and foreign products and international formats in several genres such as telenovelas and sitcoms,” the producer says. We finally ask Gaitán what the advantages of producing in Latin America are. “There have been extremely important developments in several aspects, such as scripts and performances, as well as a very good infrastructure, major investments and experienced human resources. The unique combination of costs and long-term experience is also interesting, particularly in Colombia where regional production houses are reliable,” Gaitán concludes.
“There have been extremely important developments in several aspects, such as scripts and performances, as well as a very good infrastructure.” PRODUCTION GUIDE _69
Interview
Almost two decades of experience in audiovisual production have given Metro Studio a clear picture of the Colombian production market. The company also enjoys an independent perspective of the sector’s situation and knows what paths lead to international positioning.
Doris Martínez
Vice Manager and Producer at Metro Studio S.A.
Doris Martínez, vice manager and producer at Metro Studio, holds a different outlook on Colombia’s production landscape. The executive finds that Colombia is still looking for its own narrative when it comes to content. “There aren’t any defined or clear styles yet, which is actually a great opportunity for original content,” she says, adding that production quality still needs to improve in most cases. Yet the position that the country has earned at an international level has been significant in the last few years. According to the executive, Colombia “is conceived as a telenovela producer” and Colombian film is actually the sector making foreign investors take a second glance. “We think that they’ll soon find production companies like ours which, despite their small size, have know-how, are organized and possess the talent they want,” she says. AN INDEPENDENT MODEL Metro Studio’s main activity is its advertising production, where “the market will continue to grow,” Martínez says. “Large broadcasters are producing their own material or buying material that’s similar to the one they produce.” This implies that “there’s no room for content that doesn’t have massive appeal” because slots are limited and returns have to be maximized, she says. This is another reason why the production house is expanding its efforts onto cinematographic projects, mainly fiction. “The 70_ PRODUCTION GUIDE
“Nineteen years of experience and solid work evidence our great logistic and financial management, offering clients a reliability that other lessstructured production companies cannot guarantee.” business model of fiction movies is based on developing projects from scripts dealing with universal plots that can be adapted to our beautiful and complex country.” the executive says. The project’s universal values should also resonate with co-producers and potential investors in order to make the financing process smoother. “We want to contribute to the creation of an industry so co-producers and investors must believe in our projects, not only financially and commercially but also believe in the story. This business model will let us build financing structures each step of the way and capitalize the entire experience from the first project onwards,” Martínez says. PROJECTS AND CAPACITY The company is currently undertaking several projects. The executive mentions ‘La Caja Negra’, a short film to be shot in June and written and directed by Giovanni Granada. “We’re also developing a feature film written and directed by Sebastián Valmoz, ‘Adiós Esta Noche’. Its script counted with the collaboration of script professors, researches
and cinematographic critics like Mauricio Durán, Enrique Pulecio Mariño and writer and novelist Miguel Mendoza. We’ve already presented it in several co-production events. This year we hope to get it financed in order to start shooting in 2012,” Martínez says. The executive closes listing the producer’s strengths and emphasizing its track-record and international position. “Nineteen years of experience and solid work evidence our great logistic and financial management, offering clients a reliability that other less-structured production companies cannot guarantee. We also count with a team of bilingual and trilingual producers that have had multicultural experiences. This benefits foreigners in terms of work environment, especially if they’re not familiar with the Colombian culture. And of course, we have a great diversity of locations, climates, environments, landscapes and cities that have put Colombia on the location map for almost any production in the world,” she concludes.
Interview
After 30 years in the Colombian television industry, Televideo continues to offer highquality products and platforms. Francisco Muñoz Calle talks to ttv about the productions the company develops to meet the needs of its new clients.
FRANCISCO MUÑOZ President and CEO of Televideo
The Colombian production company celebrated its 30th anniversary last year. Over these three decades, Televideo has become known for bringing high-quality content to Colombian, US and pan-regional screens. In line with global trends, the company launched ypunto in October 2008, an original content division geared toward designing its strategy for digital media and other new windows. Francisco Muñoz Calle, its president and CEO, is ecstatic about the company’s growth in terms of original production. These “have been increasing in numbers over the years since, apart from producing for the domestic market, Televideo develops content for foreign cable and broadcast TV channels, mainly in the US and Spain,” he says. The executive also highlights Latin America’s main advantages for production.”All kinds of technical resources and talent are available. The continent is close to all major production centers, has excellent cable and satellite connectivity and business is readily available. Plus it counts with people that, with great enthusiasm and professionalism, work at a reasonable cost,” the executive says. PERSEVERANCE A company doesn’t earn 30 years of experience by just finding a place in the industry and relying on inertia. A production company must be versatile. “Over the years, Televideo has adapted to changing customer requirements. It is precisely that flexibility and ability to respond to the needs of channels,
“Televideo has adapted to changing customer requirements and it is precisely that flexibility and ability to respond to the needs of channels, other production companies and new media, what has kept us at the top of the industry.” other production companies and new media, what has kept us at the top of the industry,” Muñoz Calle says.
project that will bring benefits for everybody. This will be a great place where creative industries will find an ideal environment to settle in a cluster for major film, television, video games and animation production, supported by academia and technology companies,” he says.
“Today we are developing a number of productions for a kid and teen audience based on a new business concept that we have successfully implemented.”
Televideo’s team is aware that in order to keep the company’s position in the industry they cannot stop creating and producing new projects. “Today we are developing a number of productions for a kid and teen audience based on a new business concept that we have successfully implemented,” the founder of the company says. Televideo is also offering the adaptation of its weekly miniseries ‘Así es la Vida’ to the European market, where it has sold over 1,200 hours of content over the last ten years. Televideo’s projects for 2011 are ambitious and promising and its expectations aim high. Muñoz Calle says the company will finally roll out productions it has been working on for years. “We are expecting to launch a major PRODUCTION GUIDE _71
i HEADQUARTERS
Carrera 14, Nº 85-68, Of. 603, NA, Bogotá, Colombia Ph.: (+571) 1 742 7744 / (+1) 786 206 9334 Email: contacto@be-tv.net Website: www.be-tv.com
Doing Business Since: November 2008 Business Area: broadcast and pay TV
Profile BE-TV is an independent production company with a multi-disciplinary team that creates, produces and distributes high-quality multiplatform content. BE-TV counts with three production departments created to satisfy broadcast and pay TV channels’ programming needs. Its Fiction department is in charge of productions such as ‘The Cartel’ or ‘The Mafia Dolls’. Its Entertainment department is responsible for the successful adaptations of reality shows ‘Desafío’ and ‘The Farm’, as well as the game show ‘Minute to Win It’. Its Journalism department is focused on original productions such as the series ‘Traficando Sueños’ and ‘El Salado’. The production company counts with a creative and a distribution department that develops formats and offers support to international companies looking to enter the Latin American market. It also offers the same service to independent producers and/or creative professionals that want to take their formats to the international arena.
Production Portfolio MINUTE TO WIN IT (Game Show – 52 x 45’) Year: 2010 Format: Friday TV Timeslot: primetime Client: Caracol Televisión Each episode sees different contestants facing ten different challenges which use household objects. The difficulty of these challenges increases as contestants move up levels by successfully completing them. Contestants must complete each challenge or game in less than one minute or face disqualification.
Main Features BE-TV is located in Bogotá, Colombia, and works for both national and international channels. BE-TV has a production track record in Colombia, Panama, the Dominican Republic, Mexico and the US, making it one of the most versatile and dynamic production companies in the market.
Minute to Win It
(Game Show - 52 x 45’)
THE MAFIA DOLLS (Fiction - 55 x 45’) Year: 2009 Timeslot: primetime Client: Caracol Televisión This is the story of beautiful women that are able to change and transform a man by just looking at him. They stop being university girls to create a new race, a new style and a new way of living life. These women are the mafia dolls. THE Cartel 2 (Fiction - 55 x 45’) Year: 2010 Format: Caracol Televisión Timeslot: primetime Client: Caracol Televisión After being on the run from US law enforcers, several important drug dealers decide to become informers to obtain significant reductions in their convictions. This is the second part of the story of Pepe Cadena: a Colombian drug dealer that now decides to work for the DEA.
THE MAFIA DOLLS
(Fiction - 55 x 45’)
THE CARTEL 2
(Fiction - 55 x 45’)
Executives Executive
Contact
Cristina Palacio, Partner - Production and Content Manager
Pedro Davila, Business Manager pdavila@be-tv.net
Main Clients Caracol Televisión Products: ‘The Cartel’, ‘The Mafia Dolls’, ‘Desafío 20.09’, ‘Desafío 20.10’, ‘The Farm’, ‘Minute to Win It’ Univision Product: ‘El Desafío: La Gran Batalla’
Terapia De Pareja (Fiction - 40 x 45’) Year: 2010 Format: BE-TV Timeslot: primetime Couples aren’t always perfect. Routines, time and everyday problems can bring crisis to these relationships. Many grow stronger and move on while many others come to an end. Psychologists and real-life couple Pablo Franco and Sara Guerra help their patients find answers to their questions in a road toward truth. Each episode shows a couple’s story that will make us face our own reality. The Farm (Reality Show - 77 x 45’) Year: 2010 Format: Strix Timeslot: primetime Client: Caracol Televisión If you think life in the country is simple and calm, ‘The Farm’ is the perfect opportunity to prove it. Nine women and nine men from the city will live through a unique experience, abandoning their urban comfort to learn all about a farmer’s hard work. Games and thrills amidst nature and animals. Desafío (Adventure Reality - 85 / 60 / 12 x 45’) Year: 2010 Format: Caracol Televisión Timeslot: primetime Clients: Caracol Televisión, Kanal D (Rumania) / Univision (USA) The beach and the sea aren’t always synonymous with fun. During ‘El Desafìo’ they can turn into quite the contrary. Contestants’ physical and psychological skills are put to the test in exotic locations, where each will face nature to fight for simple comforts. As each test unfolds, the teams will leave everything in the sand just to enjoy the benefit of staying at the beach’s highest point, where a comfortable house and nutritious food awaits. Or maybe they’ll end up at the beach’s mid-point, where conditions aren’t the best. Or, perhaps, a team will have to stay at the lowest point of the beach, where contestants must provide food and shelter for themselves using nature as their inspiration.
Desafío
(Year: 2010)
i HEADQUARTERS
Calle 103 # 69 B – 43. Bogota, Colombia Ph.: (+571) 6430430 Fax: (+571) 6430444 Email: losoriol@caracoltv.com.co Website: www.caracoltv.com
Doing Business Since: August 28, 1969 Hours or Productions Per Year: 5,200 hours Owner: Invernac S.C.A
Profile Caracol Televisión is a privately owned broadcast station and production company that has produced a great number of Colombia’s most innovative and successful TV programs. Today, Caracol TV is content factory that has globally expanded its influence through its international channel and its international distribution division. Its products have crossed all cultural and language borders, becoming globally acknowledged for their excellent results wherever they air or are produced. With 50 years of experience in the television industry, Caracol produces 5,200 hours of audiovisual content a year, has an original library with over 10,000 hours of produced content and its programs have been aired in 80 countries across the five continents. Caracol also offers its production services in Colombia to international partners who wish to develop co-productions or subcontract productions. It counts with 11 studios with areas that range from 260 m2 (2,798 ft2) to 800 m2 (8,611 ft2), with an overall capacity that’s close to 5,100 m2 (54,895 ft2).
Production Portfolio
LOVE AND FEAR (90 x 60’)
Main Features Caracol Televisión offers its production services in Colombia to international partners who wish to develop co-productions or subcontract productions. The company already has a track record of joint business models with renowned enterprises such as Sony Pictures Television, Telemundo, RTI and TV Azteca, among other important global content producers.
Business Area Broadcast TV. Produces and sells telenovelas, series, dramas, children’s programming and entertainment shows.
CONFIDENTIAL
(Drama – 50 x 60’)
THE Cartel (Series - 57 x 60’) Timeslot: primetime Year: 2009 This is the story of ten friends who are all members of a dangerous drug cartel. Their ambition for power and money will slowly lead to their downfall. Starred by Manolo Cardona, Karen Martínez and Robinson Díaz. Confidential (Confidencial) (Drama – 50 x 60’) The purpose of the series is to rescue these people from the anonymity in which they live in, since just like us, they suffer and stand known or common circumstances that are generally related with acts of violence or intolerance. The interest that is being sought in the viewer is based on the recognition of the normal urban environment fostered by the news in question and by the melodramatic humanization of the characters involved. Love and Fear (Amar y Temer) (90 x 60’) When Alicia Aragon Benitez stages her suicide to escape from her husband, Pascual Ordoñez, the town’s conservative leader and head of the depraved secret “Chulavita” police, she travels to Bogota pretending to be a man. Once there, as Alberto Martinez, she enrolls in law school, becomes part of the feminine movement and finds true love with Simon Oviedo, a boxer who accidentally killed his best friend and had given up boxing until he meets his friend, Alberto, and falls in love with Magdalena, never suspecting that they are both really Alicia. But all goes sour when Pascual Ordoñez discovers his wife is still alive.
THE ENGLISH TEACHER (Telenovela)
The English Teacher (La Teacher de Inglés) (Telenovela – 120 x 60’) When his wife leaves him for a wealthy American, Kike decides to put everything into his company and begins looking for new businesses in the United Sates. To do so, he reaches out to his cousin Luis Fernando, who lives in Miami, and to Pili, the beautiful English teacher with whom he falls in love instantly. What Kike doesn’t know is that Pili has a boyfriend, and Luis Fernando, in trouble with the mob, has hired his lover to help him take over the company. After losing everything, Kike will have to start from scratch in order to compete for business in the United States.
Executives
Executive Carlos Alejandro Pérez Dávila, President
Contacts
Angélica Guerra, International VP aguerrat@caracoltv.com.co Bogotá: (+ 571) 6430 430 Ext. 1384
Lisette Osorio, International Sales Director losoriol@caracoltv.com.co Miami: 305-960-2018
Alejandro Bernal, International Channel Director abernalr@caracoltv.com.co Bogotá: (+ 571) 6430 430 Ext. 5084
Gonzalo Guerra, Production Service Manager Ext. 1101
Main Clients Telemundo RTI
Sony Pictures Television
TV Azteca El Gourmet Channel
Production Capacity studios: 9 HD studios and 2 SD studios that range from 260 m2 (2,798 ft2) to 800 m2 (8,611 ft2), with an overall capacity that’s close to 20,000 m2 (215,278 ft2).
THE Cartel
(Series - 57 x 60’)
Equipment: 15 mobile units (9 HD and 6 SD). These can equip between 2 and 15 cameras for live broadcasts (mega-events, concerts, sports shows, etc.).
i HEADQUARTERS
Cra 50, Nº 17 - 77, CP 11001000, Colombia Ph.: (+571) 4174200 Fax: (+571) 4174200 Ext. 130 Email: ana.barreto@foxtelecolombia.com Website: www.foxtelecolombia.com
Doing Business Since: November 2007 Hours or Productions Per Year: 400 hours Major Owner: Fox International Channels
Profile Telecolombia was founded 13 years ago as a programmer company for public Colombian television. The company rapidly acquired production and postproduction equipment to supply its own programming gaps and to offer production services to third parties. In 2003 the organization stops being a programming company and focuses on the production business, being a pioneer in the country as a service provider for fiction and non-scripted formats produced in digital and HD cinematography. From this moment on, the company expands its services portfolio and starts regional productions for important networks such as RCN TV, Univisión, Telefutura and Canal Gourmet. In 2007, Fox International Channels, a division of News Corporation, acquires 51% of Telecolombia giving birth to Fox Telecolombia S.A.
Main Features Fox Telecolombia is in an expansion and growing phase in various fronts. In production terms, the company is starting some coproductions with important channels. New telenovelas, premium content and quality series are also on their way.
Business Area Fox Telecolombia is in the entertainment business. It mainly produces content in various formats and genres for broadcast TV and cable channels. Most of its clients are located in Latin America but this is no limitation for working with other markets.
A DREAM CALLED SALSA (Telenovela - 120 x 60’)
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Production Portfolio A DREAM CALLED SALSA (Telenovela - 120 x 60’) Year: 2010 Client: RCN TV Richi Torres a professional salsa dancer who belongs to the underground dancing world and Margarita Wilkins a sofisticated, rich and beautiful executive don’t seem to have anything in common, although dancing salsa will bring them together into an imposible love. DON PEDRO: STORY OF A DRUG LORD (Series - 90 x 60’) Timeslot: primetime Year: 2010 Client: RCN TV This story narrates the last hours of El Capo - the biggest drug dealer of all times - who managed to live undercover for 25 years until a journalist discovered him 5 years ago. TABU LATIN AMERICA (Documentary - 12 x 60’) Timselot: Sunday, 10:00 PM in Latin America Year: 2009-2010 Client: National Geographic Channel Despite sharing the same language, geographical territory and cultural identity, each country has its own code and rules; what is acceptable in one country, may be taboo in another. Kdabra (Season 1 - 13 x 60’) (Season 2 - 10 x 60’) Timeslot: Thursdays 9:00 PM in Latin America Year: 2009-2010 Clients: LAPTV and Fox International Channels Luca, a rebellious 17-year-old boy, has just escaped from a religious community. He joins a gang of unruly, criminal street magicians and begins his quest to discover the secrets of Kdabra and the mysterious Magestic Hotel.
Kdabra
(Series - 13 x 60’)
Executives Executive Samuel Duque Rozo, President and CEO
Contacts Amparo López, VP of Production amparo.lopez@foxtelecolombia.com
Samuel Duque Duque, VP of Production and Operations duque@foxtelecolombia.com
Ana María Barreto, Commercial Director ana.barreto@foxtelecolombia.com Francisco Forero, Technical Director francisco.forero@foxtelecolombia.com
Main Clients RCN TV Products: ‘Don Pedro: Story of a Drug Lord’, ‘A Dream Called Salsa’, ‘Portraits of a Woman’, ‘Troy… Wrath for Love’, ‘The Price of Silence’, ‘Gangs, War and Peace’, ‘Fair Game’, among others. Fox International Channels Products: ‘Countdown’ (seasons 1, 2 and 3), ‘Kdabra’ (seasons 1 and 2) ‘Shocking Minds’ (Series - 13x60’) Univision – Telefutura Product: ‘For Love’ National Geographic Channels Products: ‘Consequences’, ‘Tabu Latin America’ (seasons 1 and 2), ‘Chilean Miners: Buried Alive’
Fox Life Products: ‘Extreme Chefs’, ‘Chef Challenge’ and ‘Flavor of a Job’. Discovery Channel Product: ‘Liberty Trail’ Utilísima Products: ‘Restaurants’, ‘Houses in the Inside’, ‘Family Flavors’, ‘Pure Chef’, ‘Do It Simple’, ‘Decoart’, ‘Interior Design’, ‘Colombia Learns’, ‘The Rausch Brothers’, ‘Leo Espinosa’ and ‘Live Your Home’.
Production Capacity LOCATION: Bogotá, Colombia studios: 3 studios of 1,500 m2 (16,150 ft2), 750 m2 (8,100 ft2) and 650 m2 (7,000 ft2) each in a 13,000 m2 (140,000 ft2) lot. HUMAN RESOURCES: 500 employees. CAmEras: From reporting cameras to the latest HD SRW 9000.
TABU LATIN AMERICA (Documentary - 12 x 60’)
LIGHTS: Sufficient and varied equipment capable of satisfying our own production needs. POSTPRODUCTION: More than 30 postproduction rooms, including color correction rooms which work under Smoke, Flame, Flint, Nitris and Lustre platforms. MOBILE UNITS: 5 production trucks, all HD
i HEADQUARTERS
119 Street, Nº 14A 26, Of. 407 Ph.: (+571) 6291241 (+571) 6291284 Fax: (+571) 6291587 Email: produccion@metrostudio.tv Website: www.metrostudio.tv
Doing Business Since: March 1993 Business Area: advertising and film Owners: Giovanni Granada and Doris Martínez
Profile Metro Studio S. A. is one of the most experienced production companies in Colombia and one of the best-positioned in the advertising market. It was founded by Giovanni Granada, a renowned director and photography director. After studying Advertising Photography at the Istituto Europeo di Design in Italy, Granada quickly became one of the best photographers in Colombia, achieving several acknowledgements. In 1991 he started his career as a video clip and spot director after studying at the Tisch School of Arts at NYU and attending several workshops in Maine. Established as a company in 1993, Metro Studios rapidly positioned itself largely due to its visual accomplishments, becoming a pioneer in the country for its non-linear editing and its creation and composition of digital effects. After a decade of specific projects, Metro Studio’s creative search took the company to venture into a more cinematographic and stylized approach that has differentiated it from an ongoing amateurish trend. Yet this almost-rebellious approach has allowed it to remain relevant, growing together with brands that have become established in these last 10 years thanks to a real synergy between its creative professionals and the director.
Production Portfolio
SAL DE FRUTAS LÚA. CASCADA Client: Tecnoquímicas Director and DP: Giovanni Granada Agency: Sancho/BBDO Effects: Metrovisión Bs. As. Date: February 2010
Metro Studio is currently planning to use its track record and experience to position itself as a producer of scripted film. To this effect, Sebastián Valmoz -a young hopeful in the Colombian film industry- joined the company as its new director.
Main Features TV spot producer for the film industry, agencies and Colombian clients with international scope. Fiction film producer currently developing its first feature film, a cross-border co-production. Metro Studios offers services for field production, location, studio, photography direction, equipment and technical staff, local and foreign casting call coordination, logistics, dummies, makeup, wardrobe, sets, ambiance, props, transportation, catering and accommodation. It also offers editing services, special effects, sound, score, dubbing, direct sound, and broadcast rendering services.
Aromasense. Hawaiian Client: Belleza Express Director: Sebastián Valmoz DP: Giovanni Granada Date: September 2010
Hours or Productions per Year In 2010 Metric Studios produced its first short film in HD and 42 commercial spots (32 for film in 35 mm and 10 in HD). Twelve of them were for the international market. Yodora Talco. Gracias Mamá Client: Yodora Director and DP: Giovanni Granada Agency: Sancho/BBDO Effects: Metrovisión Bs. As. 78_ PRODUCTION GUIDE
Aromasense. Sensual Client: Belleza Express Director: Sebastián Valmoz DP: Giovanni Granada Date: September 2010
Executives
Executive Giovanni Granada, Manager - Director
Contact
Jonathan Gelber, Executive Producer jonathan@metrostudio.tv
Doris Martínez, Vice Manager - Producer doris@metrostudio.tv
Main Clients Tecnosur (Cali, Colombia) Pañales Winny, Toallitas Winny Medicamentos MK (Cali, Colombia) Ibuflash, Vitamina C Pops, Biocalcium, Z-Full, Vitafull Belleza Express (Bogotá, Colombia) Aromasense and Nutrit shampoo and conditioner
Tecnoquímicas (Cali, Colombia) Noraver, Crema No. 4, Bonfiest Lúa Plus and Sal de Frutas Lúa. DianaCorp (Bogotá, Colombia) Ricapalma
Audiomanía (Monterrey, Mexico) Dell (Production Servics) Detergentes Dersa (Bogotá, Colombia) Dorado Fresh
Sunbeam (Florida, USA) Baby Oster
Pañales Winny. Señales Client: Tecnosur Director and DP: Giovanni Granada Agency: Sancho/BBDO Date: September 2010
Bonfiest Lúa Plus. Escoba Client: Tecnoquímicas Director and DP: Giovanni Granada Agency: Sancho/BBDO Effects: CheRevolution BsAs Date: November 2010
i HEADQUARTERS
Transversal 22 Bis Nº 60 - 60. CP 111311, Bogotá, Colombia Ph.: (+571) 2544803 Fax: (+571) 2125857 Email: fmunoz@televideo.com.co Website: www.televideo.com.co
Doing Business Since: July 22, 1980 Business Area: TV production Owners: Francisco Muñoz Calle and family Hours or Productions 2001-2010: 1663 hours
Profile Televideo S.A. is a TV production company founded in 1980 by Francisco Muñoz Calle. It’s a leader in Colombian television production and has vast international recognition. Throughout the history of the company it has worked non-stop to meet adequately to the challenges of the industry. During all these years on the market, it has managed to inspire confidence to the organization stakeholders and has always been characterized for pioneering in innovative and revolutionary products. It was the first production company to acquire color television equipment in Colombia. Leading the foundation and development of regional channels such as Teleantioquia, Telepacifico and Teveandina today consolidated, and pioneered in documentaries for international channels such as Discovery Channel, National Geographic and Infinito. Televideo has an expertise of 1477 hours of telenovelas, series and miniseries produced successfully on the last 10 years
Production Portfolio SALVADOR: A KNOCKOUT LOVER (Telenovela - 120 x 60’) Year: 2009-2010 Client: Venevisión International (Venezuela) Salvador “The Tiger” Valdez loses his title and the possibility of ever fighting again due to the obscure shenanigans of Don Carlos, a dirty boxing entrepreneur. Salvador starts over as a personal trainer in Josefina Álvarez Castillo’s gym. There he will also meet her daughter, a famous model he has always dreamed of. In time, both women will start competing for his love.
Main Features Televideo offers its know-how and services through three business units. Its Production of Audiovisual Content unit develops projects for national and international channels in the soap opera, series, miniseries, documentary, magazine, call TV contests, news show and kids & teens genres. Its Content Creation unit, represented by the YPUNTO brand, was created in 2008 and was created to meet the vast demand for fiction stories and creative entertainment formats. Making them daring and innovative, YPUNTO has developed a portfolio of 1590 hours of drama. Televideo also offers different production services and leases through its Technical Services unit. The company also offers technology and professional experience to fully develop any television project, including production and postproduction services, live events broadcast, IPTV, corporate TV, assembly of new TV channels. THAT’S LIFE
(Miniseries - 5 x 60’)
THAT’S LIFE (Miniseries - 5 x 60’ - 215 miniseries with an overall 1075 episodes) Year: 6 seasons, 1999-2008 Client: RCN Channel (Colombia) and Telefutura (USA) A group of short stories developed from beginning to end in a 5 one-hour episode miniseries. Jealousy, love, infidelity, deception and ambition are some of the catalysts behind every story that will have audiences at the edge of their seats, chapter after chapter.
SALVADOR: A KNOCKOUT LOVER (Telenovela)
JUAN JOYITA (Telenovela - 249 x 30’) Year: 2003 Client: RCN Channel (Colombia) Juan Ventura returns to “The Horseshoe” farm after 20 years to take revenge of the murder of his father. In order to do this, he poses as Tomás Caballero, the long-lost grandchild of the farm’s owner. Yet his intentions to take justice in his own hands will face one obstacle: a woman’s heart.
Executives
TOP Executive Francisco Muñoz Calle, President, CEO fmuñoz@televideo.com.co
Contacts Juan Oviedo, Special Projects Manager ingenieria@televideo.com.co
Margarita Rodríguez, General Manager gerencia@televideo.com.co
Gilberto Muñoz, Equipment Rentals & Production Services Manager gmuñoz@televideo.com.co
Production Capacity LOCATION: Bogotá, Colombia Estudios: 2 comfortable and flexible studios, specifically designed for the production of interviews and panel programs, commercial productions and teleconferencing. Technical specifications: lighting grid; 30A single phase circuit and 120 amps live circuit, neutral and ground; 3-wall cyclorama; working lighting; dimmer bank and computerized dimming console; telephone lines; acoustic isolation; patch panel, connection panel routed to Master Control Room and Transmission Room; lighting fixtures; Jimmy Jib; teleprompter; makeup and dressing rooms; sets and accesories ; complete audio gear, wireless microphones and talk back (IFB). HUMAN RESOURCES: 90 employees. FIELD PRODUCTION EQUIPMENT: Reporting, interviews and events (ENG recording equipment: Grass Valley RevPro, SP, Digital Betacam, HDCam, DVCam, MiniDV, XDCam), corporate videos, documentaries and fiction (multiformat EFP shooting equipment, special lenses, grip, microphones and lighting),
Juan Joyita
(Telenovela - 240 x 30’)
multi-camera shoots or broadcasts (SD-HD mobile units that can be configured depending on the number of cameras the production requires), hard disc based recording and playback system (intercom, multi-format recording equipment, microphones, audio board and video mixer). BROADCASTING TECHNICAL EQUIPMENT: Portable satellite system (Fly Away); fixed satellite broadcasting systems (C and Ku band teleports); fixed and portable MW links; fiber optic links; transmission control room for technical verification of MW links, routing, turnaround and monitoring of incidental signals; OB Van broadcasting equipment (MW and satellite) for all kinds of special events; IB broadcasting equipment. Televideo has a teleport that can receive signals from over 12 satellites with foot print over Colombia. Post-Producción: Specialized non-linear video editing programs (Avid MC Nitris, Avid MC V 3.5 with Mojo and Avid MC Adrenaline); DIGITAL AUDICY for digital audio editing; digital PROTOOLS audio workstation; digital graphics station.
i HEADQUARTERS
Cra 12 Nº 93 - 78 Of. 503, Bogotá, Colombia Ph.: (+571) 6357093 Fax: (+571) 6232579 Email: gerencia@vista.com.co Website: www.vista.com.co
Doing Business Since: May 1997 Business Area: television Owner: Jaime Sánchez Cristo
Profile Vista Productions Inc. is a company that produces and markets television products. With over 27 years of experience, its founder Jaime Sánchez Cristo has positioned the company as one of the best in Colombia thanks to its successful telenovela, series, chronicle, opinion show, reality show and special (such as the annual Oscar award show) projects. The large-scale productions developed in the last ten years have transformed Vista’s team into one of the most sought-after by other Latin American companies who want to shoot their productions in Bogotá with Vista’s infrastructure. It has a heterogeneous team: writers, researchers, proofreaders, producers, photographers, directors, journalists, editors and technicians. Its content department is in charge of looking for and developing new ideas to turn into television formats. Its business department holds exclusive distribution rights to Buenavista International Television’s film catalog and is in charge of taking Vista products to the best Latin American television networks.
Main Features Vista’s production business is mostly dedicated to series and telenovelas. Proof of this are the national audience successes of ‘Maureen: The Power of Love’ and ‘A Corazón Abierto’ (an adaptation of ‘Grey’s Anatomy’). Vista is currently producing this last version for Mexican television in its Bogotá studios.
Production Portfolio MAUREEN: THE POWER OF LOVE Maureen has shown great musical talent since she was six years old. Yet before becoming a star in her teens, Maureen then has to put up with her mother’s pressure, her family’s envy and the money problems at home. A Corazón Abierto 1 In order to adapt ABC’s ‘Grey’s Anatomy’ for Colombian RCN channel, Vista Productions built a complex set that included all elements found in a real medical environment: patient rooms, trauma rooms, emergency rooms, resting rooms and operation rooms with the most cutting-edge technology. Verónica Orozco plays María Alejandra (Meredith Grey) and Rafael Novia is doctor Andrés Guerra (Derek Shepherd). Juan Pablo Espinosa is Augusto Maza (Alex Karev in the original show). Jorge Cao, Carolina Gómez and Jorge Enrique Abello complete the cast. This production has been adapted to include certain Latin American cultural differences and was specifically tailored to Colombian audiences. A Corazón Abierto 2 The second season of this adaptation will be launched in Colombia in early 2011. Disney Media Networks Latin America has also agreed to develop a new adaptation fit for Mexican audiences for TV Azteca. The Mexican version has already completed its pre-production stage and is being shot in Bogotá under the same formula as ‘Desperate Housewives’: the Mexican cast travels to Colombia to work on the sets built for the RCN version. KILLER WOMEN A Pol-ka Producciones format based on a book by Marisa Grinstein, this series is a coproduction between Polka Producciones and Vista Productions for Colombia’s RCN channel.
A Corazón Abierto (Series)
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KILLER WOMEN (Series)
Executives
Executive Jaime Sánchez Cristo, General Manager gerencia@vista.com.co
Main Clients RCN Televisión
Products: ‘La vaca que ríe’ (2003),
‘Cambio extremo’ (I, II, III, 2005, 2006, 2007), ‘Killer Women’ (2007), ‘Desperate Housewives’ (I, II, 2007, 2008), ‘Maureen: The Power of Love’ (2010), ‘A Corazón Abierto’ (I, II, 2010, 2011), ‘Missing’ (2011) and ‘El Estilista’ (2011)
Production Capacity LOCATION: Bogotá, Colombia STUDIOS: One 1,600 m2 (17,200 ft2) HUMAN RESOURCES: 100 employees
SPECIAL EFFECTS AND ANIMATION: VFX and CGI room CREATIVE DEPARTMENT: Content department (researchers and writers).
EQUIPMENT: HD cameras, HD editing rooms, ProTools rooms, coloring and rendering rooms.
DESPERATE HOUSEWIVES ‘Desperate Housewives’ is one of the most important and ambitious projects that Disney Media Networks Latin America has done via Vista Productions. This Latin American version of the US original is the first joint production developed simultaneously in four different Latin American countries and the US Hispanic market.
DESPERATE HOUSEWIVES (Series)
MEXICO
A Consolidated Duopoly
Mexico is dominated by two entertainment production giants and acknowledged by international groups for its infrastructure, talent and capacities. The Mexican production sector has become a reference and a source of content for the world. BY Sebastián Torterola
When looking at Mexico’s production market, it is easy to
fall into the following simplification: everything is defined by Televisa (Grupo Televisa/Azcárraga Jean) and TV Azteca (Grupo Ricardo Salinas). Both conglomerates take and fight for the country’s entertainment and television market, while boasting a strong presence on the international scene. While this is partly true, there’s more to the story than meets the eye. MEXICO IN PERSPECTIVE According to data from the country’s National Population Council, Mexico has over 108 million inhabitants, 1.6% of the world’s population. Of these, 55.1 million are women and 53.2 million are men. It’s the most important Hispanic market in the world and it’s geographically and economically linked to the world’s largest economy -the US- that is now going through one of the worst economic moments in its history. Mexico went through hasty economic and structural changes following its entry into the North American Free Trade Agreement (NAFTA), signed in 1994 to introduce the country into the first world. A crucial point in MexicoUS bilateral relations is the constant flow of Mexican immigrants to the north. Ever since the 1950s, this cultural migration has created a demand for audiovisual products of Mexican origin. This trend was consolidated during the administrations of Ernesto Zedillo and Vicente Fox (19942006) based on three political pillars: privatizing the state’s most important networks, deregulating audiovisual markets and decreasing public intervention on the production and distribution of audiovisual products. Zedillo opened the telecommunications market to foreign capital and granted investors the possibility of up to 49% ownership. Mexico’s private television sector mostly revolves around Grupo Televisa and has benefited from the lack of commercial barriers between the country and the US. Not only does the sector acquire a large volume of US network content but also exports programs -mainly telenovelas- for consumption by the US Hispanic market, its number one customer. Televisa’s businesses across the border always have born fruit, even owning Univisa Inc. in the early 1990s, a US consortium of 86_ PRODUCTION GUIDE
eight subsidiary companies from the entertainment industry with headquarters in Los Angeles, California. Today, Televisa co-owns the consortium and places its programs in one of its companies, Univisión, the biggest Spanish-speaking network in the US. The group holds agreements that grant content to both parties until 2017. The company also holds a share in Telefutura channel and takes part in a joint venture created to launch other pay TV channels. All of these operations follow the strategy taken after NBC purchased the second Hispanic network in the US, Telemundo, and after its biggest rival, TV Azteca, entered the market with Azteca América. The push is evidence that Mexican audiences prefer domestic television formats and products, with the telenovela leading the way. Yet some US products have also managed to gain positions at the top of rating charts across the country. THE ADVERTISING PIE: NUMBERS AND PROJECTIONS Mexico’s TV and cultural production have developed under conditions that could be labeled as “times of economic liberalization, deregulation and regional integration,” according to a document from the University of Guadalajara analyzing the Mexican television industry. According to IBOPE AGB Mexico, practically 99% of the country’s homes had access to a TV in 2009, while 74.6% had a DVD player and 33.7% had a computer. Rubén Jara, president of the consulting company, reported that the advertising market in Mexico had billings of US$5 billion in 2009. This figure grew 5% by the end of 2010, according to Mexican newspaper
El Universal. Interviewed during The Future of Advertising in Mexico conference organized by the International Advertising Association (IAA), he said traditional media such as broadcast and pay TV continue to capture most of the advertising and that together they control almost two thirds of the advertising pie, followed by radio and street advertising with 9% each. This scenario is confirmed by numbers shared with ttv by the Mexican Advertising Agency Association (AMAP – Asociación Mexicana de Agencias de Publicidad) and by the Media Agency Association (AAM – Asociación de Agencias de Medios). Considering that 2009 was an election year in Mexico, the overall advertising pie was 50.98 billion Mexican pesos (around US$4.12 billion). Breaking this number down by media shows that broadcast TV captured 59.58%, or US$2.43 billion. Street advertising followed with 8.35% (US$352 million), pay TV with 6.88% (US$283 million), newspapers with 6.29% (US$259 million) and the internet with 4.52% (US$186 million) while magazines, film and others lagged. Ad spending on pay TV in Mexico grew 20% in 2010, fueled by low-cost packages granting access to low and medium socio-economic sectors. Federico Baumgartner, director of LAMAC, forecasts that ad spending in subscription TV would reach US$289 million by the end of the year. If this were true, pay TV would be the second highest growing media after the internet. Pay TV penetration is currently around 35.95%, meaning that four out of 10 people have access. This means 33.2 million people are on restricted TV systems, a number reported by LAMAC on March 31, 2010. A MARKET SPLIT IN HALF The Mexican TV market presents a duopoly controlled by Televisa and TV Azteca. The former has been in the lead since its beginnings and the latter entered the market in 1993 to
become a direct competitor. Both companies own 94% of the country’s stations, while Televisa dominates 100% of satellite TV and 38% of cable TV. Televisa operates the broadcasters El Canal de las Estrellas, Canal 5, FOROtv and Galavisión, while its Televisa Regional division has a network of 258 stations across the country through its Telesistema Mexicano unit. Its signals are also available in high definition through channels 44, 48, 49 and 50. As for pay TV, Televisa Networks programs and distributes 17 channels with a portfolio dominated by movies, musicals and telenovelas. Grupo Televisa also owns pay TV and telecommunications companies Cablevisión and Cablemás, as well as over 50% of SKY Mexico, one of Mexico’s two satellite TV providers (the other is DISH). The group opened its doors to the international market after Emilio Azcárraga Jean took over management in the late 1990s. In 2001, the company was the number one media company in the Hispanic market and No. 31 worldwide. Its audience and advertiser monopoly stood strong until TV Azteca came into the picture (during its first four years of operations, TV Azteca even reached 33% of national audience share). TV Azteca operates domestically through the channels Azteca 13 (XHDF-TV) and Azteca 7 (XHIMT-TV), as well as over 300 local stations and the Proyecto 40 in UHF. Highdefinition broadcasts can be accessed through digital channels 24 HN and 25 HD. The company has also bet on the international channels Azteca Novelas -which broadcasts 24/7 in 110 countries- and Azteca Internacional, which reaches Latin America, Spain and Canada. Private broadcasters are grouped under the Radio and Television Industry Chamber (CIRT – Cámara de la Industria de la Radio y la Televisión). As for public TV, the government manages one of the three channels: Canal 11. Canal 22, which used to belong to the now-extinct Imevisión, has PRODUCTION GUIDE _87
been kept as a public cultural TV channel. These channels are run by the Public Education Ministry and the National Arts and Culture Council, respectively. The country also has a Congress Channel (Canal del Congreso), financed with public subsidies and created in 2000 by demand of Mexico’s artistic and cultural community. The channel is only available on cable and digital platforms. The country’s largest references in terms of pay TV are Cablevisión, Megacable, Telecable (Grupo Hevi), Multivisión (MMDS), SKY and DIRECTV. Cable companies have been favored by technological convergence in telecommunications. The 1995 Telecommunications Act allows them to offer multiple services besides TV channels, such as telephony, audio, e-banking, e-commerce, internet and more. PRODUCTION: SELF-SUFFICIENCY AND EXPORTS Televisa and TV Azteca are the leading producers, with multi-million dollar studios that pump out most of their content. The output is sprinkled around Latin America and the world, an operation that makes up a huge part of their business. Few independent producers work for these companies. Most independent production is relegated from TV screens, with more fertile ground found in advertising and film. Televisa produces over 3,500 hours of entertainment a year. This number includes 2,345 daily hours of series, 1,311 hours of telenovelas, 78 hours of reality shows, 72 hours for Televisa Networks, 25 hours for ‘Teletón’, 14 hours of specials, 12 hours of pilots and five hours of ‘Espacio’, an event linking Televisa with university students that’s produced every year. TV Azteca is currently building a US$55 million-dollar production studio. This will lead to 4.8 billion Mexican pesos (US$384 million) in new productions each year. The network is capable of producing close to 12,000 hours of original 88_ PRODUCTION GUIDE
programming annually. According to Marcel Vinay Jr., CEO of Comarex, the channel’s distributor distributed 51,400 hours of TV Azteca content in 2009. A big portion of this volume is comprised of telenovelas. “TV Azteca produces three hours a day, 900 telenovela episodes a year,” the executive says. INDEPENDENT PRODUCTION Independent production companies are represented in Mexico by the Mexican Association of Independent Procuders (AMPI). “Many companies are focused on advertising in Mexico, many of them focus on film and few of them focus on TV aside from major networks,” says Luis Peraza, a reference in Mexico’s production sector. “It’s not like in Brazil where, for instance, there are a lot more independent producers with a rich track record in the industry. However, we’ve already had good results looking for producers focused on film or advertising that have another way of doing things. Up until now, we’ve worked with Argos, which has that double quality: creativeness and execution. In any case, there are a big number of alternatives when producing in Mexico,” the executive VP of production and acquisitions for HBO Latin America Group says. Argos Comunicación is headed by Epigmenio Ibarra and stands out in the independent sector with productions like the film ‘Sexo, Pudor y Lágrimas’ (Sex, Modesty and Tears) and series like ‘Capadocia’. Discovery Networks, HBO, TV Azteca, Telemundo, ESPN, Venevisión, Disney Channel and Cadena Tres are some of its clients. The producer recently signed an agreement with MW Network in the US to produce original and exclusive content to channels Movie World, Momentum and Beverly Hills Movies. “Argos takes active viewers on social networks and incorporates them in their content, capitalizing interactivity (…). With this alliance, it is fulfilling one of its dreams: to have a network of channels that distributes content generated in the US, Mexico and Latin America,” Ibarra says.
Interview
Televisa is one of the largest Spanish-speaking media conglomerates. Based in Mexico City, it has 20,000 employees and owns 16 production studios, nine of them equipped with high definition (HD) digital technology. This infrastructure allows Televisa to produce about 3,500 hours a year of entertainment.
ROSY OCAMPO
Head of Innovation and Executive Producer at Televisa
Televisa owns three major production centers. One of its facilities is Televisa San Ángel, which is devoted to telenovelas, magazine, contests and comedy shows. San Ángel hosts Televisa’s Artistic Education Center, a school that trains over 85% of the talent working on its productions. Televisa Chapultepec is where news production takes place. At the News Center, which boasts compression technology and signal digitization, Televisa has the capacity to broadcast up to three programs simultaneously. Chapultepec also handles sports and entertainment shows. Finally, Televisa Santa Fe accommodates its corporate offices and some of its subsidiaries’ offices. It also has three studios known as Estudios Reality Santa Fe, where reality shows, game shows and business demos have been shot. It also has a videotape and post-production room. “One of the features that makes Televisa’s offer consistent is its continuous investment in technology to renovate and update its infrastructure. We have maintained a consistent position in this area,” Rosy Ocampo, head of innovation and executive producer at Televisa, tells ttv. CONTENT FACTORY “Our production capacity is measured in terms of audience preferences,” the executive explains. Televisa produces 3,500 annual hours of entertainment, which in number and by genre are broken down into 2,345 daily
“One of the features that makes Televisa’s offer consistent is its continuous investment in technology to renovate and update its infrastructure.”
hours of series, 1,311 hours of telenovelas, 78 hours of reality shows, 72 hours for Televisa Networks (Televisa Group’s pay TV division), 25 hours for ‘Teletón’, 14 hours of specials, 12 hours of pilots and five hours of ‘Espacio’, an event that takes place every year to promote the relationship between Televisa and college students. Many of these activities are produced for TV.
and Chile for their high quality and competitiveness. “Every country has its own signature content. In this sense, Mexican telenovelas have always proved to be competitive, with strong local and international impact,” the executive says.
“Our production capacity is measured in terms of audience preferences.”
Televisa’s annual audiovisual content development plan is based on “various systematic processes founded on research and expert analysis, audience preferences and market needs, both locally and internationally,” Ocampo says. What’s more, production decisions in regard to annual story selection are also made based on a “system of internal assessments and on entertainment consumer trends and preferences,” she adds. According to the executive, Mexican telenovelas -Televisa’s renowned trademark product- stand out among those produced in countries like Brazil, Colombia, Argentina PRODUCTION GUIDE _89
Interview
TV Azteca novelas continue to spread in the international market as the channel goes on raising the stakes. From its traditional position as international representative of TV Azteca content, Marcel Vinay Jr. offers his views on the Mexican channel’s production volumes and capacity.
Marcel Vinay Jr., CEO of Comarex
TV Azteca produces 10,000 hours of programming a year. In 2009, distributor Comarex exported 51,400 hours from the Mexican channel: a shocking figure that is bound to rise. “TV Azteca is one of the top three largest telenovela producers in terms of quality and investment,” Marcel Vinay Jr. tells ttv. This positive outcome in distribution feeds local production and increases its international demand. “Some series and telenovelas are coming from Turkey, Korea, Russia or Rumania. The market has grown and options have multiplied,” the executive says. KINGS OF THE TELENOVELA As TV Azteca’s distributor, the telenovela is Comarex’s star product. The Azteca group is also going through a period of massive expansion, investing US$55 million to build the Estudios Azteca Novelas production complex on a 6,000 m2 (64,583 ft2) lot. Several factors give TV Azteca a leading position in the international market, most of them intangible and the result of the experience it’s acquired throughout the years. Yet Vinay Jr. can’t help but mention the company’s original production volume. “TV Azteca produces about 900 telenovela episodes a year,” he says. There is no formula that’ll guarantee success when it comes to telenovelas bcause the genre’s stories are usually driven by the same topics. Yet how the story is produced and told is what can captivate and interest viewers. According to this CEO, the greatest differentials 90_ PRODUCTION GUIDE
of TV Azteca’s telenovelas are their production quality and talent. “This is a very competitive market and, as such, screenplays, castings and visual quality require special efforts. It’s a titanic task,” he says. “Competition forces our products to provide something more so that audiences tune into our channels. And that helps other country’s channels as well. Investment is fundamental.” In regard to TV Azteca’s performance in 2010, the executive mentions hits such as ‘Pobre Diabla’, ‘La Loba’ and ‘Infamia’, which enjoyed excellent ratings in Mexico. “We also launched a comedy telenovela called ‘Quiéreme Tonta’ that obtained first place in Panama and was a huge success in Eastern Europe,” he says. Comedy telenovelas are not TV Azteca’s trademark but this isn’t the first time the company
“Screenplays, castings and visual quality require special efforts. It’s a titanic task.”
“Competition forces our products to provide something more so that audiences tune into our channels.”
has ventured into humor. The channel produced, for example, the telenovela ‘The Sanchez’, a remake of Telefe’s ‘The Roldans’ (Argentina). “We regularly venture into the telecomedy genre in Mexico and, even though we don’t frequently distribute these productions internationally, we are doing it with ‘The Sanchez’,” he concludes.
“TV Azteca produces about 900 telenovela episodes a year.”
Interview
The Mexico DF-based company is celebrating its 25th anniversary in the world’s dubbing industry. Jorge G. Arregui talks about his company’s current business and Latin America’s solid ground for production.
JORGE ARREGUI President of Dubbing House
In a competitive and dynamic entertainment industry, Dubbing House is seeking to expand its facilities, develop new projects, venture into new platforms and consolidate international alliances. “Our business model is dynamic. We are not only a dubbing studio but an overall production center for audio, film, television, web, phone, live shows, radio, advertising and the animated and live entertainment industry,” Jorge Arregui, the company’s president, tells ttv. The company also provides a wide range of post-production services: dubbing, subtitling, duplication, international tracks, authoring, 5.1 mixing for HD, storing and distribution, digital delivery, and many more. During 2010, Dubbing House launched three new audio rooms with HD accel 2 and three new mix rooms with HD accel 3 for Dolby, D, E and SR. The entertainment industry usually needs a combination of images and sounds in order to survive. Dubbing House definitely understands this and is aware that the company needs to actively seek for ideas and creative solutions that can be both watched and listened to. This is where its focus on new media development kicks in. “The digital age has allowed us to design custom-made materials for different platforms, including web content and mobile devices. We are increasing our production of interactive products, such as Nintendo DS or xBox and audio chips for toys and merchandising,” Arregui says.
“The digital age has allowed us to design custom-made materials for different platforms, including web content and mobile devices.” According to Arregui, one of the company’s strongest points lies in its ability to quickly adapt to new technologies. “We are committed and enthusiastic about every project. We take risks in how language is used, adapting it to new times and audiences. We have a reliable team that meets our customers’ time and quality requirements, letting them into the process from beginning to end,” he says. By constantly meeting customer needs, the company’s relationship with channels has become increasingly stronger. This has in turn provided Dubbing House with valuable feedback on how its versions are broadcast and received.
Latin America is fertile for producing entertainment. “Producers can take advantage of its varied locations, professional staff, its screenwriters’ creativity and its service providers’ commitment and versatility,” he says. “The region’s entertainment industry is expanding, from generating ideas to the actual shooting, from new talent professionals to content broadcasting. It is an industry that’s able to multiply benefits for each country and all this at very competitive prices, without compromising the quality of our products.”
“Expertise, accent and use of language rank Dubbing House at the cutting edge.”
FERTILE LAND “Only 20% of all programs dubbed into Spanish are broadcast in Mexico. The remaining 80% are broadcast in other countries and territories, dubbed into other languages,” the executive says. The Mexican audio company finds fierce competitors in companies located in sister countries across the continent. However, Arregui says that “expertise, accent and use of language rank Dubbing House at the cutting edge.” PRODUCTION GUIDE _91
i HEADQUARTERS
Felipe Carrillo Puerto #83. Col Del Carmen Coyoacán. CP 04100, Mexico, DF. Ph.: (+52) 55 5292 4261 Fax: (+52) 55 5292 3504 Email: info@dubbinghouse.com.mx Website: www.dubbinghouse.com.mx
Doing Business Since: January 9, 2004 Hours or Productions Per Year: 1,200 - 1,500 hours Owners: Jorge García Arregui, Paola Felgueres Kanter
Profile Dubbing House has been a part of the audiovisual industry for 20 years. During this time, the company has promoted a business model based on attention to detail and close relationships with its clients. Among the wide range of audio postproduction services offered by the company, its dubbing, subtitle, duplication, international track, authoring, 5.1 mixing for HD, storage, distribution and digital delivery services stand out. During 2010 the company opened several brand new facilities: three new audio rooms with HD accel 2 and three new mixing rooms with HD accel 3 for Dolby D, E and DR.
Production Portfolio DUBBING: ‘EL CHAVO ANIMADO’ (Animation) Year: 2006-2010 Clients: Ánima Estudios, Televisa The animated version of classic series ‘El Chavo’, originally produced in the 70s and 80s. Its episodes are based on the original series with screenplays by Roberto Gómez Bolaños.
Business Area Audio postproduction for broadcast and pay TV, film and online platforms.
DUBBING: ‘DUMB GIRLS DON’T GO TO HEAVEN’ Year: 2004
DUBBING: ‘DUMB GIRLS DON’T GO TO HEAVEN’ 200Year: 2004 Client: Televisa This original Televisa telenovela tells the story of Candy, a young woman who is in love and about to marry her Prince Charming. Everything seems to be perfect until her wedding day, when she sees her husband Patricio kissing Alicia, her sister. Candy’s happiness is short-lived so she decides to start a new life with a new motto: “I am not a carpet; I will not let people step on me!” The telenovela is starred by Jaqueline Bracamontes, Jaime Camil and Valentino Lanus.
Executives
TOP Executive
Contact Paola Felgueres Kanter, Vice President paola@dubbinghouse.com.mx
Jorge G. Arregui, President
Main Clients
DUBBING: ‘HOW I MET YOUR MOTHER’ Client: The 20th Century Fox
20th Century Fox Date: 2006 Products: ‘Modern Family’, ‘How I Met Your Mother’, ‘Good Guys’, ‘Sons of Anarchy’, ‘Blindness’.
Televisa Date: 2004 Products: ‘La fea más bella’ (‘Ugly Betty’ adaptation), ‘Rubí’, ‘Dumb Girls Don’t Go To Heaven’
Ánima Estudios Date: 2006 Products: ‘AAA’, ‘El Agente 00P2’
NBC Universal Date: 2004 Products: ‘Wagon Train’, ‘Laredo’, ‘Alfred Hitchcock’, ‘Airport’.
DUBBING: ‘HOW I MET YOUR MOTHER’ (Comedy, 4 Seasons) Client: The 20th Century Fox The story of a 27-year old architect called Ted that decides to search for true love after Marshall, his best friend, decides to ask his girlfriend Lily to marry him. Ted realizes that he too must hurry up if he wants to find the love of his life and create a family. Ted finally meets Robin -a young Canadian girl that’s just moved to New York- and he’s completely sure that its love at first sight. Yet destiny still holds many surprises for him.
Televix Date: 2005 Products: ‘Inazuma Eleven’, ‘Pokemon’, ‘Dinosaur King’, ‘Ninja Turtles’, ‘Yu Gi Oh!’
DUBBING: ‘MODERN FAMILY’ (Comedy, 2 Seasons) Year: 2010 Client: The 20th Century Fox This acclaimed series tells the story of Jay Pritchett (Ed O’Neill) and his family: his (much younger) wife Gloria Delgado (Sofía Vergara) and her teenage son Manny, as well as his kids’ families. Following the same mockumentary style of ‘The Office’, where fiction is narrated as a documentary, ‘Modern Family’ satirizes the so-called American way of life.
STUDIOS: 3.
Production Capacity LOCATION: Mexico DF, Mexico
HUMAN RESOURCES: 8 employees.
POSTPRODUCTION: 1 mixing room with 7.1 Pro Tools HD V. 9. ANIMATION: Motion Graphics, Bullets, Logos, etc.
EQUIPMENT: 3 recording rooms with Pro Tools HD V. 9, AKG microphones, 1 mixing room with 7.1 Pro Tools HD V. 9, 1 editing room.
DUBBING: ‘MODERN FAMILY’ Year: 2010
PRODUCTION GUIDE _93
i HEADQUARTERS
Blvd. Manuel Avila Camacho #50, Edificio Norte, 2nd Floor, Doing Business Since: August 2001 Col. Lomas de Chapultepec, Del. Miguel Hidalgo, CP 11000 Hours or Productions Per Year: 172 productions Ph.: (+52) 55 5081 6300 Email: info@mediamates.tv Owner: The Mates Contents Website: www.mediamates.tv
Profile Mediamates is a company focused on digital production which is part of a production house holding with over 30 years of experience. It was founded in 2011 by Pedro Torres, a renowned visionary and awardwinning producer and director in the advertising, television and entertainment industries.
Business Area
Production Portfolio KILLER WOMEN (Series - 40 x 43’) Year: 2008, 2009, 2010 (3 seasons) The series increased the channel’s ratings by 3000% and broke all audience records in US pay TV during its premiere, even ousting US series.
Content and new format creation for television, television production, reality shows, advertainment, interactive content and digital media.
KILLER WOMEN (Series - 40 x 43’)
ESTRELLAS DEL BICENTENARIO (Advertising Spots) Year: 2010 This advertising campaign -presented by Televisa- is comprised of 10 three-minute advertising spots with 1’20” and 30” versions each. It is part of Mexico’s celebration of the Bicentennial of its independence and shows the country’s beautiful natural landscapes for the world to see.
ESTRELLAS DEL BICENTENARIO (Advertising Spots)
94_ PRODUCTION GUIDE
DESTAPADOS SPRITE (Game Show - 22’) Year: 2008 Client: CANAL 5 Game show where a team of two friends face the challenge of calling things for what they are in order to win a great amount of money.
Executives
TOP Executive
Contact
Pedro Torres Castilla, President info@mediamates.tv
Santiago Lebrija, Director at Mediamates slebrija@mediamates.tv
Main Clients GRUPO TELEVISA Products: TV shows
PCTV Products: TV Series
Production Capacity LOCATION: Mexico DF, Mexico HUMAN RESOURCES: 250 employees. EQUIPMENT: Red Cameras, Cinema Red. PRODUCTION DESIGN: Yes. POSTPRODUCTION: Flame, EQPablo, Scratch, Pro Tools, Avid, Sinfon, Simphony, Final Cut, Motion Graphics.
DESTAPADOS SPRITE (Game Show - 22’)
SPECIAL EFFECTS: Supervision, design and compounds. CREATIVE DEPARTMENT: Ddevelopment of content created under a brand. ANIMATION: 2D and Motion Graphics. OTHER: Color correction.
i HEADQUARTERS
Calle Ignacio Esteva No. 50B, CP 11850, Col. San Miguel Chapultepec, Mexico DF Ph.: (+52) 55 2454 3313 Website: www.thelift.tv
Doing Business Since: October 2005 Hours or Productions Per Year: over 50 productions Owners: Andrés Avelino Rodríguez Cantón and Ana Laura Solís Araiza
Profile Established in October 2005 by Avelino Rodríguez, The Lift is a transnational company from Barcelona that’s dedicated to advertising production.
Production Portfolio
It specializes in providing production services to companies from other countries and representing the best available talent in the world for the Latin American market.
Main Features The Lift has transformed the status quo of production companies in Mexico by importing large-scale projects with worldwide standards as well as non-advertising content for alternative media (like Cinema Havana), enriching the diversity and quality level of the Mexican market. The Lift has bided and setup projects for 26 of the 30 top companies in the world, offering Mexico and Latin America for their productions. In 2007 it began to develop projects for WB, SPTI and Columbia. It has also produced television series and feature films independently.
Business Area Advertising, film, pay TV.
AUDI. ‘WARM UP’ (TV spot) Client: Audi Agency: Kempertrautmann
BANAMEX. ‘Ganar NO CUESTA NADA’ (TV spot) Client: Banamex Agency: Publicis
BANAMEX. ‘RISPILEO’ (TV Spot) Client: Banamex Agency: Publicis
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Executives
TOP Executive
Andrés Avelino Rodríguez Cantón, General Director
Contact
Valeria Chávez, Executive Producer valeria@thelift.tv
Main Clients Nissan Year: 2007 Product: Nissan Rouge
Mc Donald’s Year: 2008-2009 Product: Mc Café
COCA COLA Year: 2010 Product: Coca Cola Zero and Coca Cola Sabores
Banamex Year: 2010 Product: Tarjetas
Coca Cola Year: 2009 Product: Coca Cola Zero
BURGER KING Year: 2010 Product: Cheese Whopper
Production Capacity LOCATION: Mexico City STUDIOS: Only production offices. HUMAN RESOURCES: 3 production teams and an administrative and accounting department.
EQUIPMENT: Digital location bank, 3 5D cameras POSTPRODUCTION: Off line editing stations.
CADBURY. ‘Trucks’ (TV Spot) Client: Cadbury Agency: Fallon UK
CAPITAL ONE. ‘Island Survivors’ (TV Spot) Client: Capital One Agency: DDB Production Company: The LIFT / CoMPANY
i HEADQUARTERS
Acevedo Díaz 1391, CP 11200, Montevideo, Uruguay Ph. & Fax: (+598) 2 4030427 / 2 4035157 Email: info@contenidos.com.uy Website: www.contenidos.com.uy
Doing Business Since: January 2004 Hours or Productions Per Year: 314 hours Owners: Conrado Polvarini, Gustavo Rojo and Fernando Laureiro
Profle Contenidos TV and Tokio Films are production companies focused on TV shows, advertising and films. Each project is handled globally -including its realization and follow-up- from the idea’s conception to its commercialization, even taking its artistic production into account. The companies’ aim is to inform and entertain audiences with challenging and attractive projects. Both achieve this with excellent products that are not only visually and artistically appealing but also exemplary at a content level. Contenidos TV and Tokio Films employ around 60 professionals who are fully committed to making both companies a factory of interesting and attractive ideas that contribute to the culture and daily life of society.
Business Area Broadcast and pay TV, advertising, film.
SOCIAL SLAVES Fiction
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Production Portfolio SOCIAL SLAVES (Fiction - 13 x 45’) Year: 2011 Channel: Teledoce Televisora Color ‘Social Slaves’ is a 13-chapter series which details behaviors that are common to all addictions. The series depicts the physical and psychological dependence of each character in a realistic and intelligent way, with each episode highlighting their compulsive motivations and their consequences. Each story has an independent plot, dealing with one type of addiction at a time: sex, toxic substances (drugs, alcohol, nicotine), relationships, gambling, work, pills and others. CÁMARA TESTIGO (Docureality - 45’) Year: 2007 - 2011 Timeslot: Weekly Channel: Teledoce Televisora Color A series that shows a wide array of stories, characters and situations: from emergency rooms, firemen and police chases to the uncertainty of a family who has been looking for one of its long-lost members.
CÁMARA TESTIGO Docureality
Executives
TOP Executives Gustavo Rojo, Director Fernando Laureiro, Director Conrado Polvarini, Director conrado@contenidos.com. uyconrado@tokiofilms.com
Main Clients Teledoce Televisora Color uRUGUAY
Production Capacity LOCATION: Montevideo, Uruguay
HUMAN RESOURCES: 60 employees
STUDIOS: One 660 m2 (7,104 ft2) acoustically isolated studio with a 6 m (20 ft) -high lighting grid and 50 KW / 220 volt three-phase power supply
ESTA BOCA ES MÍA (Talk Show - 50’) Years: 2008-2011 Timeslot: Daily Channel: Teledoce Televisora Color Every afternoon Victoria Rodríguez leads a live debate on the most diverse topics. A group of panelists composed of famous personalities from different areas of society analyzes and confronts their own opinions on these everyday topics. Using a hypothetical case, the discussion revolves around what each one would do or how each person would react in that particular situation. The program features a live audience composed of people of different ages and genders that actively take part in the debate. VIDAS (Research / Documentary - 96 x 45’) Channel: La Tele ‘Vidas’ is that adolescent impulse and need to narrate different stories, eventually proving that those apparent distances between human beings are not as wide as they seem. Both ordinary and not-so-ordinary people living in Uruguay today tell their light-hearted and dark stories. Facundo Ponce de León -the show’s host- spends at least a day with them to fully get to know their everyday life, their work, their homes, their relationships and their friends. The aim is to make the camera vanish even if it’s on. In this way, audiences get to meet interesting people from a different point of view.
i HEADQUARTERS
Joaquín Requena 1193, CP 11200, Montevideo, Uruguay Ph. & Fax: (+598) 2 401 2895 Email: info@locomotionco.com Website: www.locomotionco.com
Doing Business Since: October 9, 2006 Hours or Productions Per Year: 30 productions Owner: Javier Figueroa
Profile Locomotion was born to tend to the growing need for entertaining audiovisual productions worldwide, with special focus in animated series and movies for Hispanic audiences that emphasize moral values. It has consolidated in Uruguay, making a great impact with its first animated cartoon series ‘The Little Hero and the Treasure of La Luz’.
Main Features The quality of Locomotion’s products is up to international standards. Locomotion’s services stand out for the company’s guaranteed production process, its highly-qualified staff and low production costs compared to other markets such as Europe, the US or even India. Locomotion assures its projection in the market through constant technological innovation, assigning teams to research and develop new technologies and techniques that are then passed on to the rest of the staff.
Business Area
Production Portfolio THE LITTLE HERO (Children’s Animation, 2006, 22 x 5’) Client: Antel Historical animated pieces that promote values for Antel’s social responsibility program. Charoná (Children’s Animation, 2009, 12 x 1’) Client: Antel Short cultural segments featuring Charoná that promote values for Antel’s social responsibility program. DERMUR’S LINEAS (Animation, 2010) Client: Dermur Animation for TV advertising spots.
3D modeling and animation, advertising, video game development and educational content for Uruguayan OLPC program (CEIBAL), institutional videos, packaging, TV advertising spots, e-learning design and development, websites, among others.
DERMUR’S LINEAS Animation
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THE LITTLE HERO Children’s Animation
Executives
TOP Executive
Contact Zelma Dodat, Secretary zelma@locomotionco.com
Javier Figueroa, General Director
jfigueroa@locomotionco.com
Main Clients
Coca Cola 2009 Development of a company station at “Ciudad de los Chicos” (concept, interactive content and physical aesthetics).
OLPC - Ceibal 2008-2010 Development of 11 educational video games for several platforms.
Nestlé 2008-2010 Several 3D animation developments for advertising.
Production Capacity LOCATION: Montevideo, Uruguay STUDIOS: One 300 m2 (3,229 ft2) studio. HUMAN RESOURCES: 15 employees. EQUIPMENT: 15 computers, 2 HD cameras, audio recording equipment, production
Charoná
Children’s Animation
design, postproduction, special effects, creative department, multimedia development, animation. OTHER: In-house motion capture lab.
i HEADQUARTERS
Coimbra 5936, CP 11500, Montevideo, Uruguay Ph. & Fax: (+598) 2 600 0422 Email: info@microtime.tv Website: www.microtime.tv
Doing Business Since: October 3, 2005 Hours or Productions Per Year: +30 hours Owner: Cuatro de Copas SRL
Profile Microtime is a young production company with a highly qualified professional team. The company focuses on TV content on all distribution platforms (iTunes, internet and mobile). It has produced documentaries, advertising, branded shows, corporate videos and covered live events such as the presidential elections, concerts, tennis matches, auto racing, rugby and soccer games, among many others. The company centers its work strategy on four concepts: leadership, a positive attitude, hard work and a permanent search for knowledge.
Business Area Taped content sales, content production, live TV productions.
Production Portfolio Rocket! (Alternative Sports - Full HD - 13 x 26’) Timeslot: access primetime Year: 2010 Clients: Nuevo Siglo TV, iTunes Podcast Directory, CanalExpo.tv Your weekly dose of adrenaline served in an intense 30 minutes with the best in extreme and alternative sports in the region. Edited in clip format with a vibrant musical selection, ‘Rocket!’ explores both urban sports coexisting with city madness and solitary experiences in open and silent locations. The show captures the cultural aspects and atmosphere of each sport. Los Secretos de San Pedro (Gourmet/Lifestyle, 26 x 26’) Horario: prime time Año: 2010 Clientes: Nuevo Siglo TV, LatinoamericaTV, iTunes Podcast Directory, CanalExpo.tv ‘Los Secretos de San Pedro’ is hosted by star chef Clari Ravazzani and produced at her restaurant located between the countryside and the sea. A wonderful place with a natural environment -plus the best gourmet tricks and tips for amateur chefs- make for the perfect entertainment experience.
Los Secretos de San Pedro (Gourmet/Lifestyle - 26 x 26’)
Rocket!
Alternative Sports Full HD 13 x 26’
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Que me Quiten lo Viajado (Travel Reality & Entertainment Show - 13 x 26’) Timeslot: weekend primetime Year: 2010 Clients: Nuevo Siglo TV, Lationamerica TV US, Canada, Australia, Europe. ‘Que me quiten lo viajado’ is a reality show focused on a trip around the Uruguayan coast. It is a fun and entertaining show hosted by two local girls who travel around finding interesting spots and activities. Its highly professional photography speaks for itself while the local people’s charm gives a little taste of South American culture.
Executives
TOP Executives Charly Galdona Oyenard, CEO & Executive Producer
Contacts
Martín Cerviño, Head of Production - Partner mcervino@microtime.tv
Matías Baridón, Head of Postproduction and New Media - Partner mbaridon@microtime.tv
Diego García Scheck, Live TV Director - Partner dgs@microtime.tv
Principales Clientes ESPN
Telefónica
USA
FOX SPORTS
VOLT
Nuevosiglo TV
LA TELE
Canal 7 Argentina
UPM BBVA
Latinoamerica TV (EE.UU.)
Main Clients LOCATION: Montevideo, Uruguay STUDIOS: One studio for small productions and a third party studio for larger projects. HUMAN RESOURCES: 20 employees. EQUIPMENT: HD, HDV, DV cameras, Full HD mobile unit for live TV with up to 8 cameras. PRODUCTION DESIGN: Yes. POSTPRODUCTION: 4 editing stations with Mac Pros with HD-SDI, Blackmagic
Que me Quiten lo Viajado
(Travel Reality & Entertainment Show - 13 x 26’)
Decklink and Full HD monitors, Adobe CS5, Final Cut Studio HD, RAID HDDs, NAS storage and Offsite backups for unedited material and final exports. SPECIAL EFFECTS: 2D and 3D graphics. Has an in-house creative department, a multimedia development team and offers animation services. It also offers internet streaming services with its partner www. arcitcant.net, an online content platform via www.canalexpo.tv and the iTunes Podcast Directory.
i HEADQUARTERS
Santiago Vázquez 1256, CP 11300, Montevideo, Uruguay Ph.: (+598) 2 708 2174 Email: info@theformatfactory.tv Website: www.theformatfactory.tv
Doing Business Since: 2002 Hours or Productions Per Year: 235 hours Owner: Grupo OZ SRL
Profile Since 2002, OZ Media is a leading media content producer that develops formats and produces shows for TV and other digital platforms in Uruguay. OZ media produces an intelligent and entertaining kind of television which is conceived for eager minds. The company is known for its successful, quality shows made for different audiences. The firm has also worked in other business areas such as: production services, advertising, institutional communications, educational technology and cultural management. The Format Factory is OZ media’s newest business unit. It is an OZ media spin-off, dedicated to the development of TV formats and new platforms, assuming the commitment of developing highquality products with creativity, flexibility and efficiency. It began its operations in February 2010 and has a team of professionals from the communications and creative fields working for it, as well as educational psychologists and economists. In order to carry out this project, OZ media counts with the support of Uruguay’s National Agency for Research & Innovation. The Format Factory is the only R&D division working in a stable, multidisciplinary way in Uruguay’s audiovisual industry. The Format Factory and OZ media are the only Latin American companies associated to FRAPA, The Format Recognition and Protection Association.
Main Features OZ Media provides comprehensive production services for foreign TV networks. It counts with many clients, such as the Travel Channel and Zero Point Zero for its show ‘Anthony Bourdain: No Reservations’. The Format Factory is currently entering its product marketing stage. The 20 original formats the company introduced at MIPCOM 2010 were very well received. The Format Factory also develops new formats upon request for specific clients such as Uruguay’s Channel 10, TNU (Uruguay’s public channel), the Uruguayan Ministry of Industry and Energy and Sun Channel Tourism Television.
Business Area Formats and production solutions for TV and other platforms.
Production Portfolio
PROVE ME YOU LOVE ME (Reality - Dating)
PROVE ME YOU LOVE ME (Reality - Dating) What would you be willing to do to get your sweetheart back? ‘Prove Me You Love Me’ was selected at Channel 10’s (Uruguay) annual pitching contest. The show’s pilot is currently in preproduction to evaluate its inclusion in the channel’s programming grid for 2011. I WANT A STAR TO COOK FOR ME (Cooking Show) One family. One kitchen. One star. Anything can happen! An independent and versatile segment that can make the difference in any magazine or cooking show. In preproduction. HOME LAB (Edutainment, Science & Tech) It’s not magic, it’s science. This show won a pitching contest at the National Telecommunications Agency (a division of the Ministry of Industry and Energy). The agency will fund the show’s production. S.O.S: MY HUSBAND’S A MESS (Reality - Makeover) Two women, tired of their husbands being slobs, compete in order to turn each of them into the Prince Charming they once were.
The Roundfriends Pre-school Animation
THE PERFECT NIGHT (Reality - Travel) What’s a perfect night like in the world’s craziest cities? THE ROUNDFRIENDS (Pre-School Animation) Nino is a boy like any other but hides a magical secret. When he rides his bike, the balls he carries in the bike’s basket come to life and become The Roundfriends.
106_TTVADSALES
Executives
TOP Executive Pablo Arriola, Executive Director
Contacts
Soledad García, Executive Director soledad@ozmedia.com.uy
José Alonso, Business Development jose@theformatfactory.tv
Juan Domínguez, Business Executive juan@theformatfactory.tv
Main Clients Canal 10 Saeta Products: ‘En Su Salsa’, ‘Cambio de Vida’, ‘Mochileros’, ‘Rutas y Sabores’, ‘Las Cacerolas del Negro’, ‘Blog’, ‘Historia Clínica’, ‘Fan’, ‘La Cava’, ‘Gladiadores del Ring’, ‘Gladiadores del Ring Animados’, among others.
UNICEF Product: ‘Unicef, Todo por los niños Uruguayos’
Monte Carlo TV Products: ‘Anecdotario’, ‘Tenemos que hablar’.
CONAPROLE Product: ‘Antártida, 24 horas de Exposición Extrema’
TNU Products: ‘El Canal de los Niños’, ‘El Canal de los Niños diario’.
Unilever Products: ‘Jugadas’, ‘Los mil sabores de Knorr’, ‘El mejor pelo del verano de Sedal’, ‘Sedal Mag’, ‘Sedal Beauty Bar’, ‘Los consejos de Ana Durán’
Tevé Ciudad Product: ‘Montevideo Tevé’
Aldeas Infantiles SOS Product: ‘Aldeas Infantiles SOS, 50 años’
Fundación Teletón Product: ‘Teletón’
S.O.S: MY HUSBAND’S A MESS (Reality - Makeover)
I WANT A STAR TO COOK FOR ME (Cooking Show)
Interview
Top quality productions, a strong bet on new digital platforms and the ability to create local stories with universal appeal are, according to Michela Giorelli, the main strengths of this leading provider of content based on real life.
MICHELA GIORELLI
VP of Production and Development at Discovery Networks Latin America/US Hispanic
Local production in Latin America has risen over the last few years in both quantity and quality. This has caused the regional market to open up to the world and local productions are now reaching markets that were not available before. “We at Discovery Networks Latin America/US Hispanic have a good example of this phenomenon: our original production for Discovery Channel on the rescue of the 33 Chilean miners. The documentary, called ‘Rescate Imposible: 70 Días Bajo Tierra’ (Impossible Rescue: 70 Days below the Earth), was produced in the region and then travelled to the US, Europe, Asia and even the Middle East and Africa,” Michela Giorelli tells ttv. 360 DEGREES This growing trend in Latin American original content goes beyond themes, genres and platforms. “This evolution is also seen in branded entertainment,” the executive says. “Productions carried out in collaboration with other brands have been acknowledged with several awards in the region. Such is the case of ‘Mi Perro Ideal’ (My Ideal Dog - an Animal Planet reality show, originally produced for Pedigree), ‘Clara en Foodland’ (animated series produced for Discovery Kids with Unilever) and ‘Mudar Faz Bem’ (original production developed for Discovery Home & Health in Brazil for Nestlé).” This wide range of platforms for productions is precisely what’s helping original content develop, guaranteeing better and broader audiences. 110_ PRODUCTION GUIDE
“Today, producers have to think in 360 degrees and cover all platforms: mobile, online, social networks, etc. Discovery offers content on VOD and via streaming over the Internet. In mobile media, we have been increasing our content distribution of mobile TV content, including Loop and Mobile-VOD formats,” Giorelli says. The company has begun using this new platform in its advertising solutions. “Innovation is one of our major premises and this promotes developing cross-platform, cutting-edge content,” the executive says. LEADERSHIP Discovery Channel does not provide production services but the company is the number one provider of content based on real life. According to the executive, it reaches “an overall 1,500 million subscribers in over 180 countries.” In Latin America, specifically, its total number of subscribers amounts to 169 million. “At Discovery we are constantly re-assessing our portfolio to offer unique products. For instance, a series with the production standards of ‘Vida’ can be only produced by a company with an infrastructure like ours. We’re talking about a
“Innovation is one of our major premises and this promotes developing cross-platform, cutting-edge content.”
production in HD that took more than 3,000 days to shoot and was produced over four years,” Giorelli says. Throughout 2010, Discovery Networks Latin America/US Hispanic has continued to show the quality that placed the channel at the top of all rankings. Global interest sparked by the documentary ‘Rescate Imposible: 70 Días Bajo Tierra’ is a clear example. In 2011, the company will continue focusing on “local issues with a universal appeal,” the executive says. “We seek to continue with our distinctive, responsible, engaged, high-quality and entertaining work by developing more series during this coming year, especially for the channels Discovery Channel, Discovery Kids and Discovery Home & Health. We’re always looking for local stories with strong and captivating narratives. Latin America has a rich culture and natural landscapes to explore. It is important for us to keep our focus on producing true stories told in a simple, accessible and entertaining way,” she concludes.
Interview
A key player in the region’s original production industry, Luis Pereza talks about the continent’s ideas and plans for the future. In this interview, he explains what a production needs in order to earn the HBO seal.
LUIS PERAZA
Executive VP of Production and Acquisitions at HBO Latin America Group
Peraza plays a leading role in the Latin American production industry. He travels around tradeshows, events and festivals seeking and hosting ideas that may have what it takes to become an HBO production. He walks carefully along this path, taking his time to fine-tune every final result. “It was harder to explain at the beginning, why we travelled around the continent, what we were exactly looking for. We are permanently receiving potential ideas and any idea we do not take is returned to the market. We urge that the idea is received and taken back with our comments. Today we have productions developing in several countries and this may give a more accurate idea of the kind of product we want,” he says. In fact, after HBO produced ‘Epitafios’ with Polka in Argentina, several projects followed suit. After the second season of ‘Capadocia’ was completed by Argos Comunicación in Mexico, the programmer got down to preparing ‘Prófugos’ (F3/Fábula) which is currently being post-produced in Chile. ‘Mandrake’ (Conspiração Filmes) and ‘Filhos do Carnaval’ (O2 Filmes) in Brazil represent a new stage for the programmer, which is now venturing into the comedy genre with productions such as ‘Mulher de Fases’ (Casa de Cinema) and ‘FDP’ (‘Filho da Puta’ by Prodigo Filmes) set to premiere later on this year. “These are experiments that we are carrying out in Brazil. We believe they will be successful in that country but we still need to see how they actually work elsewhere because comedy travels less than drama,” Peraza says.
CHOOSING PRODUCTION COMPANIES The executive says the company has several projects underway in Colombia, Argentina and Brazil, where HBO is working under development agreements. Finding a partner that is able to read the company’s work method differently is a job that requires a lot of dedication. “The main idea was to look for companies that could provide us with both ingredients: a creative solution on the one hand and shooting services on the other. We then contacted already-established companies that were able to produce content that was up to our quality standards and were capable of finding creative talent that was suitable for the project. We still continue to work like this in all of our projects,” Peraza says. Today, HBO’s projects are not limited to a single production company. “At this stage we are working with small creative groups, small companies that are not necessarily backedup by larger production companies. As the project develops, we start looking where and how we can produce it, with the screenplay already in our hands,” Peraza says. This means that HBO series can be adapted to any country and production company with the capacity to carry out the job. Peraza eagerly mentions Chile as an example. “In ‘Prófugos’, for instance, the idea was born from a pitch made by Pablo Larrain four years ago. At the same time we realized how much we wanted to adapt the story to Chile, with its own places and people. We first decided that we had a strong story in our hands and then
thought about what was needed to produce it at the level we require. This can happen in any other place. We currently have a couple of projects in Colombia. Eventually, and if they mature in the way we hope they will, these projects could be produced in that country - or not. It all depends on the circumstances,” the executive explains. Yet even if the creative factor is decisive, prices also play a huge role in defining where a production will be made. “Unfortunately, the two countries where we’d most like to produce -Mexico and Brazil- are also the most expensive. Costs in Chile are a bit below Mexico’s but are still important. I think Argentina has a vibrant artistic community and an outstanding trackrecord in advertising, TV and film production. Production costs are more reasonable there and better manageable at our scale. Yet this doesn’t mean that we’re just going to produce everything in Argentina. Each market carries its own weight in the region,” Peraza concludes.
“The main idea was to look for companies that could provide us with both ingredients: a creative solution on the one hand and shooting services on the other.”
PRODUCTION GUIDE _111
Interview
“The market is more dynamic than ever when it comes to local productions.”
Sony Pictures Television, another media company that’s recently disembarked in Latin American production studios, has already consolidated its original content strategy, forging unprecedented alliances in the region.
BRENDAN FITZGERALD
SVP of Latin American Productions, Sony Pictures Television
There are no hidden secrets or concrete formulas to success in original production. According to Brendan Fitzgerald, who heads Sony Pictures Television’s (SPT’s) strategy, the only model one can confidently follow is the market itself. Production should be based on a guiding strategy that’s flexible enough to quickly change to follow client preferences. “We should avoid thinking we know more that what we know. We must be as flexible as possible, finding returns once we really manage to add value to the client’s business model, whatever client that might be,” he says. SPT’s strategy doesn’t simply rely on intuition. The company is clearly betting on regional local production with Colombia as its key market. “We have many and diverse strengths, such a leading presence in the market. We know what content works locally and have access to truly universal stories and enjoy a global distribution reach,” he says. “We have the capacity and the will to co-finance the right projects and an intelligent and risk-oriented approach.” AN UPHILL PATH “The market is more dynamic than ever when it comes to local productions,” Fitzgerald says when asked about his outlook on Latin America’s production landscape. And he not only infers this based on production hours. “There’s a great variety of national and international players that can finance projects, especially considering that the number and type of clients available in the region include 112_ PRODUCTION GUIDE
cable and digital or mobile companies, apart from the existing demand from broadcast TV,” he says. Apart from the continent’s renowned and praised locations -which can accommodate any kind of fictional recreation- Fitzgerald highlights the quality of Latin American professionals who, at the end of the day, make the difference. “This region offers an unmatched combination of talent both in front and behind cameras, competitive prices, inquisitive producers, an endless array of urban and natural landscapes and, above all, broadcasters that are committed to the best stories. These stories are surrounded by advertising spaces and drive their subscriber bases,” he says. SPT is also in this healthy business environment with several projects underway. Its most recent co-productions, ‘Niñas Mal’ (MTV Networks Latin America) and ‘La Pola’ (RCN) are as memorable as its formats ‘Hole in the Wall’ and ‘X Factor’, also for RCN. “Our production efforts will add up to 400 hours for 2011, comprised of a mix of telenovelas, tele-series, series, sitcoms and teen series,” Fitzgerald says.
“Our production efforts will add up to 400 hours for 2011, comprised of a mix of telenovelas, tele-series, series, sitcoms and teen series”
The company’s clients are also diverse. Some have ample experience and defined digital strategies, while others are caught in the midst of an incipient development toward other windows. “Our work ranges from clients like Nickelodeon, which has a well-defined digital strategy for its viewers, to channels that are taking their first steps into the digital realm. On the other hand, we also work for telecommunications companies that are just recently getting to know the TV world and its promotional and monetizing possibilities,” the executive says.
“2010 was the perfect year for TV.” What would a perfect year for the industry be like then? Fitzgerald’s answer is ambitious but clearly shows how SPT is raising the bar. “It’s been a challenging year but the rewards these challenges have brought on are proof that 2010 was the perfect year for TV. I think we’ve stepped up to the challenge and that we’re well-positioned for the 12 months ahead,” Fitzgerald concludes.
Interview
Enviable production costs, acquired expertise and a wide range of locations. These are the features Leonardo Aranguibel highlights when explaining Latin America’s boom in original production, providing strong arguments for producing in the region.
“This region is able to offer enviable production costs.”
LEONARDO ARANGUIBEL
Production Director at Disney Media Networks Latin America
The idea of producing in Latin America is not new but the region´s production is going through a particularly dynamic phase. “Over the last five to six years original production and project development in several genres has grown exponentially all across the region,” Leonardo Aranguibel, director of production at Disney Media Networks Latin America (DMNLA), tells ttv. Many factors come into play when trying to explain the industry’s current situation. How well Latin America has managed to overcome the world economic crisis is definitely a start. “This region is able to offer enviable production costs. It has a wide range of locations: large modern cities, rural areas, beaches, mountains, lakes and rivers that offer countless possibilities, enhanced by the interaction that takes place among 23 different countries speaking the same language,” the executive says. This places the region in a “privileged position worldwide,” which translates into a huge potential for production. This landscape has remained the same for quite some time now. Production houses have become more professional over the years, now up to par with international excellence standards. “It’s a cyclic process because the more you produce, the higher the quality. Production houses, crews and talented professionals start gaining more and more experience, generating higher quality products that are capable of opening more
doors. The region can also offer lower costs than anywhere else in the world. I think the region´s situation and forecasts are excellent,” Aranguibel says. Business models are also contributing toward a more professional industry. The telenovela is generally the main genre among the region’s channel grids and this is a genre like no other. “It’s very special because it requires continuous long-term work, where people are normally working on a single product for ten to twelve months and spend the entire year producing 40 to 45-minute episodes. This gears up the entire process as directors, producers and actors acquire the ability to work under pressure tending to high demands. So when they have to face a production like ‘Desperate Housewives’ -which requires producing 24 episodes in four months-, they show extraordinarily skill,” the executive says.
“Chile, Peru and Ecuador show substantial levels of local production, as well as Central America.” region’s future interconnection”, the executive says. DMNLA has been and still is a staunch advocate for original production. Its strategy goes along the same line. “Walt Disney Company Latin America has bet on this region like no other. We think talent and local cultural features bring added valued to every production, whether at a country or pan-regional level. In both cases, we think not only about audiences but also about the artists in the region, who are able to reach high exposure levels that enrich the entire TV production industry,” Aranguibel concludes.
Aranguibel knows what the top markets in the region are but forecasts that other less traditional countries will soon join the continent’s production ranks. “The entire industry reports low production costs and a vast experience. Everyone knows that Argentina, Brazil, Mexico, Colombia and Venezuela have stood out as industry leaders for a long time. But Chile, Peru and Ecuador -for example- show substantial levels of local production, as well as Central America. I think that, gradually, local production will give every country the chance to contribute to the PRODUCTION GUIDE _113
Interview
With over 450 hours worth of original production in the market (Argentina, Venezuela and Colombia), MTV Networks Latin America seems to find no barriers to its growth. The company has 200 hours more programmed for 2011 and a greater bet on innovative and provocative content.
JC ACOSTA
SVP, CFO and Executive in charge of Production for MTV Networks Latin America, US Hispanic and Canada
In late 2008 MTV Networks Latin America (MTVNLA) started its original production strategy. Today, the company has over 450 hours in the market -distributed among Argentina, Venezuela and Colombia- and has 200 hours more programmed for 2011. “One of our first steps was the premiere of Nickelodeon’s first telenovela, ‘ISA TKM’, co-produced with Sony Pictures Television International. It received great ratings and the show’s CD was awarded a golden record. The show’s musical tour also received over 2,000 fans in Argentina, Brazil, Colombia and Mexico,” JC Acosta tells ttv. After this success, MTVNLA aired ‘ISA TK+’ with great results as well. The telenovela’s social network recorded over 556,000 visits and 50 million page views just two weeks after its premiere. The telenovela has also been distributed to over 50 countries in the world. Other hits in 2010 include ‘Sueña Conmigo’ on Nickelodeon, produced with Televisa and Illusion Studios, and other important franchises in the region such as ‘MTV World Stage’ with The Smashing Pumpkins and Thirty Seconds to Mars. MTVNLA also aired the first Mexican Kids’ Choice Awards, attended by over 4,000 kids and watched by 2 million people. But this was just the prelude to ‘Niñas Mal’, the programmer’s first telenovela, co-produced with Sony Pictures Television and produced in Colombia by Teleset. “Results for this telenovela were excellent in the entire region. It became the number one program for the 12114_ PRODUCTION GUIDE
24 year-old audience in Mexico and Colombia in non-kid channels. It was also number two in the 12-17 target for non-kid channels in Argentina,” the executive says. “This is why we will continue to expand our offering with more attractive, musical and high-quality content in 2011 through our local productions, which are aligned with our brands and with the standards our audience is used to.” A QUESTION OF KNOWLEDGE One of MTV’s most striking competitive advantages is how well it knows its target and brands. This enables the programmer to combine its content’s supply and demand to exceed the expectations of Latin American youth. Acosta is adamant in highlighting the 360° experience these brands provide. “We’re always working with our Digital Media team to define details that will let our audiences live a complete and interactive experience both on- and off-screen,” he says. “We usually offer exclusive content such as behind-the-scenes footage or provide direct access to the shows’ actors.” MTVNLA therefore enjoys a strong presence in digital media, something its audiences demand. “Our audience lives and breathes digital so our productions must definitely have an online approach. We shoot our productions in HD and always include digital components, such as their own website and mobile, SMS and social networking tools,” the executive says.
INNOVATIVE AND BOLD Being cutting-edge is a top priority for MTVNLA. “We’re always looking for new projects in order to evolve and innovate. We need to be young at heart and be prepared to follow new trends. This is why we seek to bring the latest to our screen and to our digital products, for our audience to enjoy. We’re constantly changing and evolving,” Acosta says. Given the great success the programmer has had with longer formats, the executive is able to provide a brief forecast of MTVNLA’s plan for 2011. “We think we’ll be able to go even further in 2011, producing irreverent and innovative content that’s 100% original by MTVNLA to fulfill our strategy of selecting local content to use globally,” the executive says. There’s no doubt that 2010 was truly important for MTVNLA: new projects, soaring ratings in both MTV and Nickelodeon and even more original production. “We’ll continue to expand our offering in the same way during 2011,” Acosta concludes.
“We think we’ll be able to go even further in 2011, producing irreverent and innovative content that’s 100% original by MTVNLA.”
Interview
FremantleMedia formats have won a place of their own across major Latin American screens. Jack Alfandary talks about the company’s plans for 2011, producing for the whole world from its three regional production centers in Brazil, Mexico and Miami.
JACK ALFANDARY
SVP of Sales and New Media Development at FremantleMedia Latin America
FremantleMedia has several ongoing productions in the region. At a pan-regional level, the company’s focused on ‘Project Runway Latin America’ (FTV), which recently finished its first season to start producing season two. It’s also busy with the first season of ‘Iconoclastas’ (Infinito), the sixth season of ‘Ídolos’ (in co-production with Rede Record) in Brazil, ‘Password’ in Mexico (TV Azteca) and is getting ready to launch the first season of an ‘American Idol’ original version for Puerto Rico (WAPA TV). Jack Alfandary, SVP of Sales and New Media Development at FremantleMedia Latin America, explains that the company does not close its doors to any country. “We work with all channels. We only have exclusivity agreements for specific programs,” he says . FORMATS Latin American production is definitely thriving and FremantleMedia continues to find its place in the region with its strong format production. “The very definition of a format is bound to local production, to producing original versions of a show in different territories. And our company has led the way in both formats and local production,” Alfandary says. The company’s strategy is based on producing their most important formats in-house. Yet this model also has some variants. “In some specific cases we have licensed formats. In these cases, FremantleMedia monitors production and all ancillary businesses,” Alfandary says. “Every project is different but they are all built in our production centers in Brazil, Mexico and
“The very definition of a format is bound to local production(…)and our company has led the way in both formats and local production.”
Miami, from where pan-regional production is coordinated. Every territory is important but, due to a matter of size, Brazil, Mexico, the Hispanic US and Colombia are certainly our natural focuses. This happens with most international companies working in the region,” he says. Apart from offering the best studios, state-of-the-art equipment and the best-trained staff, Alfandary says these territories have a local landscape that favors business with multi-national companies.
content and digital campaigns, among other projects. The results from these projects are very positive for the company,” Alfandary says. All this shows that FremantleMedia is sturdily making its way across Latin America, facing the challenges that 2011 will inevitably bring. The executive remains optimistic. “We had an excellent year in Latin America and around the world. We forecast an even better 2011,” he says.
“We work with all channels. We only have exclusivity agreements for specific programs.”
NEW PLATFORMS As the undisputed leader in creating entertainment content for the region and the world, FremantleMedia is very aware of new platforms. The executive highlights the performance of ‘The Price is Right’, which was the number-one entertainment game on Facebook for several months. And when it comes to digital media, creativity also counts. “We work with original and generated content from our classic formats for our mobile gaming and Internet businesses. We also work with advertisers to create PRODUCTION GUIDE _115
i HEADQUARTERS
Television Distribution & Production Main Genres: movies, series, animation, Two Alhambra Plaza 9th Floor, Coral Gables, FL 33134, USA formats and entertainment. Ph.: (+1) 305 367 3785 Fax: (+1) 305 774 3913
Profile Disney Media Networks is The Walt Disney Company’s international television content distribution division. It licenses over 30,000 hours of programming to over 1,300 channels across 240 territories around the world. With offices in Miami and Buenos Aires, Disney Media Networks Latin America (DMNLA) is responsible for the company’s Latin American broadcast and pay TV business. This business includes content distribution, production and development. DMNLA distributes films from Walt Disney Pictures, Disney-Pixar, Touchstone Pictures, Dreamworks, Hollywood Pictures, Patagonik and Miravista. It also distributes ABC television series, TV movies and miniseries, Disney and Marvel’s kids’ programming, programs from ABC Daytime and ABC News and the Academy’s Oscars ©. DMNLA also develops and produces original non-Disney content for Latin America. Its distribution covers five platforms apart from television: Video on Demand, Pay Per View, Pay Premium, Basic Cable and Free TV. It also produces reality formats and TV series for Latin America, the US Hispanic market and Spain.
Representations Walt Disney Pictures, Disney-Pixar, Touchstone Pictures, Dreamworks, Hollywood Pictures, Patagonik, Miravista, ABC Studios, Marvel, Disney Channel, Disney XD, Playhouse Disney, Academy Awards ©.
Production Portfolio MISSING (Original Production) Disney Media Networks Latin America and Telemundo Internacional sealed an agreement to co-produce the Colombian version of successful Chilean telenovela ‘Where Is Elisa?’ produced by TVN. The new version is destined for RCN Televisión’s screen and is currently in its pre-production stage. Shooting is scheduled to start in early 2011. The cast is still unknown but the production counts with one of the best Colombian directors: Rodrigo Triana. WHO WANTS TO BE A MILLIONAIRE? (Original Production) ‘Who Wants to Be a Millionaire?’ is comprised of fourteen 30-minute episodes in HD. It is a DMNLA production for Mexico’s Azteca 7 that’s hosted by Pablo Latapí. Ten contestants get the chance to become millionaires answering to 15 questions each. Four different answers are given for each question and each contestant has three helplines he or she can use just once. All contestants need is general knowledge, intelligence and luck. LOS AÑOS DORADOS (THE GOLDEN GIRLS) (Original Production) ‘Los Años Dorados’ is comprised of 45 half-hour episodes in HD and is a DMNLA production for Latin America. Production took place in exceptional sets built in Caracas, Venezuela, where the original sitcom’s spirit was kept alive. With an outstanding cast (including Rebecca Jones and Susana Alexander from Mexico, Kristina Lilley from Colombia and Lili Rentería from Cuba), ‘Los Años Dorados’ is set in a Miami that’s radically different to the one its original characters knew. LAS CHICAS DE ORO (THE GOLDEN GIRLS) (Original Production) The Spanish version of ‘The Golden Girls’ took audience ratings by storm ever since its premiere in that country. The sitcom’s first episode achieved an average audience of 4,073,000 people and 22.6% share. It lead its timeslot among all channels and obtained peaks of up to 8.4 million viewers according to Kantar Media data provided by TVE. ‘Las Chicas de Oro’ stars renowned actresses such as Alicia Hermida as the relentless Sofía (Sophia), Lola Herrera as the flirty Blanca (Blanche), Carmen Maura as Rosa (Rose) and Concha Velasco as Doroti (Dorothy).
Los Años Dorados (Latin American Version)
LAS CHICAS de ORO
(Spanish Version)
Executives
TOP Executive Fernando Barbosa, SVP of Distribution and Production
A Corazón Abierto (Original Production) DMNLA has agreed to co-produce a new adaptation of ABC’s ‘Grey’s Anatomy’ for Mexican TV Azteca with Vista Productions. The Mexican version has just ended its pre-production stage and has started shooting in Bogotá under the same formula as the ‘Desperate Housewives’ adaptations: the Mexican cast travels to Colombia to work on the sets built for the RCN Televisión version. This is the second Latin American version of ‘A Corazón Abierto’. Its Colombian version was comprised of 80 episodes in HD.
Contacts
A Corazón Abierto
Producción original THE AMAZING RACE, SEASONS I AND II The second season of ‘The Amazing Race’ features 11 two-person teams in another enthralling race across Latin America. Its host is once again renowned Guatemalan journalist Harris Whitbeck. Over 21,000 kilometers were traveled in 25 days during this second season, visiting eight different countries. Each one of these locations was carefully chosen based on its cultural, social and historical values. The selection of contrasting natural landscapes was also taken into account in order to portrait the geographical diversity of Latin America. The first and very successful season of ‘The Amazing Race’ also featured 11 similar teams competing to win the big US$250,000 prize. ‘The Amazing Race’ won six Emmy awards in the US.
Henri Ringel, VP of Distribution
Jack Morera, Distribution Director
Leonardo Aranguibel, Production Director
Fabiola Bovino, Senior Marketing Manager
AMAS DE CASA DESESPERADAS (DESPERATE HOUSEWIVES) ‘Amas de Casa Desesperadas’ is one of the most important and ambitious projects carried out in Latin American television. It is a localized version of US series ‘Desperate Housewives’, developed by DMNLA. The adaptation process was an innovative and monumental joint and simultaneous production for four Latin American countries and the US Hispanic market. The street where the housewives live their desperation, joys and frustrations was renamed Manzanares and consisted of a great 45,000 m2 (484,375 ft2) set with ash, poplar and eucalyptus trees. It had ten full-sized houses specially built for the series in a five hectare lot in Pilar, located in the outskirts of Buenos Aires, Argentina. An entire technical infrastructure generally found in a shooting set coexisted with these houses, including cameras, lights, dressing rooms, etc. The Argentine, Colombian, Ecuadorian, Brazilian (‘Donas de Casa Desesperadas’) and US Hispanic versions were all shot in this set.
Donas de Casa Desesperadas (Brazilian Version)
The Amazing Race (Season II)
i HEADQUARTERS
5200 Blue Lagoon Drive, Suite 200, Miami, FL 33126 Ph.: (+1) 395 267 0821 Fax: (+1) 305 267 0459 Email: jack.alfandary@fremantlemedia.com Website: www.fremantlemedia.com
Hours or Productions Per Year: 10,000 hours Business Area: television production Owner: RTL Group
Profile FremantleMedia is one of the largest creators and producers of entertainment brands in the world. It is part of the RTL Group, Europe’s greatest television and radio company, which is in turn 90% owned by Bertelsmann AG - one of the world’s biggest media and entertainment companies. FremantleMedia’s international production arm is responsible for the most popular entertainment, drama, series and factual shows. The FremantleMedia group (which includes talkbackThame, UFA and Grundy, among other companies) operates in 22 countries and is one of the biggest media networks worldwide. It creates close to 10,000 hours of programming a year and operates more than 60 formats and over 300 individual titles. FremantleMedia has some of the most historic and successful formats in its catalog, globally producing shows such as ‘Idols’, ‘The X Factor’, ‘Got Talent’, ‘Neighbors’, ‘The Bill’, ‘Family Feud’, ‘The Price is Right’, ‘Farmer Wants a Wife’ and ‘Hole in the Wall’.
Production Portfolio Idols Genre: Musical Reality Timeslot: 9:00 PM / Weekly Year: 2005-2011 Episodes: 32 Length: 1 hour per episode Channel: Record A complete hit in over 40 countries, the program is produced by FremantleMedia and broadcast in Brazil by Rede Record. Its mission is to reveal new musical talent in the country. This reality show is an audience phenomenon in the UK, Australia, Canada, Finland, Germany, the US, Slovakia, Greece, New Zealand, Singapore, Norway, Puerto Rico, Holland and the Czech Republic, among others. It selects a group of young candidates that want their musical career to be acknowledged. With Wanderley Villa Nova’s general direction, Fernanda Telles’ artistic direction and hosted by Rodrigo Faro, the show is starting a new season with a record number of inscriptions. Almost 43,000 candidates were rigorously evaluated by judges Marco Camargo, Paula Lima and Luiz Calainho in four Brazilian capital cities: Fortaleza, Florianopolis, Rio de Janeiro and Sao Paulo. PROJECT RUNWAY LATIN AMERICA Genre: Reality Timeslot: 9:00 PM / Weekly Year: 2010 Episodes: 15 Length: 1 hour per episode Channel: Fashion TV ‘Project Runway’ is a successful and entertaining series within the glamorous and rigorous world of fashion. ‘Project Runway Latin America’ is the first original version produced for the region, where 15 talented and ambitious designers have the opportunity of a lifetime to become the best Latin American fashion designer. They are put to the test in a demanding competition, where each contestant can showcase his or her talent, creating new designs for a renowned jury and guest celebrities to evaluate. Each week the designers will be given a challenge where they need to design a new outfit. They’ll all be evaluated for their work at the end of each show and one will be eliminated from the competition. The show’s grand finale features all finalists facing each other in a luxurious and fabulous location.
Executives TOP Executive
Contacts
Carlos Gonzalez, Executive Director for Latin America and US Hispanic
Jack Alfandary, SVP of Sales and Production for Latin America and US Hispanic jack.alfandary@fremantlemedia.com Marco Zuniga, Executive Director for Mexico
Password Timeslot: 9:00 PM / Weekly Year: 2009 - present Length: 1 hour / episode Channel: TV Azteca Two teams -composed of a contestant and a guest celebrity- will have to guess the secret words on the screen through one-word clues. First they will go through an eight-round elimination stage. Contestants and celebrities will take turns to provide clues, giving each contestant the opportunity to play with both celebrities in the show. Each round gives contestants 30 seconds to guess a maximum of five secret words. The contestant with the most secret words correctly guessed moves on to the next stage while the other is eliminated. The winner of the elimination stage will take part of the final game with the celebrity who helped him guess the most words. The contestant will then have to pass several 90-second levels during the final game.
Password
i HEADQUARTERS
4000 Ponce de León Blvd. Suite 800, Coral Gables, FL 33146 Ph.: (+1) 305 648 8100 Website: www.hbomax.tv
Doing Business Since: 1991 Hours or Productions Per Year: 40 hours Owner: HBO Latin America Group
Profile HBO Latin America Group is the leading Premium pay television entertainment network in the region, known for the quality and diversity of its original programming, movies and documentaries. It offers the most cutting-edge technology in both SD and HD formats, broadcast in more than 23 countries from Latin America and the Caribbean through its channels HBO®], HBO® Plus, HBO® Family, Cinemax® and Max PrimeSM and its SVOD service.
Production Portfolio
Business Area Premium pay TV.
Alice
(Season 1: 13 x 55’)
Alice (Season 1: 13 x 55’) Year: 2008 This production tells the story of Alice, a 26-year old whose father dies and has to travel to Palmas de Sao Paulo for the funeral. There, Alice meets a new world, makes new friends and lives unique experiences that will leave her captivated with the city. ALICE: UN ESPECIAL EN DOS PARTES (2 x 80’) Year: 2010 A story of reunions. The audience will reunite with the first season’s characters while Alice and her friends reunite with love and friendship. Meanwhile, everyone will continue on their quest to find sense in their lives while living life to the fullest.
Capadocia
(Drama - 13 x 55’)
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Capadocia (Drama - 13 x 55’) Year: 2008 (Season 1), 2010 (Season 2) In the second season of ‘Capadocia’, life continues to revolve around intrigues, gangs and a drug load that never reached its destination. The ghost of La Bambi will haunt a tough Lorena, who counts with the loyalty of La Colombiana and the fear and respect of the other inmates. Teresa Lagos, the superintendent, will watch over her daughter who is now another inmate in a prison that no longer lives up to her illusions of justice and reform. Federico Márquez, from the ECSO’s vice-presidency, will work to broaden the country’s prison program under the influence of the mafia, who are using prisons as a façade for their operations. Once new crimes happen in Capadocia the attorney’s office will decide to intervene. Teresa Lagos and Lorena will find that the only way out will be for them to work together, each one seeking to protect their families and freedom.
Executives TOP Executive
Epitafios (Drama - 13 x 55’) Year: 2009 (Second season) A series of illogical homicides reunite detectives Renzo Márquez and Marina Segal. They come back to stop a copycat murderer that’s replicating killings as if they were works of art, reproducing them in photographical sequences. This time death will be very close, camouflaged beneath the detectives’ pasts and secrets. Hidden relationships and surprises will be revealed in every twist and turn. With the help of a psychiatric patient named XL -who cannot communicate with the world but is able to anticipate what will happen and the names of future victims- their investigation will become a race against destiny. The sharp intuition and mind of a collector will help the detectives reveal the hidden façade of what’s about to happen while they face their own ghosts and fight against a future that’s already written in the stars. The detectives will unleash a race against time, competing against a close, elusive and unknown enemy. In the end, things will be back to how they started.
Gastón Comas, CEO
José Manuel Pagani, President of HBO Networks
Emilio Rubio, President of Distribution and Business Development
Luis F. Peraza, SVP of Acquisitions and Original Production
Contacts Eric Douat, Corporate Communications edouat@hbo-la.com
Epitafios
(Drama – 13 x 55’)
PRODUCTION GUIDE _121
i HEADQUARTERS
1111 Lincoln Road, 6th Floor, CP 33139, Miami Beach, FL, USA Ph.: (+1) 305 535 3700 Fax: (+1) 305 535 9034 Website: mtvla.com / vh1la.com mundonick.com / tr3s.com
Doing Business Since: October 1, 1993 Hours or Productions Per Year: over 250 hours Business Area: pay TV Owner: Viacom Inc. (NYSE: VIA and VIA.B)
Profile MTV Networks Latin America, Canada and US Hispanic owns and operates an array of entertainment brands. Its new multiplatform business model includes MTVNHD and RedViacom in America, as well as Vh1HD in Brazil. The programmer also produces and distributes programming of all genres -including series, feature films and family entertainment- around the globe for every platform: broadcast and pay TV, digital media and a growing number of digitally connected consumers through its websites.
Main Features MTV Networks Latin America operates the following networks: MTV Latin America, Nickelodeon Latin America, Nick Jr. Latin America, Vh1 Latin America, Viacom Networks Brazil (that operates Nickelodeon and Vh1 Brazil), Tr3s: MTV, Música y Más in the US and MTV Networks’ digital channels - MTV Jams, MTV Hits and Vh1 Soul. The company operates these networks’ pay TV, programming sales, local productions, digital platforms, licenses and merchandising. Each brand counts with the support of sponsors and is targeted at different demos with content that is specific to their age and gender.
Production Portfolio Nickelodeon Latin America Isa TKM (Teen Series - 105 x 60’) Timeslot: 7:00 PM Year: 2008 Isabella, a charming teenager, must face her first love and first kiss while discovering who her real parents are. The series, written in a crazy comedic style, is irreverent and bold, tinged with musical and colorful elements which give life to that first love. Isa TK+ (Teen Series - 120 x 60’) Timeslot: 7:00 PM Year: 2009 In ‘Isa TK+’, Isabella achieves the fame she wished for and her record company sends her to a foreign school that focuses on the arts. But she will not travel alone: her best friends Alex, Linda and Rey will come along. This geographical change will bring other deeper changes into her life.
Nickelodeon
isa tkm & isa tk+ Teen Series
Sueña Conmigo (Teen Series - 105 x 60’) Timeslot: 6:00 PM Year: 2010 This is the story of two teenagers and their group of friends. She has a perfect life, beautiful voice and everything in her life reeks of glamour. He is an idealist and a bohemian from a middle class family. He has an intuitive musical talent and composes songs but has no formal artistic studies. He is the boyfriend any teenager would love to have, except for her… and that will be their adventure. GRACHI (Teen Series - 75 x 60’) Written by Venezuelan screenwriter Mariela Romero (‘La Mujer de la Vida’, ‘La Hija del Jardinero’ and popular Nickelodeon telenovela ‘Isa TKM’), ‘Grachi’ is a story where fantasy meets reality and creates a wonderfully magical escape for children. The series will be produced with the latest high definition technology. It will follow Grachi, a young girl who must learn to use her recently discovered magical powers while facing school, boys and growing up - just like any teenager. Nickelodeon
grachi Teen Series
Executives TOP Executive Sofía Ioannou, General Director of MTV Networks Latin America, Canada & US Hispanic
Contacts
MTV Latin America MTV World Stage México 2010 (Concert - 3 x 60’) Timeslot: 9:00 PM Year: 2010 A unique and exclusive musical event that gathers music fans and the best local and international bands on the same stage. The three bands that took part of this edition were The Smashing Pumpkins, Thirty Seconds to Mars and Zoé. MTV Unplugged Panda (Acoustic Concert - 1 x 60’) Timeslot: 8:30 PM Year: 2010 This exciting acoustic concert was shot on October 6, 2010 in Mexico DF and counted with the surprise musical collaboration of Denisse Guerrero from musical group Belanova. The band premiered its new songs ‘Sistema sanguíneo fallido’ and ‘Feliz cumpleaños’. MTV Unplugged Zoé (Acoustic Concert - 1 x 60’) Year: 2011 This acoustic special was shot on October 5, 2010 in Mexico DF and counted with the special musical collaborations of Spanish rock legend Enrique Bunbury and of Adrián Dárgelos from renowned Argentine band Babasónicos. It premiered on MTV Lationamérica in February 2011, along with a CD and DVD published by EMI Music. Niñas Mal (Teen Telenovela - 70 x 60’) Timeslot: 7:00 PM Year: 2010 ‘Niñas Mal’ revolves around the lives of three high-class girls that break the rules imposed by their parents and social status. As punishment, all three are sent to a charm school outside the city where they live in. This brings the three girls together to fight for their best interests. The series reflects the lives of teenagers and their family problems, as well as their search for love and friendship.
Nickelodeon
Sueña Conmigo Teen Series
MTV
Niñas Mal Telenovela
JC Acosta, SVP, CFO & Executive in charge of Production for MTV Networks Latin America
Tatiana Rodriguez, SVP of Programming and Creative Strategy for Nickelodeon Latin America
Production Capacity
Fernando Gastón, SVP of Content, Creativity and Music for MTV/VH1 Latin America
The company counts with creative and multimedia development departments in its offices in Miami, Buenos Aires, Mexico DF and Sao Paulo and offers postproduction services in Miami and Buenos Aires.
Production Company Directory ARGENTINA PRODUCTION COMPANIES Bender Cine Av. Federico Lacroze 2830 Ph.: (5411) 4553.3456 Web: www.bendercine.com Contact: paula@bendercine.com Central Park Producciones La Paz 1282 (B1640CXJ) Ph.: (5411) 4006 3500 Web: www.centralparkprod.com.ar Contact: info@centralparkprod.com.ar Contenidos El Árbol Web: www.contenidoselarbol.com Contact: info@contenidoselarbol.com Executives: Pablo Echarri, Martín Seefeld and Ronny Amendolara CRIS MORENA GROUP Catamarca 1444 Ph.: (5411) 4798 7333 Contact: info@crismorenagroup.com.ar DHARMA FILMS Congreso 3447 Ph.: (5411) 4851 3880 Contact: sdarcyl@dharmafilms.tv ENCUADRE 3 de Febrero 2841 (C1429BFA) Ph.: (5411) 4785 3455 - (5411) 4787 3500 Web: www.encuadre.com.ar Contact: encuadre@encuadre.com.ar Endemol Argentina Cabrera 5870 Ph.: (5411) 5218 9000 Contact: contact@endemol.com.ar ESTUDIOS PAMPA PRODUCCIONES Santiago del Estero 1450 (Martínez) Ph.: (5411) 4793 7020 – (5411) 4793 4249 Contact: diegoestevanez@estudiospampa.com.ar Eyeworks /Cuatro Cabezas Blanco Encalada 1285 Ph.: (5411) 4119 2600 – 4783 5335 Contact: vferrari@eyeworks.tv Flenher Films Castillo 1366, C1414AXD Bs.As. Ph.: (5411) 4771.0400 Web: www.flehnerfilms.com Contact: ssoneira@flehnerfilms.com Fx Stunt Team (Dobles De Riesgo) Pte. Derqui 5180 Ph.: (5411) 4721 0900 Web: www.fxstuntteam.com Contact: federico.cueva@fxstuntteam.com GP PRODUCCIONES Lugones 1739 Ph.: (5411) 4523 7742 – (5411) 4523 7148 Web: www.gpprod.com.ar Contact: gportal@gpprod.com.ar 126_ PRODUCTION GUIDE
Hook Up Av. Elias Galvan 3465, C1431FVH, BsAs Ph.: (5411) 4543.6446 Web: www.hookupanimation.com Contact: gonzalo@hookupanimation.com IDEAS DEL SUR Olleros 3551 Ph.: (5411) 4556 9000 Web: www.ideasdelsur.com.ar Contact: melizondo@ideasdelsur.com.ar
TORNEOS Y COMPETENCIAS Balcarce 510 Ph.: (5411) 5235 4800 Web: www.tyc.com.ar Contact: jparodi@tyc.com.ar
ILLUSION STUDIOS Catamarca 2245 Ph.: (5411) 4717 2000 Web: www.illusionstudios.com.ar Contact: info@illusionstudios.com.ar
ASSOCIATIONS
LEDAFILMS Virrey Olaguer y Feliú 2462 - Piso 3 (C1426EBB) Ph.: (5411) 4788 5215 Web: www.ledafilms.com Contact: info@ledafilms.com MANDARINA PRODUCTORA Humboldt 1967 - 1er. Piso Ph.: (5411) 4778 4700 - (5411) 4778 4701 Web: www.mandarinatv.com Contact: mariano@mandarinatv.com
UNDERGROUND CONTENIDOS “B” Angel Carranza 1451, Piso 1 Ph.: (5411) 4771 7905 Web: www.undergroundprod.com.ar Contact: info@undergroundprod.com.ar
Asociación Argentina de Productores de Cine y Medios Audiovisuales (APROCINEMA) Ph.: (5411) 4805 4729 Web: www.aprocinema.org.ar Contact: info@aprocinema.org.ar Asociación de Directores y Productores de Cine Documental Independiente de Argentina (ADN) Piedras 113, Piso 1, Of. 1 Web: www.adndoc.com.ar Contact: info@adndoc.com.ar
ON TV CONTENIDOS Castillo 1366 (C1414AXD) Ph.: (5411) 6379 5000 Web: www.ontvcontenidos.com Contact: contacto@ontvcontenidos.com
Asociación de Productores Independientes de Medios Audiovisuales (APIMA) Marcelo T. de Alvear 1212, Piso 13 A (1058) Ph.: (5411) 4816 1394 Web: www.apima.org.ar Contact: info@apima.org.ar
Palermo Films Darwin 1154, cuerpo D, 2 piso “b”, (C1414CYH), Buenos Aires Ph.: (5411) 4856.1906 Web: www.palermofilms.com.ar Contact: pablo@palermofilms.com.ar
Asociación de Productores y Realizadores Independientes (A.P.R.I.) Rivadavia 1367, Piso 10 (1033) Ph.: (5411) 4384 8100 Contact: estudioazar@ciudad.com.ar
POL-KA PRODUCCIONES Av. Jorge Newbery 3449 Ph.: (5411) 4588 9200 - (5411) 4588 9201 Web: www.pol-ka.com.ar Contact: georgina@pol-ka.com.ar
Cámara Argentina de Productores Independientes de Televisión (CAPIT) Migueletes 1188, Piso 3 Ph.: (5411) 4776 5138 Web: www.capit.org.ar Contact: info@capit.org.ar
Remo Studio Libertador 232 5ºD (CP1638) Ph.: (5411) 4797-9969 Web: www.remostudio.com Contact: gonzalo@remostudio.com RGB ENTERTAINMENT Dardo Rocha 2440 - 1er. Piso Ph.: (5411) 5197 7770 Web: www.rgbentertainment.com Contact: mkhon@rgbcorp.com Snap TV Zapata 286, C1426AED, BsAs Ph.: (5411) 4773-8826 Web: www.snaptv.tv Contact: ezeolzanski@snaptv.tv TELEFE Pavón 2444 Ph.: (5411) 4308 4496 – (5411) 4102 5810 Web: www.telefeinternational.com Contact: mwasserman@telefe.com.ar
Cámara de Productores y Programadores de Señales Audiovisuales (CAPPSA) Talcahuano 736 Piso 9, Oficina 91 Ph.: (5411) 4374 6982 Web: www.cappsa.org Contact: cappsa@cappsa.org Federación de Productores Cinematográficos y Audiovisuales (FAPCA) Paraguay 4911 Ph.: (5411) 4778 1700 Contact: juanpablo.galli@patagonik.com.ar Instituto Nacional de Cine y Artes Audiovisuales (INCAA) Lima 319 Ph.: (5411) 6779 0900 Web: www.incaa.gov.ar Contact: info@incaa.gov.ar
BOLIVIA PRODUCTION COMPANIES Alba Films Av. Gral. Inofuentes 1646, Zona Ph.: (5912) 279 3991 Contact: procquin@ceibo.entelnet.bo Amacord / Banda Imagen Av. del Policia 21, PO Box-7735, La Paz Ph.: (5912) 275 0446 Contact: ramiro@bandaimagen.com Cinema Ventura Capitán Ravelo 2406 Ph.: (5912) 244 0068 aequino@entelnet.bo Contact: losandes@cine.com Khuno Studio Producciones Calle 20 e/ A y B, El Alto de la Paz, Casilla 1667 Ph.: (5912) 285 0762 Contact: f24xseg@hotmail.com Londra Films P&D Equipetrol Calle 8 Este Nº 20, Santa Cruz Ph.: (5913) 311 5098 Web: www.londrafilms.com Contact: info@londrafilms.com Producen Bolivia Luis Uria de la Oliva Nº 2615, La Paz Ph.: (5912) 241 7068 Contact: producenbolivia@gmail.com Safipro (Santa Cruz Films Producciones) Calle Yanaigua Nº 2105, Santa Cruz Ph.: (5913) 347 3041 ASSOCIATIONS Comisión Nacional de Cine (CONACINE) Calle Montevideo Nº 130 Edificio Requima Piso 8, La Paz Ph.: (5912) 244-4759 – 211-7316 CP 11082 Web: www.conacine.net Contact: bfuentes@conacine.net
Aiupa Brasil Rua Coromandel, 67 São Paulo - SP Ph.: (5511) 3645-1424 Web: www.aiupa.com.br Contact: roberto@aiupa.com.br
Cadux.com Rua Homem de Melo 697 São Paulo – SP Ph.: (5511) 3709-2292 Web: www.cadux.com Contact: cadu@cadux.com
Amazing Graphics do Brasil Av. Cândido de Abreu, 776 - cj. 106 Curitiba - PR Ph.: (5541) 3014-4014 Web: www.amazinggraphics.com.br Contact: rmartins@amazinggraphics.com.br
Capsula Filmes Rua Antonio Carlos Berta, 475 Porto Alegre – RS Ph.: (5551) 3383-3500 Web: www.capsula.com.br Contact: alexandre@capsula.com.br
Animatório Ph.: (5511) 5044-0510 Rua Joaquim Floriano 913, 8 ºandar São Paulo - SP Web: www.animatorio.com.br Contact: pgsantiago@animatorio.com.br
Casablanca Content Av. República do Libano, 379 04501-000, São Paulo - SP - Brasil Ph.: (5511) 3889 2600 Web: www.cbsp.com.br - www.casablancatv.com.br Contact: arlette@cbsp.com.br
Animassauro Creative Content Rua José Pedro Drummond, 147, Bairro Floresta Belo Horizonte – MG Ph.: (5531) 3443-2884 Web: www.animassauro.com Contact: contato@animassauro.com Armazem de Imagens Ph.: (5551) 3398-4137 Rua Professor Álvaro Alvim, 169 Porto Alegre – RS Web: www.armazemdeimagens.com.br Contact: camila@armazemdeimagens.com.br Bandeirantes (Grupo Bandeirantes de Comunicação) Rua Radiantes, 13, Bairro Morumbi, São Paulo Ph.: (5511) 3131-1313 Web: www.band.com.br Contact: mhauptmann@band.com.br Belli Studio Rua 7 de Setembro, 1760 3th floor Blumenau - SC Ph.: (5547) 3041-0255 Web: www.bellistudio.com.br Contact: rubens.belli@bellistudio.com.br Berimbau Filmes Rua Ojandira Bastos, 632 Vida Nova Bahia - BA Ph.: (5571) 3015-6563 Web: www.berimbaufilmes.com.br Contact: pericles@berimbaufilmes.com.br
Casa de Cinema de Porto Alegre Rua Miguel Tostes 860, Porto Alegre/RS 90430-060 Ph.: (55 51) 3316 9200 - (55 51) 3316-9244 Web: www.casacinepoa.com.br Cima Rua Arnaldo Quintela, 62 - Botafogo Rio de Janeiro – RJ Ph.: (5521) 3515-4850 Web: www.riomarket.com.br Contact: walkiria@visualnet.com.br Cinema Animadores Rua Tupi, 538 - Pacaembu São Paulo – SP Ph.: (5511) 3667-9344 Web: www.cinema-animadores.com.br Contact: silvia@cinema-animadores.com.br Cinemacentro Rua Geraldo Flausino Gomes, 78 – 6º e 9º and. São Paulo – SP Ph.: (5511) 5507-2077 / 5507-2088 Web: www.cinemacentro.com.br Contact: enzo@cinemacentro.com.br Cisup Rua Davi Campista, 160 - Floresta Belo Horizonte – MG Ph.: (5531) 3234-4749 Web: www.cisup.com.br Contact: falecom@cisup.com.br
Big Jack Studios Av João Pinheiro, 277 sl 01 Belo Horizonte - MG Ph.: (5531) 3292-1066 Web: www.bigjack.com.br Contact: bigjack@bigjack.com.br
Cobram Rua Cancioneiro de Évora, 294 Chácara Sto. Antônio São Paulo - SP Ph.: (5511) 5185-0977 Web: www.cobram.com.br Contact: tito.teijido@cobram.com.br
PRODUCTION COMPANIES
BossaNovaFilms Rua das Tabocas, 170, San Pablo Ph.: (5511) 3811 2000 Web: www.bossanovafilms.com.br Contact: denise@bossanovafilms.com.br
Comalt Rua Barão do Flamengo, 32 Rio de Janeiro – RJ Ph.: (5521) 2285-4015 Web: www.comalt.com Contact: manhana@comalt.com
2DLab Pça. Santos Dumont, 60 Centro Rio de Janeiro - RJ Ph.: (5521) 2533-6673 Web: www.2dlab.com.br Contact: andre@2dlab.com.br
Bravo Produções Av. Treze de Maio, 33 cj. 609 Centro Rio de Janeiro - RJ Ph.: (5521) 2215-1694 Web: www.bravoproducoes.com.br Contact: andre@bravoproducoes.com.br
Contém Conteúdo Rua Maranhão, 584 – cj. 22 São Paulo – SP Ph.: (5511) 3798-1209 Web: www.contemconteudo.com.br Contact: mariana@contemconteudo.com.br
44 Toons Rua Fidalga, 471 sl. 4 São Paulo - SP Ph.: (5511) 3034-1031 Web: www.44toons.com Contact: ale@44toons.com
BSB Serviços Cinevideo SAAN Quadra 03 - lote 220 Brasilia – DF Ph.: (5541) 3062-4263 Web: www.cinevideoproducoes.com.br Contact: leandroestrela@cinevideoproducoes.com.br
Copa Studio Travessa do Ouvidor, 9 - 4º andar – Centro Rio de Janeiro – RJ Ph.: (5521) 2222-0640 / (5521) 8198-9730 Web: www.copastudio.com Contact: copacontato@gmail.com
Fundación Audiovisual (FUNDAV) Av. Busch, calle Las Vegas Nº 197, Santa Cruz Ph.: (5913) 336-6061 Web: www.fundavbolivia.org Contact: fundav.bolivia@gmail.com BRAZIL
PRODUCTION GUIDE _127
Directorio deCompany Production Productoras Directory DayDreamLab Av. Prof. Alceu M. Araujo, 443 - cj. 265 São Paulo - SP Ph.: (5511) 2501-2950 Web: www.daydreamlab.com.br Contact: denio@ddlab.com.br
Glaz Cinema Rua Crasso, 194 São Paulo - SP Ph.: (5511) 3673-2224 Site: www.glazcinema.com.br E-mail: luciana@glazcinema.com.br
Mar Sem Fim Rua Adalgiza Uchoa Santos Dumont, 132 São Paulo - SP Ph.: (55 11) 5575 1935 Web: www.marsemfim.com.br Contact: jlmesquita@terra.com.br
Digital 21 Av. Rebouças, 3839 São Paulo - SP Ph.: (5511) 3819-0500 Web: www.digital21.com.br Contact: debora@digital21.com.br
Globo - Rede Globo de Televisão (Projac) Estrada dos Bandeirantes, 6900, Rio de Janeiro – RJ Tel: (5521) 2444-4000 Web: www.redeglobo.globo.com Contact: robeta.catani@inpresspni.com.br
Martinelli Films, Arts e Comunicação Av. Eng. Luis Carlos Berrini, 550 - piso 13º São Paulo - SP Ph.: (55 11) 5505 1100 Web: www.martinelli-films.com.br Contact: martinellifilms@uol.com.br
Digital Spirit Rua Herculano Souza, 579 Curitiba – PR Ph.: (5541) 3779-6080 Web: www.digitalspirit.com.br Contact: fernando@digitalspirit.com.br
GTEC Rua Dona Antonia de Queiroz 520 São Paulo - SP Ph.: (5511) 3120-8300 Web: www.gtec.com.br Contact: felipe@gtec.com.br
Medialand Rua Martinico Prado, 222 – Vila Buarque, São Paulo – SP Ph.: (55 11) 3774 0630 Web: www.medialand.com.br Contact: carla@medialand.com.br
Dinamo Filmes Rua Paulo Franco, 305 São Paulo – SP Ph.: (5511) 3839-2250 Web: www.dinamofilmes.com.br Contact: marques@dinamofilmes.com.br
Giros Largo do Machado, 54 / 208 - Catete Rio de Janeiro - RJ Ph.: (5521) 2556-1800 Web: www.giros.com.br Contact: maria@giros.com.br
Minima Concepção e Produção Visual Rua Dinarte Ribeiro, 141, Porto Alegre – RS Ph.: (55 51) 3062 9633 Web: www.minima.com.br Contact: zepedro@minima.com.br
Elo Company Rua Dona Elisa de Moraes Mendes, 802 São Paulo - SP Ph.: (5511) 3023-0173 Web: www.elocompany.com Contact: info@elocompany.com
GULLANE FILMES R. Leandro Dupret 73CS 4 - 04025.010, San Pablo Ph.: (5511) 5084 0996 Web: www.gullane.com Contact: fernando@gullane.com
Mirabolica Rua Vicente Silva , 22, Vitoria - Espírito Santo Ph.: (55 27) 3225 3262 Web: www.mirabolica.com Contact: mirabolica@gmail.com
Enigma Filmes Rua José Conde 446 Rio de Janeiro – RJ Ph.: (5521) 2493-9397 Web: www.enigmafilmes.com.br Contact: mnegrao@hotmail.com
HGN Produções Cinematográficas Rua Bernardino de Campos, 205 São Paulo - SP Tel: (5511) 5535-9687 / (5511) 5543-4798 Web: www.hgn.com.br Contact: hgneto@uol.om.br
Estricnina Rua da Consolação, 3367 / 63 São Paulo – SP Ph.: (5511) 2308-3045 Web: www.estricnina.com.br Contact: caze@estricnina.com.br
Liberato Produções Alamedas das Algarobas, 85, Sala 23, Caminho das Arvores – Salvador – BA Ph.: (5571) 3353-0094 Web: www.liberatoproducoes.com.br Contact: candidaluzliberato@gmail.com
MIXER Av.Chedid Jafet 222 Torre D - Cobertura Vila Olimpia 04551 065 - San Pablo Ph.: (5511) 3046 8044 Web: www.mixer.com.br Contact: berenice.menezes@mixer.com.br
Estudios Quanta Rua Mergenthaler 1000, San Pablo Ph.: (5511) 2164 3400 / 3407 Web: www.estudiosquanta.com.br Contact: edina.fujii@estudiosquanta.com.br Fabrika Filmes SIG Quadra 06 - Lote 1355 4º andar Brasília - DF Ph.: (5561) 3343-1500 Web: www.fabrika.com.br Contact: julianacaus@fabrika.com.br Flamma Av. Paulista, 326 - cj. 28 São Paulo - SP Ph.: (5511) 3541-3670 Web: www.flammafilms.com Contact: r.marchezini@flammafilms.com Gava Produções Av. Visconde de Piraja, 351, Sala 1010, Rio de Janeiro – RJ Ph.: (5541) 2286-6407 Web: www.gavaproducoes.com.br Contact: rodrigo@gavaproducoes.com.br Gemini Media Av. das Américas, 500 / 127 - Bloco 8 Rio de Janeiro - RJ Ph.: (5521) 2496-3536 / (5521) 2496-3535 Web: www.geminimedia.com.br Contact: moacyr@geminivideo.com.br 128_ PRODUCTION GUIDE
Modo Operante Rua General Severiano, 86 Rio de Janeiro – RJ Ph.: (55 21) 2286 3641 Web: www.modooperante.com.br Contact: luciana@modooperante.com.br
Lightstar Studios Av. Pedro Lessa, 1064 cj.13 Santos - SP Ph.: (5513) 3394-1458 Web: www.lightstarstudios.com Contact: lightstar@lightstarstudios.com
Mol Toons Rua Padre Garcia Velho, 73 São Paulo - SP Ph.: (55 11) 3045 6736 Web: www.moltoons.com.br Contact: chicozullo@moltoons.com.br
Magma Cultural Rua Joaquim Floriano, 733 - 3º andar São Paulo – SP Ph.: (5511) 3168-6260 / (5511) 3078-9738 Web: www.magmacultural.com.br Contact: rico@magmacultural.com.br
Mosquito Project Rua Mauricina, 211 São Paulo - SP Ph.: (55 11) 3868 2157 Contact: mosquitoproject@mac.com Web: www.leandrohbl.com
Malagueta Filmes Rua Monsenhor Gaspar Sadoc, 88 , Salvador – BA Ph.: (55 71) 2202 1000 Web: www.malagueta.art.br Contact: giovani@malagueta.art.br
Movi&Art Ph.: (55 11) 3722 3691 Av. Corifeu de Azevedo Marques, 583 - Butantã, São Paulo- SP Web: www.moviart.com.br Contact: moviart@moviart.com.br
M.Altberg Cinema e Vídeo Rua Indiana, 101 Cosme Velho, Rio de Janeiro - RJ Ph.: (55 21) 2205 5724 Web: www.revistadocinemabrasileiro.com Contact: maltberg@rio.com.br
MPB RJ R. Alberto de Campos, 293/501 Ipanema Rio de Janeiro - RJ Ph.: (55 21) 3223 6602 Web: www.mpbiptv.com.br Contact: ariane@mpbfm.com.br
Mar Brasilis Produções Rua Itaipu,481 Mirandopolis, São Paulo - SP Ph.: (55 11) 4119 1011 Web: www.marbrasilis.com.br Contact: joao@marbrasilis.com.br
MrSolo Animation Studios Alameda dos Maracatins, 961 Sala 103 São Paulo – SP Ph.: (55 11) 5573 1095 Web: www.mrsolostudios.com Contact: mrs@mrsolo.com
02 FILMES Rua Heliópolis, 410 - Vila Hamburguesa San Pablo Ph.: (5511) 3839 9400 Web: www.02filmes.com Contact: faleconosco@o2filmes.com
RPJ Produtores - Moonshot R. Traipu, 657 São Paulo - SP Ph.: (55 11) 3666 5776 Web: www.moonshot.com.br Contact: roberto@moonshot.com.br
Trotamundos Films Ph.: (55 47) 3366 7092 Rua 1500, 871 – 1º andar - Centro Balneário Camboriú – SC Web: www.trotamundosfilms.com.br Contact: producao@trotamundosfilms.com.br
Ocean Films R. Servidão das Palmeiras Nativas, 48 sl. 08 Lagoa da Conceição Florianópolis, SC Ph.: (55 48) 3207 7002 Web: www.oceanfilms.com.br Contact: roni@oceanfilms.com.br
Santo Forte Imagem Praça Alexandre Fernandes 160 Salvador – BA Ph.: (55 71) 3235 8677 Web: www.santoforte.com Contact: amadeu@santoforte.com
TV PinGuim Av. Brig. Luis Antonio, 3333 1º and. cj. 14 São Paulo - SP Ph.: (55 11) 3884 1821 Web: www.tvpinguim.com.br Contact: celia@tvpinguim.com.br
SBT Av. das Comunicações, 4 - Vila Jaraguá - Osasco - SP Ph.: (55 11) 3687-3055 Web: www.sbt.com.br Contact: maisaalves@sbt.com.br
UPX Studio Rua Xavier da Silveira, 45 Copacabana Rio de Janeiro – RJ Ph.: (55 21) 3079 1753 Web: www.upxstudio.com.br Contact: brunovidigal@upxstudio.com.br
Selva Filmes R. Prof. Alcebiades Delamari, 222 São Paulo - SP Ph.: (55 11) 3816 3735 Web: www.selvafilmes.com Contact: beatrix@selvafilmes.com
Valu Amazing Rua Sá Ferreira, 208 - 1001 Rio de Janeiro – RJ Ph.: (55 21) 2525 6825 Web: www.valu.com.br Contact: contato@valu.com.br
Singular Arquitetura de Mídia Rua Professor Carlos de Carvalho, nº 168 – CJ 21, Itaim Bibi São Paulo – SP Ph.: (55 11) 3167 0020 Web: www.sing.com.br Contact: bethcarmona@sing.com.br
Zoom Elefante Rua José Scrickte, 128 Curitiba – PR Ph.: (55 41) 3206 4528 Web: http://duck-ticksandcatapults.blogspot.com Contact: Almir@yahoo.com.br
Panorâmica Comunicações Rua Conde de Iraja, 271 - Botafogo, Rio de Janeiro – RJ Ph.: (55 21) 2537 7040 Web: www.panoramicacomunicacao.com.br Contact: mara@panoramicacomunicacao.com.br Piloto Av. 9 de Julho, 5017 8º andar São Paulo - SP Ph.: (55 11) 3073 1014 Contact: clarice@piloto.tv Web: www.piloto.tv Primitivo Rua Dr. Odon de F. Ferraz 650, Pq. São Domingos São Paulo - SP Ph.: (55 11) 3171 1345 Contact: eduardo@primitivo.art.br Web: www.primitivo.art.br Pindorama Filmes Rua Major Rubens Vaz, 51 Rio de Janeiro - RJ Ph.: (55 21) 3206 6767 Web: www.pindoramafilmes.com.br Contact: pindorama@pindoramafilmes.com.br PRODIGO FILMS Av. Profesor Francisco Morato 5975 Ph.: (5511) 3749 2555 / 2553 Web: www.prodigo.com.br Contact: contato@prodigo.com.br Publigibi Ph.: (55 11) 2366 8880 Rua João Moura 1088 São Paulo – SP Web: www.publigibi.com.br Contact: danielvardi@gmail.com Radio E Televisao Record SA – Record TV Network Rua do Bosque 1449 Barra Funda, São Paulo – SP Tel: (5511) 2184-5468 Web: www.recordtvnetwork.com Contact: dandrade@sp.rederecord.com.br emendes@sp.rederecord.com.br REDETV! Av. Presidente Kennedy, 2869, Vila São José, Osasco - SP Tel: (5511) 3306-1000 Web: www.redetv.com Contact: comercial@redetv.com.br Rocambole Produções Caixa Postal 463 São Carlos - SP Ph.: (55 16) 3398 7317 Web: www.rocambole.org Contact: rocambole@rocambole.org
SPARK INDEPENDENT PRODUCTION Bia Boleman Ph.: (5548) 9980 4923 Contact: bias@sparkfilms.hotmail.com Split Filmes Av. Professor Alfonso Bovero, 1328 – CJ 22, Perdizes São Paulo – SP Ph.: (55 11) 2339 2580 Web: www.splitfilmes.com.br Contact: jonas@splitfilmes.com.br Start Desenhos Animados Rua França Pinto, 964 São Paulo – SP Ph.: (55 11) 5572 8644 Contact: start@startanima.com.br Web: www.startanima.com.br Sumatra Visual Effects Av. Angélica, 2016 cj. 41 - Higienópolis São Paulo – SP Ph.: (55 11) 3798 4434 Web: www.sumatravfx.com.br Contact: egurman@sumatravfx.com.br Synapse TV Brazil Rua Benjamim Batista, 34/302 Jd. Botânico Rio de Janeiro - RJ Ph.: (55 21) 2537 1211 Web: www.synapse-brazil.com Contact: content@synapse-brazil.com Touareg Conteúdo Al. Lorena, 1611 - 3º andar São Paulo - SP Ph.: (55 11) 3085 0740 Web: www.touaregconteudo.com.br Contact: touaregconteudo@touaregconteudo.com.br Tortuga Studios Av. São Gabriel, 201 – cj. 1110 São Paulo – SP Ph.: (55 11) 3895 8259 Web: www.tortugastudios.com.br Contact: nelson@tortugastudios.com.br
ASSOCIATIONS Agencia Nacional do Cinema (ANCINE) Avenida Graça Aranha, 35, Centro, Río de Janeiro - 20030-002 Ph.: (5521) 3037 6001 / 6002 Web: www.ancine.gov.br Contact: comunicacao@ancine.gov.br Asociación Brasilera de Productoras Independientes de TV (ABPITV) Rua Jesuino Arruda, 676 Conj. 117, San Pablo - 04532-082 Ph.: (5511) 68246250 Web: www.abpitv.com.br Contact: abpitv@abpitv.com.br Brazilian TV Producers (BTVP) Rua Tabapuã, 627 Conj. 91- Itaim Bibi, San Pablo - 04533-012 Ph.: (5511) 3071 3865 Web: www.braziliantvproducers.com Contact: marcos@braziliantvproducers.com Secretaria do Audiovisual do Ministério da Cultura Esplanada dos Ministérios, Bloco B, 2º andar, CEP: 70068-900 Brasília DF Ph.: (5561) 2024 2266 Web: www.cultura.gov.br Contact: leonardo.campos@cultura.gov.br CHILE PRODUCTION COMPANIES Alce Producciones S.A. Nuestra Señora de los Ángeles 175, Las Condes, RM Ph.: (562) 206-3971 Web: www.alcecine.cl Contact: alcecine@alcecine.cl Andrés Wood Producciones S.A. Galvarino Gallardo 1604, Providencia Santiago de Chile Ph.: (562) 236-0742 Web: www.woodproducciones.com Contact: andres@awood.cl PRODUCTION GUIDE _129
Production Company Directory Aqua Producciones Av.Ivarrazabal 5185 Oficina 208, Ñuñoa, Santiago Ph.: (562) 893 5977 Web: www.aquaproducciones.cl Contact: contacto@aquaproducciones.cl Arauco Films S.A. Silvina Hurtado 1789, Providencia, RM Ph.: (562) 209-2091 - 204-7523 Web: www.araucofilms.cl Contact: adbullah@araucofilms.cl Caiozzi y García Ltda. Av. Eliodoro Yañez 2463 , CP 75204006. Providencia, Sgo de Chile Ph.: (562) 209-9031 Web: www.silviocaiozzi.cl Contact: info@silviocaiozzi.cl Calypso TV Santa Elvira 158 – B, Santiago Ph.: (562) 421 9788 Web: www.calypsotv.cl Contact: contacto@calypsotv.cl Ceneca Producciones Ltda. Av.Holanda 3660, Ñuñoa,Sgo de Chile Ph.: (562) 446-9433 Web: www.ceneca.cl Contact: ceneca@ceneca.cl Cine Sur S.A. Av. Italia 878, Providencia,Sgo.de Chile Ph.: (562) 636-2195 Web: www.cinesur.ia.cl Contact: cinesur@ia.cl Chilecorto Producciones Huelén 191 Oficina C, Providencia, Santiago Ph.: (562) 235 3407 Web: www.chilecorto.com Contact: info@chilecorto.com Chilefilms La Capitanía 1200, Las Condes, CP 758024, Santiago Ph.: (562) 337 1000 Web: www.chilefilms.cl Contact: carolina.vega@chilefilms.cl Cinemágica Av. Del Parque 4680 A oficina 206, Santiago Ph.: (562) 571 9900 Web: www.cinemagica.cl Contact: info@cinemagica.cl El Asombro Ltda. Avda. El Bosque Sur 576, Providencia, RM Ph.: (562) 232-3751/3769 Web: www.elasombro.cl Contact: luigiaraneda@elasombro.cl Endemol Chile Miguel Claro 645, Providencia, Santiago Ph.: (562) 719 4850 Web: www.endemol.cl Contact: eduardo.tironi@endemol.cl Fábula Ltda. Brown Norte 694, Ñuñoa, Sgo de Chile Ph.: (562) 494-1257 Web: www.fabula.cl Contact: juandedios@fabula.cl 130_ PRODUCTION GUIDE
Filmocentro Sonido S.A. Profesor Rodolfo Lenz 3399, Ñuñoa. Sgo de Chile Ph.: (562) 341-2110/103 Web: www.filmosonido.cl Contact: marcos@filmosonido.cl Imago Producciones Ltda. Brown Norte 848, Ñuñoa, Sgo de Chile Ph.: (562) 204-9696/9695 Web: www.imago.cl Contact: imago@terra.cl Jirafa Ltda Pérez Rosales 787 oficina A, Valdivia X región Ph.: (566) 321-3556 Web: www.jirafa.cl Contact: bruno@jirafa.cl L90 Cine Digital Ltda José Victorino Lastarria 90, Santiago de Chile Ph.: (562) 632-7497 Web: www.l90cinedigital.com Contact: info@l90cinedigital.com Lorca & Asociados S.A. Holanda 3199, Ñuñoa, Sgo de Chile Ph.: (562) 204-5108 Web: www.lorcasa.cl Magallanica S.A. Payador Taguada 1.744, Las Condes, RM (Cód. 7550507) Ph.: (562) 813-2258 Web: www.magallanica.com Contact: info@magallamica.cl Parox S.A. Obispo Orrego 38, Ñuñoa, RM Ph.: (562) 325-9775 Web: www.parox.cl Contact: parox@parox.cl Producciones Aplaplac Ltda. Tranquila 2321, Providemcia, Sgo de Chile Ph.: (562) 341-3150/51 Web: www.aplaplac.com Contact: info@aplaplac.cl Productora Ocio Ltda Ph.: (562) 792-3417 Web: www.pructoraocio.com Contact: info@productoraocio.com Promocine Ltda. Galvarino 74011 Parque Empresarial Aconcagua Quilicura, Sgo de Chile Ph.: (562) 624-6129 Contact: nicoacuna@entelchile.net RF Films S.A. Estoril 50, suite 1012, Santiago Tel: (562) 481 0091 Web: www.rffilms.com Contact: rodrigo@rffilms.com Roos Film Calle Ricardo Matte Pérez 0216, Santiago Tel: (562) 341 1188 Web: www.roosfilm.com Contact: carlos@roosfilm.com
Sahara Films Producciones S.A. Alberto Decombe 1242, Sgo de Chile Ph.: (562) 209-2877 Web: www.sahara.cl Contact: films@sahara.cl Surreal Ltda. Av. Los Conquistadores 2595 , Providencia, Sgo de Chile Ph.: (562) 234-9775 Web: www.surreal.cl Contact: surreal@surreal.cl Tridi 3D Films Puyehue 1478, Providencia, Sgo de Chile Ph.: (562) 269-3327 Web: www.tridi.cl Contact: hernan@tridi.cl Valcine S.A. José Domingo Cañas 1721, Ñuñoa, Sgo de Chile Ph.: (562) 269-9169 Web: www.valcine.cl Contact: contacto@valcine.cl ASSOCIATIONS Asociación de Productoras de Cine y Televisión Victor Hendrych 362 CP 7501403 Providencia, Sgo de Chile Ph.: (562) 634-9217 Web: www.apct.cl Contact: info@apct.cl Consejo Nacional de la Cultura y las Artes Fray Camilo Henríquez 262, Santiago Tel: (562) 589 7824 www.consejodelacultura.cl COLOMBIA PRODUCTION COMPANIES BE-TV Carrera 14 Nº85-68 oficina 603, Bogotá Ph.: (571) 742 7744 Web: www.be-tv.net Contact: contacto@be-tv.net Caracol TV Producciones Calle 103 69B-43, Bogotá Ph.: (571) 643 0430 Web: www.caracoltv.com.co Contact: presidenciacaracol@caracoltv.com.co Colombo Films Calle 94 Nº 14-48 (701) Ph.: (571) 610 9924 Web: www.colombofilms.tv Contact: ruben@colombofilms.tv Endemol Colombia Ph.: (571) 640 0494 Web: www.endemolandino.com Contact: rbeltran@endemol.com.co Fox Telecolombia Carrera 50 Nro. 17-77, Bogotá Tel: (571) 417 4200 Web: www.foxtelecolombia.com Contact: ana.barreto@foxtelecolombia.com
Laberinto Films Calle 87 Nº11A-76, Bogotá Ph.: (571) 611 2272 / 2324 / 2385 / 2387 Web: www.laberinto.com.co Contact: camiladebarros@laberinto.com.co Mazdoc Ph.: (571) 629 3502 Web: www.mazdoc.com Contact: macosta@mazdoc.com Metro Studio TV Calle 119 Nº14A-26 of.407, Bogotá Ph.: (571) 629 1241 – 629 1384 Web: www.metrostudio.tv Contact: comercial@metrostudio.tv RTI TV Calle63F Nº 28B-15 Ph.: (571) 640 9000 Web: www.rtitv.com Contact: estudios@rtitv.com Telecinco SA Carrera 43A Nº 1A Sur 267 Edif. Torrelavega Piso 7 Ph.: (571) 312 0676 Web: www.telecinco.com.co Contact: telecin@une.net.co Teleset Calle 79A Nº 8-63, Bogotá Ph.: (571) 321 2100 Web: www.teleset.com.co Contact: jbrigard@teleset.com.co Televideo SA Transversal 22bis Nº 60-60 Ph.: (571) 254 4888 Web: www.televideo.com.co Velouria TV Carrera 14 Nº 83-47, Bogotá Ph.: (571) 742 7692 - 742 7696 Web: www.velouriatv.com Contact: info@velouriatv.com Video Móvil Calle 94 Nº 16-57, Bogotá Ph.: (571) 610 5511 – 530 3333 Web: www.videomovil.com.co Contact: angelica.gonzalez@videomovil.com.co Vista Productions Inc. Calle 97A Nº 9-52, Bogotá / Carrera 12 nº 93-78 of 503, Bogotá Ph.: (571) 621 0610 / 635 7093 Web: www.vista.com.co Contact: jachury@vista.com.co Ypunto Producciones Transversal 22 Bis Nº 60-60, Bogotá Ph.: (571) 254 4888 Web: www.ypunto.tv Contact: amarulanda@ypunto.tv Zona A Entertainment Carrera 14A #101-11 Of. 404, Bogotá Ph.: (571) 805 1669 Web: www.zonaa.com.co Contact: agaray@zonaa.com.co
ASSOCIATIONS
ASSOCIATIONS
Ministerio de Cultura Dirección de Cinematografía Carrera 8 No. 8 – 43, Bogotá Ph.: (571) 342 4100 Web: www.mincultura.gov.co Contact: servicioalcliente@mincultura.gov.co
Instituto Cubano de Arte e Industria Cinematográficos (ICAIC) Calle 23 Nº 1155 e/10 y 12 Plaza, CH Cuba Ph.: (537) 838 2859 Web: www.cubacine.cu Contact: americaicaic@icaic.cu
Proimágenes Colombia – Fondo Mixto de Promoción Cinematográfica Calle 35 No 4 - 89 (Barrio La Merced) Ph.: (571) 287 9941 Web: www.proimagenescolombia.com Contact: proimagenes@proimagenescolombia.com COSTA RICA PRODUCTION COMPANIES Grupo Producción Creativa Sabana Sur, de la Librería Universal, 300 mt. Sur, 100 mt. Oeste y 10 mt. Sur Ph.: (506) 290 0670 Web: www.grupoproduccioncreativa.com Contact: info@grupoproduccioncreativa.com
DOMINICAN REPUBLIC PRODUCTION COMPANIES Labalaone Films Ph: (829) 758 6114 Web: www.labalaonefilms.tk Contact: labalone@hotmail.com, labalaone@gmail.com Maya Cine Digital Paseo de los Locutores Galco IV, B7-2, Evaristo Morales, Sto Domingo Ph: (809) 563 8251 - (809) 328 4692 - (809) 972 8442 Web: www.mayacinedigital.com Contact: ruben@mayacinedigital.com ASSOCIATIONS
La Comuna Directores Asociados Sabana Sur, de la Librería Universal, 100 mt. Sur, 25 mt. Oeste y 75 mt. Sur, casa roja a mano derecha Ph.: (506) 2290 6890 Web: www.lacomuna.co.cr Contact: lacomuna@racsa.co.cr
DINAC (Dirección Nacional de Cine) Plaza del Conservatorio, Calle César Nicolás Pensón esq. Alma Mater, Santo Domingo Ph: (809) 687 2166 – (809) 685 5558 Web: www.dinac.gov.do Contact: info@dinac.gov.do
LCA Producciones Paseo Colón, Calle 38 y 40, Avenida Segunda - San José Ph.: (506) 2256 4303 Web: www.lcaproducciones.com Contact: info@lcaproducciones.com
ECUADOR
Tiempo Líquido Aartado Postal 133-2350, San José de Costa Rica Ph.: (506) 2218 0992 - 8342 6835 Web: www.tiempoliquido.com Contact: tiempoliquido@gmail.com ASSOCIATIONS Centro Costarricense de Producción Cinematográfica Avenida 9, Calle 11, detrás del parqueo del INS Ph.: (506) 2223 2127 / 2256 5001/ 2223 0610 Web: www.centrodecine.go.cr Contact: pcastro@centrodecine.go.cr Cinergia – Fondo de Fomento al Audiovisual de Centroamérica y el Caribe Ph.: (506) 2280 8831 Web: www.cinergia.org Contact: aalvarez@cinergia.org CUBA PRODUCTION COMPANIES Audiovisuales ICAIC Ph.: (537) 830 2425 – 833 4826 Contact: isabel@icaic.cu Trimagen Producciones Ayesterán No. 176 e/ 19 de Mayo y Desagüe, Cerro Ph.: (537) 879 6465 / 870 2581 al 85 Contact: trimagen@ip.etecsa.cu
PRODUCTION COMPANIES Ambrosia Audiovisual Psje.Alemán 150, Pichincha, Quito Ph.: (593) 2243 2846 Cámara Oscura Producciones Cristóbal Gangotena 425, Pichincha, Quito Ph.: (593) 2322 6115 Casa Productora Ramona TV Brasil 2354, Pichincha, Quito Ph.: (593) 2227 9064 CEAFAX E. Salgado N19-83, Pichincha, Quito Ph.: (593) 2255 9873 CORTACABLES PRODUCCIONES Miguel Burbano N48-61, Pichincha, Quito Ph.: (593) 2330 0238 Dominio Digital ProducciOnes Primer Pasaje de la calle Germán Alemán, Edificio María Nº 36-55, 1er Piso, Quito Ph.: (5932) 225 1258 Web: www.dominiodigital.ec Contact: dominio@dominiodigital.ec ASSOCIATIONS Consejo Nacional de Cinematografía Av. Colón E5-34 y Juan León Mera, Edificio Ministerio de Cultura, Piso 1B Ph.: (5932) 2236 894 Web: www.cncine.gob.ec Contact: comunicación@cncine.gob.ec PRODUCTION GUIDE _131
Production Company Directory GUATEMALA PRODUCTION COMPANIES Adobe Film Producción Alternativa 4 C 4-63 Z-1, Guatemala Ph.: (502) 5739 7785 – 5292 6163 Ceibita Films Ph.: (502) 5252 5638 www.ceibitafilms.com Web: info@ceibitafilms.com Cine Maya Digital S.A. 15 Av A 19-01 z-13 Ph.: (502) 2362 7872 Web: www.mayacinedigital.com Munfil 11C 0-48 Z10 Edif Diamont, Guatemala Ph.: (502) 2361 9149 Naranja Digital 3a Ave. 13-78 Z10 of 1401 Nivel 14 Ph.: (502) 2367 0720 Web: www.naranjad.com Contact: mb@naranjad.com Prisma Media Lab Ph.: (502) 5992 5376 Web: www.prismamedialab.com Contact: pedro@prismamedialab.com ASSOCIATIONS AGACINE (Asoc. Guatemalteca del Audiovisual y la Cinemat.) Ph.: (502) 5204 0183 Web: www.agacine.org Contact: agacine1@gmail.com HONDURAS PRODUCTION COMPANIES
Argos Comunicación Av. México #200, Col. Hipódromo Condes Ph.: (5255) 5226 0228 Web: www.argoscomunicacion.com Contact: innap@argoscomunicacion.com Central Films Anatole France 349, Colonia Polanco Reforma, México DF Ph.: (5255) 5262-8740 Web: www.centralfilms.net Contact: nava@centralfilms.net Dominio Televisión Digital Cholula Nº 1515, Col. Maria Luisa, CP 64040 Ph.: (5281) 8340 7394 Web: www.dominiodigital.com Contact: jfarre@dominiodigital.com Filma Producciones Mar de la Tranquilidad Nº198 int 201 y 203, Col El Parque, Coyoacán, México DF CP 04899 Ph.: (5255) 5678-3009 Web: www.filma.com.mx Contact: info@filma.com.mx FremantleMedia México S.A. deC.V. Camino al Ajusco # 124 Piso, 3Col. Jardines en la Montaña, CP 14210, Tlalpan, México, DF Ph.: (5255) 5631 2737 / 35 Web: www.fremantlemedia.com Contact: marco.zuniga@fremantlemedia.com Lemon Media Prol. Paseo de la Reforma 2000 piso 5 Col. Lomas de Santa Fe Ph.: (5255) 5590 3068 Web: www.lemonfilms.com Contact: contacto@lemonmedia.com.mx
Guacamaya Films Ph.: (504) 3391 8810 Web: www.guacamayafilms.com Contact: info@guacamayafilms.com
Mediamates Cerrada de Bezares #90, Col. Lomas de Bezares, México, DF Ph.: (5255) 5081 6300 Web: www.mediamates.tv
Solocine Col. Walter Barrio. La Leona #1623 Apdo. Postal 2815, Tegucigalpa Ph.: (504) 303 363 - 372 728 Contact: ginabar@hotmail.com
Plataforma Films Seneca Nº 348 Colonia Los Morales Ph.: (5255) 5255 2718 Web: www.plataforma.tv
ASSOCIATIONS
Quality Films Magdalena No. 320 Col. Del Valle, México, DF Ph.: (5255) 5687 2400 Web: contacto@qualityfilms.com
Dirección de Cine y Audiovisual, Secretaría de Cultura, Artes y Deportes Tel: (504) 235 6714 Web: www.gob.hn Contact: direcciondecine@yahoo.com
PRODUCTION COMPANIES
Dubbing House (Doblaje) Felipe Carrillo Puerto 83, Col.Carmen Coyoacan, 04100, México, DF Ph.: (5255) 5292 4261 Web: www.dubbinghouse.com.mx Contact: arregui@dubbinghouse.com.mx
Altavisión Producciones Progreso No. 205-6, Col. Escandón, Delegación Miguel Hidalgo, CP 11800, México, DF Ph.: (5255) 5272 3348 / (5255) 5515 5961 Web: www.avproducciones.com Contact: ventasav@avproducciones.com
The Lift Ignacio Esteva 50B, San Miguel Chapultepec, México, DF Ph.: (5255) 2454 3313 Web: www.thelift.tv Contact: avelino@thelift.tv
MEXICO
132_ PRODUCTION GUIDE
ASSOCIATIONS Asociación Mexicana de Productores Independientes (AMPI) Atletas No. 2, Camerino B-201, Edif. Luis Buuel, Country Club, 04220, México, DF Ph.: (5255) 5549 3060, Int. 121 Contact: ampiac@yahoo.com Fondo de Inversión y Estímulos al Cine (Fidecine) Insurgentes Sur No. 674, Del Valle, 03100, México, DF Ph.: (5255) 5448 5386 Contact: fidecine@imcine.gob.mx Instituto Mexicano de Cinematografía (IMCINE) Insurgentes Sur No. 674, Del Valle, 03100, México, DF Ph.: (5255) 5448 5300 – (5255) 5448 5399 Web: www.imcine.gob.mx Contact: dirgral@imcine.gob.mx Asociación de Productores y Distribuidores de Películas Mexicanas Av. División del Norte No. 2462, 8º piso, Portales, 03300, México, DF Ph.: (5255) 5688 7251 - 5688 8705 Contact: asocdeprod@yahoo.com.mx NICARAGUA PRODUCTION COMPANIES Alba Films Apdo P-278, Managua, Nicaragua Ph.: (505) 8884 1382 - 2254 3720 Web: www.albafilms.tv Contact: albafilms@mac.com Camila Films Apartado Postal 149, Las Piedrecitas, Managua, Nicaragua Ph.: (505) 2265 8541 – 8626 3727 Web: www.camilafilms.com Contact: info@camilafilms.com, camilafilms@gmail.com Gota Films Apartado Postal 3106 Ph.: (505) 278 0105 – 885 2064 Contact: rlacayo@ideaynet.ni, rossana.lacayo@gmail.com Luna Films PO Box A-88 Managua, Nicaragua Ph.: (505) 289 7393 Contact: circe@ibw.com.ni, clarissa@ibw.com.ni ASSOCIATIONS ANCI (Asociación Nicaragüense de Cinematografía) Edificio El Carmen del Canal 4 media cuadra al Sur Ph.: (505) 266 3587 / 268 2136 Web: www.anci.org.ni Contact: anci@ibw.com.ni PANAMA PRODUCTION COMPANIES Claroscuro TV Av. Balboa y Via Italia, Panamá Ph.: (507) 223 6800 Web: www.claroscurotv.com
Jaguar Films Calle Las Violetas entre 64 y 65 casa 31B, Panamá Ph.: (507) 226 5988 Web: www.jaguarfilms.net La Casa Producciones Apartado Postal 0860-00245 Ph.: (507) 264 7598 – (507) 6671 2920 Contact: lacasaprod@cwpanama.net, lacasaprod@cableonda.net Protesa / Producciones Televisadas S.A. Ave. Samuel Lewis, Edificio Plaza Obarrio, Oficina 301 Ph.: (507) 263 7722 Web: www.lomejordelboxeo.com Contact: protesa@protesa.com Parroquino Films Transístmica Edificio Maribel Piso 2 Oficina 8 Ph.: (507) 391-9892 / (507) 391 9882 Web: www.parroquino.com Quirófano Films Calle 50 Edificio Señorial 50 Entrada Lateral Izquierda Ph.: (507) 226 7632 Web: www.quirofanofilms.com Contact: info@quirofanofilms.com ASSOCIATIONS ASOCINE (Asociación Cinematográfica de Panamá) Ph.: (507) 226 1624 Web: www.asocine.org.pa Contact: info@asocine.org .pa Comisión Fílmica de Panamá Edison Plaza 3er. Piso esquina Vía Ricardo J. Alfaro y El Paical Ph.: (507) 560 0600, Ext. 2591 Web: www.pfc.mici.gob.pa Contact: cgrazier@mici.gob.pa PARAGUAY PRODUCTION COMPANIES Geno TV Hernando de Rivera 5446 Ph.: (595) 2161 0223 Web: www.genomedios.com Contact: info@genomedios.com Karen Fraenkel Tel: (595) 2122 4019 Web: www.k-efe.com Contact: karen@k-efe.com KV Producciones Manduvirá 479c/ 14 de Mayo, Asunción Ph.: (595) 2149 1900 Web: www.kvproducciones.com.py Contact: servicios@kvproducciones.com.py ASSOCIATIONS CAMPRO (Cámara Paraguaya de Empresas Productoras de Cine y Televisión) Contact: claudiarojas@activenet.com.py
OPRAP (Organización de Profesionales del Audiovisual Paraguayo) Contact: paraguaycine@gmail.com, organizacionesdelaudiovisual@gmail.com PERU PRODUCTION COMPANIES Argos Producciones Audiovisuales Calle Tupac Amaru 112- Of.1201 – Miraflores, Lima Ph.: (511) 999367012 - (511) 999448963 Web: www.argos.com.pe Contact: argos@argos.com.pe Asociación Guarango Cine y Video Jr. Cayetano Heredia 785, Int. 2. Jesús María, Lima 11 Ph.: (511) 460 1135 Web: www.guarango.org Contact: ricardo@guarango.org Alomi Producciones Av. La Encalada 1066, Monterrico Lima 33 Ph.: (511) 475 2277 - (511) 226 5752 Web: www.alomiproducciones.com Contact: jimmyarteaga@alomiproducciones.com Chroma Producciones Av. El Polo 461, Monterrico, Lima 33 Ph.: (511) 612 1515 Web: www.chroma.com.pe Contact: mariapia@chroma.com.pe Factoria Sur Producciónes SRL Calle JR Chinchón 858-A Tel: (511) 221 4271 Contact: joelcalero@terra.com.pe Frecuencia Latina International Av. San Felipe 968, Lima 11 1250 East Hallandale Beach Blvd.. Suite # 606 Miami, FL 33009, EE.UU. Ph.: (511) 219 1000, Ext. 1005 / (954) 457 1200 Web: www.flinternational.tv Contact: mivcher@flinternational.tv Iguana Producciones Cal. Calle Jose Del Llano Zapata 419 Ph.: (511) 242 5179 - (511) 242 3869 - (511) 242 5333 Web: www.iguanacomunicaciones.com Contact: margammsr@gmail.com Luna Llena Films Domeyer 303 A Dpto. 2 Barranco Tel: (511) 9788 8920 Web: www.lunallenafilms.com Contact: fabrizio@lunallenafilms.com Naella Producciones Cinematográficas Ocharan 440 Dpto 402- C, Miraflores Tel: (511) 449 9804 Contact: nizcue@speedy.com.pe, naella_producciones@hotmail.com Nawi Producciones Ignacio Merino 641, Dpto. 301 Miraflores Tel: (511) 421 7712 Web: www.nawiproducciones.com Contact: nawiproducciones@yahoo.com
Nómadas Perú San Ignacio 430 Urbanización Chahuache San Luis, Lima Tel,: (511) 435 8169 Web: www.nomadasperu.com Contact: teresa@nomadasperu.com, nomadasperu@gmail.com Optima Films Calle Obregón 122, Santiago de Surco, Lima 33 Ph.: (511) 273 3200 / (511) 448 6066 Web: www.optimafilms.com Contact: opfilms@optimafilms.com Primi Quattrini Av. Vasco Nuñez de Balboa 285 Miraflores, Lima 18 Ph.: (511) 241 0866 Web: www.primiquattrini.com Contact: mail@primiquattrini.com Solid Production Jr. Montero Rosas Nro. 1006, Lima Ph.: (519) 990 3743 Web: www.solidproduction.com Contact: info@solid-productions.com Tiempo Real Producciones Avenida Dos De Mayo, 567 B, San Isidro, Lima Ph.: (511) 442 9930 - (511) 442 2505 Web: www.tiemporealproducciones.com Contact: informacion@tiemporealproducciones.com Tele Andes Producciones Ph.: (511) 467 6169 Web: www.teleandes.tv Contact: teleandes@teleandes.tv ASSOCIATIONS CONACINE (Consejo Nacional de Cinematografía del Perú) Av. Javier Prado Este 2465, 7º piso Museo de la Nación, San Borja Tel: (511) 225 6479 / (511) 997 096 461 Web: www.conacineperu.com.pe Contact: conacine@speedy.com.pe PUERTO RICO PRODUCTION COMPANIES Luna Films Pereira Leal Valencia 589 Urb. San Juan Ph.: (787) 753 1881 Web: www.lunafilmspr.com Contact: lunafilms@lunafilmspr.com Miraflores Inc. M. Rodríguez Serra 6 Ph.: (787) 721 1856 Contact: luisrosarioquiles@hotmail.com Pasadena Films Inc. Urb. Baldrich, Presidente Ramírez 210 Ph.: (787) 763 4553 Contact: sriverarobles@aol.com Sacco Producciones Tel: (521) 553 108 6084 Contact: saccocarlos@hotmail.com PRODUCTION GUIDE _133
Production Company Directory ASSOCIATIONS APCA (Asociación de Productores Cinematográficos y Audiovisuales) Ph.: (787) 724 0213 Web: www.apcapr.com Contact: rebecafrati@gmail.com Puerto Rico Film (Corporación Cine Puerto Rico) Ph.: (787) 758 4747 Web: www.puertoricofilm.com Contact: yperez@puertoricofilm.com SPAIN PRODUCTION COMPANIES Boca Boca Producciones C/ Virgilio, 2 B Parque Empresarial Arco - of 3B Ciudad de la Imagen 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91 566 1500 / 1501 Web: www.bocaboca.com Contact: mrey@bocaboca.com BKN New Media S.L. Av. Diagonal 403 3-4 08008, Barcelona Ph.: (34) 93 368 0524 Web: www.bknkids.com Contact: allen.bohbot@bknkids.com BRB International Aut. Fuencarral-Alcobendas, km 12.220 Ed. Auge 1, 4º 28049, Madrid Ph.: (34) 91 771 1400 / 1410 Web: www.brb.es Contact: toni@brb.es Chip Audiovisual S.A. Avenida Maria Zambrano, 2 50018, Zaragoza Ph.: (34) 87 625 6500 Web: www.chipaudiovisual.com Contact: chip@chipaudiovisual.com CIN.TV (Compañía de Inventarios Naturales) Plaza de España 5, 2ºB 40100. La Granja de San Ildefonso, Segovia Ph.: (34) 92 147 3795 / 91 7546890 Web: www.cintv.tv, www.verticesales.com Contact: gsagardia@cintv.tv, gsagardia@verticesales.com Conta Conta Producciones Guillem de Castro, 83, 46008, Valencia Ph.: (34) 96 315 2207 Web: www.contaconta.com Contact: info@contaconta.com
Endemol España Avenida de Manoteras 18 - 6th Floor 28050, Madrid Ph.: (+34) 90-212-0203 Web: www.endemol.com/page/global-spain Contact: toni.cruz@gestmusic.es Europroducciones TV C/ Virgilio, 5. Ciudad de la Imagen, Pozuelo de Alarcón. 28223, Madrid Ph.: (34) 91 512 9800 Web: www.europroducciones.com Explora Films SL Fuerteventura, 15 -2ºC, 28703 San Sebastián de los Reyes, Madrid Ph.: (34) 91 490 1150 Web: www.explorafilms.com Contact: explora@explorafilms.com Filmax International Miguel Hernández, 81-87 08908, L`Hospitalet, Barcelona Ph.: (34) 93 336 8555 Web: www.filmaxinternational.com Contact: filmaxint@filmax.com Fremantlemedia España S.A. (Grundy Producciones) Calle de La Granja, 15 - ED B . PLT B - 28108 Alcobendas, Madrid Ph.: (34) 91 484 3205 monica.galer@fremantlemedia.com Gestmusic Endemol Sta. Elionor, 3 08024, Barcelona Ph.: (34) 93 253 6700 Web: www.gestmusic.es Contact: gme@gestmusic.es Globomedia (Grupo Arbol) Carretera de Fuencarral a Alcobendas, km. 12.450, 28049, Madrid Ph.: (34) 91 728 5740 Web: www.globomedia.es Contact: globomedia@globomedia.es Grupo ZZJ Av. De los Descubrimientos 11, 41092 P.T. Cartuja, Sevilla Ph.: (34) 95 509 1100 Web: www.grupozzj.com Contact: grupozzj@grupozzj.com Ida y Vuelta (Grupo Boomerang TV) María Tubau 4, 4º Planta. Oficinas 1 y 2. Torre B. 28050, Madrid Ph.: (34) 91 662 4756 / (34) 91 484 0665 Web: www.grupoboomerangtv.com Contact: info@grupoboomerangtv.com
Diagonal TV (Grupo Endemol) Doménech 7, 08012, Barcelona Ph.: (34) 93 268 -8530 Web: www.diagonaltv.com Contact: info@diagonaltv.es
Imagina Media Audiovisual Gaspar Fábregas, 81 - 08950 Esplugues de Llobregat, Barcelona Ph.: (34) 93 476 1551 Web: www.imagina.tv www.imaginasales.tv Contact: info@imagina.tv
Edebé Audiovisual Paseo San Juan Bosco 62 08017, Barcelona Ph.: (34) 93 206 3154 Web: www.edebeaudiovisual.com Contact: efontanals@edebe.net
Imira Entertainment Lisboa 3 28008, Madrid / Ribes 9 08013, Barcelona Ph.: (34) 91 758 2717 / (34) 93 265 0757 Web: www.imiraentertainment.com Contact: besteban@imiraentertainment.com
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La Pierna Audiovisual Cuesta de Santo Domingo 14 - 5º A, 28013, Madrid / C/ Pizarro, 24, bajo 28004, Madrid Ph.: (34) 91 531 1214 Web: www.lapierna.net Contact: lapierna@lapierna.net Mediapro Virgilio, 2 Ciudad de la Imagen Edificio 1 - 28223 Pozuelo de Alarcón, Madrid Ph.: (34) 91 512 7840 / 1319 Web: www.mediapro.es Contact: mediapro@mediapro.es Motion Pictures Reina Victoria 8 08021, Barcelona Ph.: (34) 93 200 2500 Web: www.motionpic.com Contact: oscar@motionpic.com Pausoka Ibiza 35, 1º dcha. 28009, Madrid Ph.: (34) 91 360 0470 Web: www.pausoka.com Contact: pausoka@pausoka.com Plural Entertainment Avda. Labradores 1- 2º 28760 Tres Cantos, Madrid Ph.: (34) 91 736 8200 Web: www.pluralent.com Contact: comunicacionplural@pluralent.com Promofilm (Grupo Arbol) Carretera de Fuencarral A Alcobendas km 12.450, 28049, Madrid Ph.: (34) 91 728 5775 Web: www.promofilm.com Contact: argentina@promofilm.com RTVE Radio Televisión Española Avda. Radiotelevisión 4,Edificio Prado del Rey 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91 346 4000 Web: www.rtve.es Contact: mjesus.perez@rtve.es Urban Films C / Santa Engracia, 103 6 º izda, 28010, Madrid Ph.: (34) 91 591 9099 / 91 447 9543 Web: www.urbanfilms.com Contact: urban@urbanfilns-sl.com Zebrastur Av. De Manoteras Nº 20 Bloque B 6ºIzq, 28050, Madrid Ph.: (34) 91 383 4025 Web: www.zebrastur.com Contact: zebra@zebraproducciones.com Zeppelin Televisión (Grupo Endemol) Avenida de Manoteras 18 6ª Planta 28050, Madrid Ph.: (34) 91 768 4000 Web: www.zeppelintv.com Contact: zeppelin@zeppelintv.com Zinkia Entertainment Calle Infantas, 27, primera planta – 28004, Madrid Ph.: (34) 91 524 0365 Web: www.zinkia.com Contact: jmc@zinkia.com
ASSOCIATIONS FAPAE - Federación de Asociación de Productores Audiovisuales Españoles C/Luis Buñuel 2, 2º Izq. Pozuelo de Alarcón, Ciudad de la Imagen 28223, Madrid Ph.: (34) 91 512 1660 Web: www.fapae.es Contact: fapae@fapae.es Consorcio Audiovisual de Galicia Rúa do Hórreo Nº61, 1º andar – 15702, Santiago de Compostela Ph.: (34) 98 154 5097 / 5098 Web: www.consorcioaudiovisualdegalicia.org Contact: info@consorcioaudiovisualdegalicia.org Catalanfilms&tv Mestre Nicolau, 23 Entresol 08021, Barcelona Tel: (34) 93 552 4945 / 4940 Web: www.catalanfilms.cat Contact: catalanfilmstv@gencat.net
A.G.A.P.I. (Asociación Gallega de Productoras Independientes) c/ Rúa Mónaco, 7 Baixo A, 15707, Santiago de Compostela, La Coruña Ph.: (34) 98 157 7747 Web: www.agapi.org Contact: agapi@agapi.org A.M.A. (Asociación Madrileña Audiovisual) Infanta María Teresa, 11, Bajo, 28016, Madrid Ph.: (34) 91 350 3368 Web: www.amaudiovisual.es Contact: ama@superbanda.net A.N.E.P.A. (Asociación Nacional de Empresas de Producción Audiovisual) Luis Buñuel, 2- 2º Izda., 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91 711 0808 Web: www.anepa.org Contact: anepa@anepa.org
Extenda Trade Promotion Agency of Andalusia Marie Curie 5, Isla de la Cartuja 41092, Sevilla Tel: (34) 90 250 8525 Web: www.extenda.es Contact: info@extenda.es
A.P.C. (Asociación de Productores Cinematográficos) c/ Luis Buñuel, 2- 2º Izda., 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91-512-1660 Web: www.fapae.es Contact: iroko@irokofilms.com
ICEX (Instituto Español de Comercio Exterior) Paseo de la Castellana, 14 – 16 28046, Madrid Ph.: (34) 91 349 6338 Web: www.icex.es Contact: javier.martinez@icex.es
A.P.C.P. (Asociación de Productoras de Cine Publicitario) Luis Buñuel 2, 2º Izda. Ciudad de la Imagen, 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91 512 2797 Web: www.apcp.es Contact: apcp@apcp.es
A.C.E.P.A. (Asociación Canaria de Empresas de Producción Audiovisual) c/ Muelle de Las Palmas, Nº8 Las Palmas de Gran Canaria 35002 Ph.: (34) 92 826 2873 Web: www.acepacanarias.com Contact: acepa.audiovisual@gmail.com
A.V.A.P.I. (Asociación Valenciana de Productores Independientes) Plaza de Tetuán, 19 Entresuelo, 46003, Valencia Ph.: (34) 96 352 2977 Web: www.pymew.es Contact: jvrosa@pymev.es
A.E.C. (Asociación Estatal de Cine) Luis Buñuel, 2, 2º Izda. Ciudad de la Imagen, 28223, Pozuelo de Alarcón, Madrid Ph.: (34) 91 350 3368 Web: www.aecine.es Contact: aec@superbanda.net
E.P.E. – A.P.V. (Euskal Produktoreen Elkartea - Asociación de Productores Vascos) Avda. Zumalacarregui 48, bajo, 48006, Bilbao Ph.: (34) 94 441 5177 Web: www.epe-apv.com Contact: info@epe-apv.com
A.E.G.A. (Asociación de Empresas Galegas Do Audiovisual) Plaza de Vigo, 2 Bajo, 15701, Santiago de Compostela, La Coruña Ph.: (34) 98 159 9599 Web: www.aega.tv Contact: administracion@aega.tv
I.B.A.I.A. (Asociación de Productoras Audiovisuales Independientes del País Vasco) Ramón María Lilí, 7- 1º B, 20001, San Sebastián, Guipúzcoa Ph.: (34) 94 332 7183 Web: www.ibaia.org Contact: ibaia@ibaia.org
A.E.P.A (Asociación Española de Productores de Animación) c/Muntaner, 248, 2º 1ª , 08021, Barcelona Ph.: (34) 93 209 1643 Web: www.aepa-animation.com Contact: aepa@aepa-animation.com
P.A.V - Productores Audiovisuales Valencianos Jorge Juan, 3- 1º- Puerta 2, 46004, Valencia Ph.: (34) 96 394 2185 Web: www.pav.es Contact: pav@pav.es
A.E.P.P.A. – A.P.R.I.A. (Asociación de Empresas de Producción Audiovisual de Andalucía) Luis Montoto (Edificio Cristal), 107 4º H, 41007, Sevilla Ph.: (34) 95 457 3019 Web: www.aeppa-apria.es Contact: asociacion@aepaa-apria.es
P.E.C.A.A. Plataforma de Empresarios y Creadores del Audiovisual Andaluz C/ Guzmán el Bueno 9, Local, 41004, Sevilla Ph.: (34) 62 097 5237 Web: www.pecaa.es Contact: info@pecaa.es
URUGUAY PRODUCTION COMPANIES 3Dcg Design (Animación) Gral. Andrés Gómez 1946 Ph.: (598) 98 107 578 / 579 Web: www.3dcgdesign.net Contact: info@3dcganimation.net 4D (Animation) Dirección: Rivera 7111, Montevideo Ph.: (598) 2600 0083 Web: www.studio4d.com Contact: hpereznoble@studio4d.com Aceituna FILMS 8 de Octubre 2256, Apto 203, Montevideo Ph.: (598) 2408 4060 Web: www.aceitunatv.com Contact: aceituna@aceitunatv.com América Del Sur Tv Ph.: (598) 96 592 969 Web: www.americadelsur.tv Contact: hportal@americadelsur.tv Animalada Studios Rafael Pastoriza 1354 Ph.: (598) 2706 5939 - (598) 98 488 288 Web:www.animalada.com Contact: animalada@animalada.com Aparato Post Palmar 2548 esq. Ponce, Montevideo Ph.: (598) 2709 6473 – (598) 2709 0973 Web: www.aparato.tv Contact: Adriana@aparato.tv Cinekdoque Dirección: José Ellauri 973, Montevideo Tel: (598) 99 055 699 Web: www.cinekdoque.com Contact: contact@cinekdoque.com Contenidos Tv Acevedo Díaz 1391, Montevideo Ph.: (598) 2403 0427 Web: www.contenidos.com.uy Contact: info@contenidos.com.uy Control Z Films Palmar 2548 esq. Ponce, Montevideo Ph.: (598) 2709 6473 – (598) 2709 0973 Web: www.controlzfilms.com Contact: contacto@controlzfilms.com Coral Dr. Emilio Frugoni 1138, Apto. 002, Montevideo Ph.: (598) 2410 2211 – (598) 2410 2666 Web: www.coral.com.uy Contact: info@coral.com.uy Cordón Films Ph.: (598) 2402 5454 - (598) 2409 6628 Web: www.cordonfilms.com Contact: info@cordonfilms.com PRODUCTION GUIDE _135
Production Company Directory Coyote Sociedad Anónima Dr. Emilio Frugoni 1368, Montevideo Ph.: (598) 2409 8039 Web:www.coyoteanimacion.com Contact: coyotes@adinet.com.uy Diez Catorce – Compañía Productora Maldonado 1760, Montevideo Ph.: (598) 2410 8980 Web: www.diezcatorce.com Contact: producción@diezcatorce.com El Camino Films Ph.: 2600 1866, Montevideo Web: www.elcaminofilms.com Contact: nicolas@elcaminofilms.com Ferosa Films Lugano 3479, Montevideo Ph.: (598) 2336 5211 Web: www.ferosa.com.uy Contact: lorena@ferosa.com.uy Indias Filmica Dirección: Bvar. Artigas 1322, Montevideo Ph.: (598) 2707 2212 Web: www.indiasfilmica.com Contact: Natalia@indiasfilmica.com Kafka Films Acevedo Díaz 1332, Montevideo Ph.: (598) 2400 0038 – (598) 2409 4880 Web: www.kafkafilms.tv Contact: Andres@kafkafilms.tv La Jolla Films Brito del Pino 1124, Montevideo Ph.: (598) 2706 7851 Web: www.lajollafilms.com Contact: pablo.figueroa@lajollafilms.com La Mano Estudio Dirección: Canelones 835, Montevideo Ph.: (598) 2901 6271 Web: www.lamanoestudio.com Contact: contacto@lamanoestudio.com La Mayor Pablo de María 941, Montevideo Ph.: 2413 6233 Web: www.lamayor.com.uy Contact: Gonzalo.moreira@lamayor.com.uy La Tribu - Casa Productora Paraguay 1673, Of. 4, Montevideo Ph.: (598) 2902 9342 – (598) 99 617 607 Web: www.latribu.com.uy Contact: info@latribu.com.uy Lavorágine Films Méndez Núñez 2712, Apto. 901, Montevideo Ph.: (598) 2707 8463 Web: www.lavoraginefilms.com Contact: info@lavoraginefilms.com Libre Cine Sucre 1152, Apto. 201, Montevideo Ph.: (598) 99 344 058 Web: www.librecine.com Contact: office@librecine.com 136_ PRODUCTION GUIDE
Locomotion Audioviosual Company Joaquín Requena 1193, Montevideo Ph.: (598) 2401 2895 – (598) 99 105 613 Web: www.locomotionco.com Contact: info@locomotionco.com Maga Films San Carlos de Bolívar 6062, Montevideo Ph.: (598) 2601 0818 - (598) 97 292 010 Web: www.magafilms.net Contact: griselda@magafilms.net, mark@magafilms.net Medio&Medio Films Pedro Bustamente 1237, Esc. 301, Montevideo Ph.: (598) 2708 0891 Web: www.medioymedio.net Contact: medioymedio@medioymedio.net Metropolis Av. Américo Ricaldoni 1720, Montevideo Ph.: (598) 2628 2000 Web: www.metropolis.net Contact: andres@metropolisfilms.net Microtime Coimbra 5936, Montevideo Ph.: (598) 2600 0422 Web: www.microtime.tv Contact: info@microtime.tv Milagrito Films Bulevar Artigas 1074, Piso 1, Montevideo Web: www.milagritofilms.tv Ph.: (598) 2709 9594 Contact: info@milagritofilms.tv Murdoc Films Palmar 2548, Esq. Ponce, Montevideo Ph.: (598) 2709 6473 – (598) 2709 0973 Web: www.murdoc.tv Contact: pedro@murdoc.tv, mseigal@murdoc.tv Nepal Maldonado 2263, Montevideo Ph.: (598) 2403 6360 Web: www.nepalfilms.com Contact: nepal@nepalfilms.com Ombú Media Tel: (598) 2410 8980 Web: www.ombumedia.com Contact: productora@ombumedia.com Oriental Films Jaime Zudáñez 2759, Montevideo Ph.: (598) 2712 3817 Web: www.orientalfilms.tv Contact: hello@orientalfilms.tv Oz Media Santiago Vázquez 1256, CP 11300, Montevideo Ph.: (598) 2708 2174 – (598) 2706 7830 (598) 95 573 697 Web: www.oz.com.uy Contact: info@oz.com.uy Pablo Turcatti Estudio Ph.: (598) 94 834 590 Web: www.ellaboratorio.com Contact: info@pabloturcatti.com
Palermo Estudio Ph.: (598) 98 482 524 Web: www.palermoestudio.com Contact: Palermo@adinet.com.uy Paris Texas Maldonado 1790, Montevideo Ph.: (598) 2418 7999 – (598) 99 784 325 Web: www.paristexas.com.uy Contact: info@paristexas.com.uy Pez Gordo Ph.: (598) 2712 4863 Web: www.pezgordo.com.uy Contact: contacto@pezgordo.com.uy Platónico Films Ph.: (598) 2408 4905 Web: www.platonicofilms.com Contact: martinseigal@platonicofilms.com Popup!Fx 25 de Mayo 626, Apto. 503, Montevideo Ph.: (598) 2915 6785 Web: www.popup-fx.com Contact: info@popup-fx.com Produccciones De Hachaytiza Héctor Gutiérrez Ruiz 1220, Apto. 101, Montevideo Ph.: (598) 2908 9025 Web: www.hachaytiza.com Contact: info@hachaytiza.com Producciones Deaká Ph.: (598) 94 418 585 Web: www.produccionesdeaka.com Contact: info@produccionesdeaka.com Rain Dogs Cine Pablo de María 1127, CP 11200, Montevideo Ph.: (598) 2400 4305 Web: www.raingdogscine.com Contact: info@raindogscine.com Redkraken Studio Ph.: (598) 098 666 228 Web: www.redkrakenstudio.com Contact: bruno@redkrakenstudio.com Salado Media Canelones 1836, Montevideo Ph.: (598) 2413 3664 Web: www.saladomedia.com Contact: javierchaibun@saladomedia.com Tarkiofilm Durazno 2024, CP 11200, Montevideo Ph.: (598) 2411 001 - (598) 99 689 414 Web: www.tarkiofilm.com Contact: contacto@tarkiofilm.com Taxi Uruguay San Salvador 1478, CP 11200, Montevideo Ph.: (598) 2419 2315 Web: www.taxifilms.com Contact: carlos@taxifilms.com, anaines@taxifilms.com
Production Company Directory Tokio Films Acevedo Díaz 1391, CP 11300, Montevideo Ph.: (598) 2402 3511 Web: www.tokiofilms.com Contact: Conrado@tokiofilms.com Tournier Animation Anzani 2015, Montevideo Ph.: (598) 2486 1779 Web: www.tournier.com Contact: info@tournieranimation.com Transparente Films Pablo de María 1056, Montevideo Ph.: (598) 2410 1056 Web: www.transparente.com.uy Contact: tnsp@transparente.com.uy Trip Film Máximo Tajes 6952, Montevideo Ph.: (598) 2604 0309 Web: www.tripfilm.com Contact: contact@tripfilm.com Zur Films Canelones 2260, CP 11215, Montevideo Ph.: (598) 2400 0633 Web: www.zurfilms.tv Contact: info@zurfilms.tv ASSOCIATIONS Audiovisual Uruguay Juan Carlos Gómez 1276, Montevideo Ph.: (598) 2915 9105 - (598) 2916 6197 Web: www.uruguayfilmcommission.com.uy Contact: lucila@audiovisual.com.uy ASOPROD (Productores y Realizadores de Cine y Video del Uruguay) Magallanes 1155 ap. 202, Montevideo Ph.: (598) 2410 7967 Web: www.asoprod.org.uy Contact: info@asoprod.org.uy CADU (Cámara Audiovisual del Uruguay) Juan Carlos Gómez 1276, Montevideo Ph.: (598) 2915 9105 / (598) 2916 6197 Web: www.cadu.org.uy Contact: info@cadu.org.uy ICAU (Instituto del Cine y Audiovisual del Uruguay) Juan Carlos Gómez 1276, Montevideo Ph.: (598) 2915 7469 - (598) 2915 0102 - (598) 2915 0103 Web: www.icau.mec.gub.uy Contact: icau@mec.gub.uy Proanima Uruguay Ph.: (598) 99 272 609 Web: www.proanima.org.uy Contact: proanima.pepi@gmail.com RECAM (Reunión Especializada de Autoridades Cinematográficas y Audiovisuales del MERCOSUR) Edificio Mercosur, Luis Piera 1192 PB, CP 11200, Montevideo Ph.: (598) 96 755 802 Web: www.recam.org Contact: set@recam.org 138_ PRODUCTION GUIDE
VENEZUELA PRODUCTION COMPANIES Alter Producciones Ave. Diego de Losada Qta. Alter. San Bernardino, Caracas, Venezuela Ph.: (58212) 552 7318 - (58212) 552 7323 (58212) 551 1923 Web: www.alterpro.com Contact: alter@alterpro.com Bolivar Films Ph.: (58212) 285 9047 Web: www.bolivarfilms.com Contact: guillermov@bolivarfilms.com Latina Producciones Av. Fco. De Miranda, Centro Empresarial Miranda, piso PH, Of. D Los Ruices, Caracas Ph.: (58212) 234 6553 Contact: riverojose@latinaproducciones.com.ve Plop Contenidos Web: www.plop-tv.com Contact: zoilabastidas@ploptv.net Think TANK Ph.: (58212) 283 1698 Contact: thinktank.ve@gmail.com Top Productions Ph.: (58212) 232 5210 Web: www.topproductions.com Contact: sevices@topproductions.com Venevision Productions Ph.: (58212) 708 9444 Web: www.venevision.net Contact: administrator@cisneros.com Vertigo Producciones Av. Fco. Solano López con 3ra. Transversal Las Delicias, Centro Solano Ph.: (58212) 761 3330 Web: www.vertigoproducciones.com Contact: achirinos@vertigoproducciones.com ASSOCIATIONS CAACI (Conferencia de Autoridades Audiovisuales y Cinematográficas de Iberoamérica) Av. Diego Cisneros, Centro MONACA, Ala Sur Piso 2, Oficina 2, Caracas Ph.: (58212) 219 7710 - (58212) 219 7711 Web: www.caaci.int Contact: contacto@caaci.int CNAC (Centro Nacional Autónomo de Cinematografía) Av. Diego Cisneros, Centro MONACA, Ala Sur Piso 2, Oficina 2-B, Caracas Tel: (58212) 238 1622 - (58212) 238 1564 Web: www.cnac.gob.ve Contact: contacto@cnac.gob.ve