Buzz Issue 02 Second Quarter 2016
Meet the masters behind MasterChef Global Productions: Get behind the scenes How Endemol Shine won over Coca-Cola Shine France challenges you
What You Should Know New on The HUB
What’s Trending Indian Cinema
What’s Hot Global Productions: Behind the Scenes
What’s Rising Reporting back from the LA Screenings
What’s New Coke TV rolls out across Europe
What You Should Know How well do you know IP Infringement?
The Gallery Last 4 months in pictures
What's Happening Calendar
What's Fun Shine France challenges you
Cover story: The masters behind MasterChef
Note from the Editor-in-Chief With summer in full swing for most us, it’s time to head outdoors, strike up the barbeque and celebrate these warm days with good food and good company – and when it comes to food, no other TV show could be more synonymous than our very own MasterChef. In this summer edition of Buzz magazine we explore some of the key ingredients to MasterChef’s long-running success in an interview with Lorenzo Anastasio, Creative Consulting Producer of MasterChef and Frances Adams, Director of Brand Development and Commercial Partnerships. We also globe hop to bring you some exclusive behind-the-scenes footage and interviews to several of our exciting new TV productions slated to launch this year. Plus we’ll hear from Managing Director, Deepak Dhar talk about two new recently launched films produced by Endemol Shine India. We’ll introduce you to Coke TV – a new series of YouTube channels in Europe produced by Endemol Shine Beyond, and invite you to test your knowledge about Intellectual Property Infringements.
Contributors Xavier Chapa Editor-in-Chief The HUB & Newsroom
Alma Santo Project Manager The HUB
Magda Leginski Coordinato The HUB
Sophie Hoyles Content & Data Manager The HUB & Press
Barney Boelens Video Producer Content Management Support
Design Endemol Shine Design Studio London
And lastly, what would summer be without a bit of fun? Therefore, we’re inviting you o take on the Day in the Life video challenge, which Shine France has lead. So wherever you plan to soak up the sun, we hope you’ll take us along, whether on your phone or tablet, to enjoy the read, the videos and the scrumptious recipe from MasterChef Australia. Have a great summer!
The masters behind MasterChef The hundreds of creatives and production teams around the world are credited to maintaining the success and longevity of this awardwinning format, but helping to steer their success are two key people from Endemol Shine.
In an exclusive interview with Endemol Shine’s Lorenzo Anastasio and Frances Adams, they share what makes this award-winning format so successful year after year across the globe.
What are the key ingredients to MasterChef’s success? Lorenzo: Casting, Storytelling and of course a high quality level of food.
Lorenzo Anastasio Creative Consulting Producer Creative Networks
Frances Adams Director of Brand Development Commercial Partnerships
Is the approach to food the same in every country? Lorenzo: The level of food on MasterChef is really important, but it’s also important to recognize that not every Can you elaborate on the casting? culture shares the same perspective when Lorenzo: All three ingredients are quite it comes to food. It’s really important to interrelated actually. For casting, you need know the culture, to understand it and to find people who can cook obviously, respect it. For example there are certain but more importantly you need to have expectations about food in France and people with stories to tell. It’s a crucial Italy which aren’t the same in Scandinavia element of the show. It’s not enough to or Eastern Europe. The same goes for have a great personality. The contestants other regions of the world. The level need to be genuine and have a good of food has to be true to the culture, background story which can be explored whichever level you are starting from. But in the series. when you end a season of MasterChef, the audience and contestants need to find Is this where good storytelling themselves on a very different level from comes in? where they started. That’s important. Lorenzo: Exactly, MasterChef, like other successful TV series, is about a If MasterChef is a journey, how has it person’s journey from where they are in changed people and their perspective their life to where they’d like to be and of food? the whole discovery along the way. The Lorenzo: There are so many examples. difference with MasterChef is we tell that In the UK and Sweden, for instance, story through food. It’s not like a singing many of the winners, who’ve had no competition, where the person’s story is professional culinary experience working captured leading up to their performance. in office jobs, now have their own On MasterChef, the story needs to be businesses as head chefs. But even captured within those 60 minutes during beyond an individual level, if you look at the competition – the emotions that come places in Eastern Europe like Poland, with cooking every dish – that’s key to Bulgaria and Czech Republic, traditional the show’s success. It’s not enough to dishes that were often prepared by spend a lot of money on a great set or grandma are now being revisited by travel the world doing challenges. How young chefs who want to interpret those the contestant relates to the food and dishes and bring them to a different level. expresses that through every cooking MasterChef allows them to do that. So challenge is way more interesting. from a cultural level, in a way it’s opening people’s minds to the methods and ingredients used in traditional cooking.
How do you keep MasterChef fresh year after year and distinctive among all the different brands within the franchise? Lorenzo: It’s not easy especially for a format like this which is produced in over 50 countries, but that’s where events like the Exchange prove to be invaluable for the longevity of the franchise. We invite producers from around the world to share their the best – and not so best – practices about their production. It’s a great advantage that we all share here at Endemol Shine. We’re fortunate to be part of global network that can support and learn from each other like this. We’ve seen many examples of brand integrations with MasterChef, how do you balance this co-existence on the show while protecting the brand of the format? Frances: I think it is key not to see brand integrations as something detrimental to the format. In fact, it can bring some incredibly creative and exciting content. It was rewarding at the Exchange to watch the producers share ideas and get excited about new integration opportunities. However, I should emphasize it is important to choose the right partner that can work with the production team and make the integration as seamless as possible.
What brand integrations have you seen popping up from around the group that have been successful? Frances: There are so many great examples but what has been exciting is seeing some of the latest non-food based integrations such as the Singapore Flyer in MasterChef Asia, Skype in MasterChef Junior USA, and tourist boards. I also loved seeing the Spanish contestants participating in a medieval cooking challenge in a castle – this was a great example of where the integration delivered great story telling. Where do you see the next frontier in brand integration for MasterChef? Frances: What I find exciting is seeing how MasterChef embraces global trends and innovation, such as the huge change in consumers’ shopping habits, with more and more of us having weekly groceries delivered to our door, balanced with the growth of interest in ‘slow food’ and local, sustainably sourced product. So on one side, we are working with the new Food Delivery services, and at the opposite end of the scale, running integrations with bee keepers.
Are there different considerations for brand integration on MasterChef Junior? Frances: With Junior MasterChef we of course have to be aware of our young audience and the need to support healthy eating around children. I have worked on kids shows for years and really believe that with children you need to excite them about being in the kitchen and experimenting with ingredients and this has longer term benefits than any restrictions. We do have guardrails on MasterChef Junior Integrations, especially around ready-made meals, or anything which limits imagination and cooking. MasterChef Junior is an opportunity for kids to get their hands on raw ingredients whether fish, vegetables, fruit or chocolate. It allows them to be imaginative and have fun.
Did You Know? MasterChef… - Is the most successful factual entertainment format of all time. - 55 productions already confirmed in 2016. - +20 million social media followers around the world. 9
Compressed Ouzo Watermelon, White Chocolate Mousse, Almond and Cinnamon Crumb Recipe by: MasterChef Australia Blue Team Serves: 10
Compressed Watermelon: 1kg watermelon 100ml ouzo
White Chocolate Mousse: 200g white chocolate, roughly chopped 200ml cream Almond and Cinnamon Crumb: 75g caster sugar 1 tsp ground cinnamon 40g blanched almonds 50g butter, softened 1 egg yolk 100g flour
Preheat oven to 180C
Trim skin from watermelon and cut into 10 thick wedges. Place into a large cryovac bag or zip lock bag and add ouzo. Seal to remove air, without crushing watermelon, and set aside on a shallow baking tray, in fridge for 1 hour, turning bag over after 30 minutes.
For the mousse, place white chocolate into a medium, heat-proof bowl and place over a saucepan of simmering water. Melt chocolate over simmering water, stirring frequently until melted, then set aside to cool.
Meanwhile, whip cream to soft peaks. Once cooled, fold melted white chocolate into cream and gently mix to combine. Set aside in fridge until needed.
For the crumb, place 25g of the caster sugar and cinnamon into a small bowl and toss to combine. Spread the almonds onto a baking tray lined with baking paper and sprinkle with the cinnamon sugar. Toast for 10 minutes in the pre-heated oven, or until golden. Set aside to cool until needed.
Beat butter and remaining 50g caster sugar until light and fluffy. Add egg yolk and flour and beat until well combined. Spread the mixture onto a baking tray lined with baking paper and bake for 10-12 minutes until dry and golden. Set aside to cool.
When cool, break the biscuit into large chunks and transfer to a food processor. When the toasted almonds are cool, add to the food processor and pulse until a fine crumb. Set the crumb aside in a bowl until needed.
To serve, remove Compressed Watermelon from bag and place one piece onto each serving plates. Add a quenelle of White Chocolate Mousse to each plate, then top with a sprinkle of Almond and Cinnamon Crumb. 10
Madrid, Spain June 2016 The first of its kind since the Endemol Shine merge. The MasterChef Exchange is another great example of collaboration and information sharing within our extensive Endemol Shine family. Over 50 people from around the globe, who contribute in the making of MasterChef, were brought together to discuss their best practices. Click video to see some of the highlights.
The Almost Impossible Gameshow Producer: Left Hook Media Broadcaster: MTV (USA) Recording location: Los Angeles Comedy game show in which contestants must beat a series of ridiculously difficult challenges.
Weâ€™ve got some exclusive behind the scenes footage on some new productions happening around the group. Hear first-hand what the Executive Producers have to say about the making of these exciting Endemol Shine formats.
The Bridge Producer: WeitMedia Broadcaster: NTV (Russia) Recording location: St. Petersburg Two detectives work together to take down a serial killer operating on both sides of the border.
Locked Producer: Park Lane TV Broadcaster: Reshet (Israel) Recording location: Hilversum
Contestants navigate their way through a maze of concentric circles, each containing an increasing number of locked doors.
Producer: Initial Broadcaster: ITV (UK) Recording location: London The show that takes our obsession with top ten lists and turns it into a irresistibly play-along quiz.
The Almost Impossible Gameshow Scott Teti Executive Producer Left Hook Media
Matt Odgers Co-Executive Producer Left Hook Media
Will we see any changes in the US series that differ from the original UK version? Matt: Well first off we shot Twenty 21-minute episodes in 10 days, quite an ambitious shoot. Whereas, in the first season of the UK version they shot six 45-minute episodes. So, we were tasked with not only using the games in the UK version, which were brilliant, but also coming up with about 40 new games because of the much bigger order. But overall, we tried to uphold the feel, the tone, the structure, everything as much as possible from the original UK version. How did the production go? Matt: On set, we had 4 contestants per day. Two were running through the games, while the other two were getting out of their wardrobe doing their hero shots and their pre-interviews for the next day. It was a VERY ambitious model. We don’t recommend to any one (laughs). Because we had so much going on, we felt that it was necessary to have a control room on set that displayed everything at once. So Matt and I and our co-executive producer would sit there and we’d all take on a game making sure we were getting all the comedic elements we wanted out of it. What advice would you give other Opcos? Scott: Test the games. It takes some time to zero in on the games to see if they hold to a comedic standard that you’re happy with. For example, some of the things we put on paper – and thought would be great – actually fell flat when they played out on set, and other things that we thought, when we read it, actually worked really well. The challenge is to figure out how to make these games almost impossible but not completely impossible and not too easy at the same time.
The Bridge Lars Blomgren Managing Director, Filmlance International
What changes can we expect to see in this adaptation of The Bridge? To start, there are so many cultural differences between Russia and Estonia so it will already be different from the other international versions just on that alone. The Bridge is not designed to be a carbon copy of itself in different languages. It has to be adapted to the local cultures and the circumstances happening on both sides of the border. What’s important is to make this version just as good for Estonian audiences as it would be for Russians and I think we’re on the right track. Another change I’ve seen is we’re doing multiple seasons at the same time - a total of twenty episodes and that’s not been done before on any of the other versions.”
Locked Boudewijn Beusmans Co-CEO Endemol Shine Nederland
What makes this show stand out from other gameshows? Apart from the unique gameplay, which I must say is very exciting, the set is impressive, quite an eye-catcher! This is something that Endemol Shine Group has really invested in. We heard thereâ€™s a production hub set up for Locked. Can you tell us more about it? Weâ€™ve just completed recordings in Holland for Israeli broadcaster Reshet, and the stage is set to do the same for other Opcos to record here as well. We understand it is quite an expensive set, which can make it hard to sell to broadcasters. But what makes Endemol Shine so special is we have the ability to set up facilities that support productions around the group, and for Locked, Endemol Shine Nederland is here to facilitate that.
Perfect 10 Catherine Lynch Creative Director Initial
Where did the idea come from? We were trying to find a daytime quiz that wasn’t just about Q&A general knowledge. There’s a lot of that at the moment. So, we started a conversation in the office to try and come up with something based on a top 10 list of questions. As we developed it, it became quite addictive and we were trying to come up with more and more examples to play. It was an idea we at Initial developed with our Central Creative Development Unit at Endemol Shine UK. It’s a really good example of teamwork. How did the pitch go at ITV? Mirella Breda and I (Managing Director at Initial) went to pitch it to ITV daytime. In the first meeting we pitched the top line and said top 10 lists are very current, if you look online at sites like Buzz Feed and Sporcle. We played a couple of questions with them, enough to wet their appetite, to invite them for a run through. After we left, we found out their scheduler had been playing Perfect 10 with his friends in the office and we thought that was a very good sign, and I think that’s what did it – that sort of playability. The kind of thing you might play with your friends at the pub. How did you get film actor Warrick Davis to host? Warrick Davis was suggested to us by the broadcaster (ITV). They wanted someone different. Not the usual quiz show host. He did another gameshow with ITV last year. They did some research on Warrick and he rated as very popular. People really liked him. So, we approached him and sent him a treatment and he and his agent came in to watch a run through and he loved it!
Summer Parties Amsterdam
True-life dramas trend in India
Deepak Dhar Managing Director & CEO Endemol Shine India.
Indian cinema has been taking a slightly different tone this year, different from the colourful song and dance that many are used to seeing from Bollywood films. Fronting the new cinematic trend this summer are two dramatic films produced by Endemol Shine India – Traffic and Te3n – which have been lining up the box offices and winning over critics.
Endemol Shine India has undoubtedly made its mark as one of the most prolific television content producers in a country that is home to over 1 billion inhabitants. Recently, the company has expanded its portfolio from the small screen to the big screen with two new feature films which released this summer to overwhelming critical acclaim. “The reviews for both films have been fantastic, in fact, far far more positive than we imaged they would be,” commented Deepak Dhar, Managing Director of Endemol Shine India. Launched May 6, Traffic tells multiple stories that collide and become entangled through a traffic accident. It is a remake of a 2011 Malayalam-language hit of the same title – based on actual events – and was co-produced with Fox Star Studios.
Shortly after the release of Traffic, Te3n premiered June 10 across Indian cinemas. This bold dramatic film is a co-production between Endemol Shine India, Reliance Entertainment, Cinemaa, Kross Pictures and Blue Waters Motion Pictures. Te3n follows a grandfather, police officer and a priest who come together to investigate and find a missing child. “Both films are very different stories from the typical Hindi films with lots of dance and song. They’re more emotional thrillers, a genre that really seems to be connecting with Indian audiences these days,” added Deepak. Despite the extensive array of high quality dramatic series seen across many global broadcasters these days, scripted programming on Indian television remains largely dominated by soaps and telenovelas. “To really tell these stories properly, we had to make them (Traffic and Te3n) into films with credible actors, creative producers, directors, writers from the Indian film industry.” Both films are an example of the company's efforts to bring more great content to Indian audiences through a variety of different mediums, “Thanks to the support of Martha Brass and Marina Williams, we were able to push boundaries and tell these great stories, and hopefully we will get another film – or two – announced soon.”
“Both films are very different stories from the typical Hindi films with lots of dance and song.
Ingrid Akkerman Director of Brand Relations, Commercial Partnerships
Endemol Shine Beyond has partnered with Coca-Cola to roll-out 4 new YouTube channels in an aim to become a millennial magnet. Coca-Cola is inarguably one of the world’s most illustrious brands. So when Coke and advertising agency giant Ogilvy & Mather invited Endemol Shine Beyond to help them expand and locally adapt their YouTube channel, Coke TV, from Germany into four new key European countries, “It was basically a dream come true. It’s what we’ve been trying to achieve for years” said Ingrid Akkerman, Director of Brand Relations at Endemol Shine Group. Coke TV is a series of entertaining YouTube channels fronted by some of today’s most popular vloggers. In each of the weekly bite-sized episodes, the YouTube stars reflect the passions and interests of young people across the nation, focusing on themes including gaming, sports and music. The episodes are tailored to reflect Coca-Cola’s global marketing approach and the spirit of the ‘Taste the Feeling’ campaign. “Ogilvy Mather had already worked with Endemol Beyond Germany on the award-winning MediaMarkt Rabbit Race, and I think that had some influence in us winning the deal,” added Akkerman. 24
“They knew from the beginning that we’re set up with International production facilities and creative hubs in 35 countries and present in 11 countries on the Beyond side. Plus, we have already rolled out digital formats like Icon and Legends of Gaming internationally , so we had the expertise in dealing with complex projects on an international level, and this is exactly the type of expertise and set up that Coca-Cola wanted to partner with.” This past May, Endemol Shine Beyond simultaneously rolled out Coke TV in the UK, France, Spain and launched a revamped version in Germany, and there are plans to roll the format out to more countries across Europe in 2017. With the recent rollout, came fresh ideas in content and production. One of the biggest content changes that was implemented on the new Coke TV channels was incorporating more viewer participation. Viewers can now influence and even participate in the content they’re watching.
Did you know? CokeTV in Germany has attracted over 268,000 subscribers and 29 million views since it was launched in 2014.
On the production side, major events like the UEFA Euro Cup were used bringing all four countries to France to cover the event in their respective language. Earlier this month, the Coke TV production teams came together in Amsterdam to discuss their experiences, best-practices and share ideas on how to develop new content as they prepare to rollout more channels in the new year. “I’m super excited about what the future lies ahead for us and the potential we have to further expand Coke TV around the world. I’m so proud of our teams on all the work they’ve done in setting up the channels and getting them launched. Coke TV is of course a great case study we can benefit from as a group showing our world class skills to create and produce branded content for a premium brand like Coca-Cola.”
Click to subscribe Germany Spain France UK 25
Reporting back from this year’s LA Screenings
Talent competitions, reality shows and Turkish series were all the buzz at this year’s LA Screenings. See what some of our attendees from Endemol Shine had to say about what they found interesting for their respective Latin American markets.
Veronique Verges Senior VP, Latin America and US Hispanic, Endemol Shine International
“Scripted series continue to drive the finished program discussions. From our slate of new titles, Intersection remains very sought after in Latin America. US Hispanic broadcasters are also very interested in Turkish series with the caveat of pace – long episodes with potential for reedit by US Hispanic broadcasters. El Vato also intrigued clients in Latin America. It’s a fresh, different proposition from our usual US or British scripted offering. There was a bit less interest in Scandi Noir releases. Spring Tide is deemed too noir… but is still being considered by the Panterritory broadcasters.”
Michelle Wasserman Senior VP of International Business and Content Development, Latin America, Endemol Shine Global
“Hunted generated lots of interest, but unfortunately it’s difficult to replicate it in Latin America. Colombia, one of the interested countries, will be carefully looking at the launch of the US version. Also, talent shows with some kind of twist, along with shows that combine intellectual quizzes and physical challenges are still highly sought after in Latin America.”
Marcello Braga Managing Director of Endemol Shine Brasil
“I really enjoyed Low Cost Weddings, a reality show for women (and men!) who are seeking creative wedding solutions on a budget. It’s fun, emotional, entertaining and highly informative.“
What You Should Know
Intellectual Property Infringements Last year the IP Infringement Team in Amsterdam collected a record-breaking €3.4 million for Endemol Shine Netherlands after winning a court case in Brazil that lasted more than 14 years. In 2001 the Brazilian broadcaster TV SBT launched a “Big Brother” rip-off called “Casa Dos Artistas”. Endemol Shine together with TV Globo, the Big Brother broadcaster, filed a lawsuit based on copyright infringement and unfair competition. The case was litigated all the way up to the highest court in Brazil and it was the first time that it was recognized that TV formats can be copyright protected under the Brazilian Copyright Law. On a worldwide scale, the Brazilian decision could be a strong precedent for other countries where Endemol Shine faces similar problems with infringers. We thought it would be a good idea to sit down with the IP Infringement Team and ask them a few questions. Let’s start with a simple, yet important one.
What is IP? Intellectual Property (IP) is the very basic asset our company is built upon. Think of our formats, titles, logo’s, music, brands, finished programs etc. IP consists of creations of the mind. In order to protect our creations we use among others copyright and trademarks. Why is it important to protect our IP? First, we should never allow others to ‘steal’ our IP as it will seriously diminish the value of our formats. We must protect our revenues and safeguard exclusivity for our company. It also sends out a strong signal that we will defend our rights, if they are infringed. You might even say that it stimulates creativity. For these reasons we always take action against IP infringement, with all legal means available. Who takes action in case of a format infringement? If a format is infringed within the territory of the format owner, the format owner can act against the infringer themselves. If it occurs outside the owner’s territory the IP Infringement Team takes action on behalf of the format owner. So for example, when there is a copycat version of the format Minute To Win It (owned by Friday TV) in China our Team is in the lead. Naturally, we keep the format owner informed about all steps taken.
TV shows This is an example of a video comparison that our team created for a format infringement case in Israel regarding â€œBig Brotherâ€?.
What kind of infringements do we act against? 1 TV shows 2 Websites & unauthorized transmission 3 Trademark (identical/similar) 4 Domain names (URL) 5 Apps 6 Merchandising & secondary exploitation
Websites & unauthorized transmission A company made use of our DOND gameplay and trademark for a fundraising concept.
Domain names An example of a domain name that contains one of our registered trademarks is bigbrotherafrica.com.
Big Brother Africa StarGame
Trademark In China we encounter many third party trademark registrations identical to our MasterChef or M-Swirl trademark.
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What happens if a finished program is made available online without authorization? It depends, if the content is made available on a piracy platform (such as a torrent site) our Team will take action. Also, when ESG has centrally uploaded a finished program via a content protection tool (like Content ID of YouTube) ESG will take action when an infringement occurs. However, in all other cases the OPCO who controls the content can take action themselves or ask us to act on their behalf.
How can we contact the IP Infringement Team? The central email address to report IP infringements and to keep us in the loop is:
What happens if an Endemol Shine brand is being infringed? If the infringement occurs inside the territory of the brand owner and it is not already managed by the trademark team in Amsterdam, they can act themselves. If it occurs outside the territory, our Team will take action.
Naturally, if anyone has any questions regarding infringements they can always reach out to us.
Blog: OMG!….Its Downville Babes Taking Away Upville Dudes!
Who bears the costs? The IP Infringement Team’s involvement is a service provided, except for out of pocket expenses, no fees will be charged. All other legal costs will be allocated to the IP owner, as their interests are being protected.
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infringements@Endemol Shine.com If everyone uses this central address, it will enable us to get a better insight on infringements around the world. Also, it will give us the opportunity to identify serial offenders and define a course of action against such parties.
Any exciting news that you can share with us? Yes. We’re currently speaking to several vendors to see if we could engage their services and tools to quickly find online infringements of our most important formats. That would allow us to act even faster and be more efficient. We will keep you posted. Who are the IP Infringement Team? Sonja Kloek and Nicole Söhngen
Apps An app that contains our DOND trademark and uses the DOND gameplay.
Merchandising & secondary exploitation Wipeout is used a lot by third parties for the promotion of obstacle courses.
What You Should Know
What you can find on The HUB
3 Contact details of
colleagues from around the world
1 +4,700 Endemol Shine Formats
3rd Party Formats
2 50 Sales Decks
4 +1,400 subtitled videos
formats are added every month (approx.)
5 Endemol Shineâ€™s Branding Toolkit (Brand Guidelines, logos, idents, PPT templates)
What you can do on The HUB 1
Share Formats, Update your photo Series & Media items and contact details with other HUB users on your HUB Profile
3 Change your password on the log in page
6 Global Compliance Policies 33
Try to top this Shine France is challenging all OPCOS to create their own “Day in the Life” video. Think you can do better? Let’s see! To participate, submit your video via WeTransfer to; email@example.com by Friday, 11 November 2016. All submissions will be posted on The HUB. Vote for your favorite video at: firstname.lastname@example.org You and your +1,800 colleagues subscribed on The HUB will decide the winner. The winner will be announced in the yearbook edition of Buzz magazine, released at the end of the year. Good luck and have fun making it!
Recommended video specs: Video file: MP4, MOV Resolution: HD 1280x720 or 1920x10805-10Mbit per/sec Save file as: TheHUB_VideoChallenge-(your country name)
Coming up in 2016
31 Pre-GCT USA/Australia
1 Pre-GCT Latin America
8 Pre-GCT UK
31– 1 Sep Benelux Focus Meeting
5 Research & Insight Update
12 Pre-GCT Southern Europe
11 Pre-MIP Day 12–13 Acquisition Pitch
17–20 MIPCOM Amsterdam
6 Pre-GCT Northern Europe
27–28 Pre-GCT Southern Europe
Produced and distributed by The HUB, Endemol Shine Group MediArena 1, Amsterdam Netherlands 1100 AC +31 20 893 9000 thehub.endemolshine.com email@example.com