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FanTrust at MIPTV 2016

Digital Articles & Panel Discussions A selection of top trends, key commentary and timely coverage from The World’s Television Content Market held annually in Cannes, France

FanTrust at MIPTV Contents

Digital Features Pages 1-7 Read FanTrust’s take on the world of Digital Strategy, the new Podcast Explosion and today’s ESports Revenues & Success Stories.

In Conversation – The Bell Fund Digital Talks Pages 8-16 Hear experts weigh in on SuperFans, ESports, Live Streaming Video and 360 Content in a day of Bell Fund-sponsored Digital Panels.

Trending Topics Pages 17-22 Tap the buzz from MIPTV with a round-up of this year’s most significant digital advances, from Virtual Reality to fresh talent, original series and new, live platforms.

MIPTV Impact, Thanks & How to Contact FanTrust Pages 23-25


You could say that my rst digital strategy as a student was a campaign of attrition. (I wanna write this thing about something called digital media. It’s important. And not just to me. So I will stand at the faculty door until I get my digital way.) Kind of a “wear them down and make them listen” with a bit-of-diplomacy-thrown-into-the-mix type of strategy. Plus ça change, right?

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MIPTV: The Week in Drama - TVDRAMA

You’re facing what?

Almost 400 acquisition executives spent their Sunday before MIPTV ensconced at the JW Marriott in Cannes screening 12 new buzzy

Those of you responsible for digital strategy in your own entertainment organisations know that as


much as your company faces erce competition in the marketplace, you might still face a battle on the home front, getting buy-in and budgets for digital transformation, or even blank looks and questions like, “Why do we need a digital strategy?” But you also know that you are playing the long game here, and can use the force of your conviction coupled with some powerful data to win people over. And win them over you must,

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because digital media is a relationship-based business and there is no strategy without harmony. Break it Down. Build it Up. 27m

Beyond internal diplomacy, media companies in particular face all kinds of challenges when it comes to digital strategy: Borderless audiences and global platforms New revenue models and dying old ones

Jonathan Laor Retweeted Natan Edelsburg @twatan #MIPTV 2016: @Applicaster's @petercassidy_ on how RTL & América Televisión use them:

Relentless data and confounding business intelligence Insatiable fans who demand engagement and authenticity Talent with massive tra c and incredible production savvy Disruptive start-ups, including media content and media technology Investors who demand digital results And everything else that keeps you up at night because we live in a digital world 05 Apr

Of course, many of these are good problems to have. They put re in the belly. They open the door for new deal-making, strategic bedfellows and novel business ventures. But they can also be daunting. Taken collectively, they can turn people o . Dive into any one of them head rst and you run the risk of going down a rabbit hole of no return. It is critical to establish your own


“challenge list”, and a concrete framework for tackling your speci c digital priorities, in order for your strategy to be both practical and inspirational. A great digital strategy has to be a brave undertaking. It takes time to build but it does have a nish line. It involves opening the doors to everyone, from the CEO to the interns and from fans to suppliers, to get it right. Above all, it takes leadership. Pick a Winner Deciding who has the best chance to build your digital strategy – to set the course, tease out


the vision, corral the migrating herds…who knows when to step up and when to shut up…who commands respect but brings the donuts – is the most important rst decision you’ll make in 2016 if this is your year for digital strategy. Now’s the time. Make it so.



actors, behind the scenes action and more original source material to help its podcast stand out. In addition, PBS has legions of loyal fans, “viewers like you” who help fund its programming. So the more that they can o er members between episodes and series, the more support they are likely to inspire. This might also help member stations in a move from old-fashioned “pledgedrives” to what we now call “crowdfunding”. Key takeaway: if you can host your own aftershow podcast for fans, do it before someone else does. And, while you’re at it, why not launch it before you even go to air on TV?

Tweets Sandra Freisinger Retweeted MIP Markets @mip Of course Dogs Might Fly gets a mention! Let’s see that emotional finale again #MIPTV #MDF #FreshTV

2. Try sponsorship, not advertising. With broadcasters including Turner and SyFy now reducing advertising to retain viewers, to compete with PayTV and to beat Net ix at its own game, what about replacing revenues with sponsorship dollars instead? In the early days of television, stars and even cartoon characters represented a show’s one or two key sponsors, from opening credits to end cards. (Both I Love Lucy and The Flintstones were featured happily smoking cigarettes for sponsor dollars.) Today, podcast listeners love the dulcet tones of their hosts so

YouTube @YouTube

much that they rarely skip past sponsor campaigns, a staple of podcast underwriting. These 07 Apr

sponsor ri s, read by familiar hosts, can be long, entertaining and chatty – with podcasters telling us about their personal experiences with everything from razors to bedsheets to favorite snacks, literally soup to nuts. And fans eat it up. On Slate’s “DoubleX Gabfest” the hosts sound like they’re having as much fun with a sponsored script as when they deconstruct pop culture. So, listen up! When you’re the voice of authority, your fans won’t tune you out.

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3. Don’t take yourself too seriously. Turn drama into comedy. The world’s longest-running radio drama has spawned a comedy podcast. And even though BBC’s The Archers (6 days a

Almost 400 acquisition executives spent their Sunday before MIPTV ensconced at the JW Marriott in Cannes screening 12 new buzzy

week, for 65 years!) features weighty themes such as spousal abuse, gay rights, Mad Cow and other 22m

farm crises, the super fans weigh in with their own reverential-yet-hilarious interpretations in the tribute podcast DumTeeDum (named for The Archers signature tune). The lesson here: Why not try genre-bending yourself? Produce a parallel show, in a di erent tone, on any platform. Lighten up – and your fans might just follow you anywhere.

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In the weeks ahead, we’ll look at top Digital Strategies from crowdfunding and videogames to multichannel networks. I look forward to receiving your feedback via Twitter in the run-up to MIPTV in April, where I’ll be moderating digital-focused panels. Image © BrAt82 via Shutterstock

37m 69





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CATHERINE WARREN Catherine Warren is the president of Vancouver–based FanTrust Entertainment Strategies, a management consultancy which helps entertainment companies with digital strategy and activation. Check out the consultancy's case studies at




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ESports: Come for the Superstars, Stay for the Digital Innovation


ESports: Come for the Superstars, Stay for the Digital Innovation by CATHERINE WARREN on MARCH 16, 2016





Shares Watching other people play video games might seem like the de nition of passive viewing. But eSports is where the action is right now when it comes to digital innovation and skyrocketing digital revenues. And while the “athletes” may not all be bu , they are after all video gamers, these champions sure know how to put on a powerful show for legions of fans around the world. The current global market for professional electronic gaming: $750m and counting, with money from sponsorships, ticket sales, gambling and merchandise – and this doesn’t include the millions and the billions that some video games earn from players. Commanding a worldwide fanbase of more than 200m, erce loyalty and massive buying power, eSports are exploding, while providing the rest of the entertainment industry with a roadmap to digital victory.

Get into the Game A couple of years ago, when Amazon paid $1bn for the online gaming network Twitch (a “YouTube for videogames”) many media executives and analysts scrambled – not just to comprehend the extraordinary valuation, but to understand the business model and even the basic entertainment experience. Today, with year-over-year revenue growth of 30 percent in the eSports arena, more companies and moguls want a piece of the action. Fresh eSports platforms are tapping multimillion dollar investments from media moguls such as Ashton Kutcher and Mark Cuban, while Turner Broadcasting and WME/IMG have bet that live video-game competitions are ready for primetime TV: in September, the companies formed a new e-sports gaming league, with


TBS set to broadcast 20 live events into 90 million homes over the course of 2016. Enthusiastic eSports audiences represent a desirable demographic: the majority have full time jobs, high incomes, tend to spend big on technology and subscribe to services such as Net ix and Spotify, according to the Canadian League of Gamers, a new group that plans to capitalize on

Tweets Sandra Freisinger Retweeted MIP Markets @mip Of course Dogs Might Fly gets a mention! Let’s see that

sponsor interest to establish professional championships.

emotional finale again #MIPTV #MDF #FreshTV

ESports tournaments for just one game, the massively popular League of Legends, drew an audience of 36m in 2015, much more than the NBA and Stanley Cup Finals combined, with League of Legends fans watching a whopping 360m hours of live eSports on screens large and small. The digital innovator behind these numbers: Riot Games, a role model when it comes to digital strategy, fan-building and business derring-do. YouTube @YouTube

07 Apr

Read the Riot Act – Top Takeaways for the TV Business

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How does Riot do it?

MIPTV: The Week in Drama… #MIPTV #MipTV2016

A great workplace: In 2015, Riot debuted at number 13 on Fortune’s “100 Best Companies to Work For” recognized for its spot-on employee motivators such as group trips to eSports tournaments, a video game allowance for sta and team courses ranging from mindfulness to

MIPTV: The Week in Drama - TVDRAMA Almost 400 acquisition executives spent their Sunday before MIPTV ensconced at the JW Marriott in Cannes screening 12 new buzzy

fencing. Outstanding fan focus: Fans are players too. And Riot knows how to nicely blur the lines between its proplayers and the home audience. Fans stay connected to League of Legends, to favorite champions and to each other, not just during tournaments but throughout the


As a group, fans spend more than a billion hours each year playing League of Legends and still they return for more.

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year. Riot knows how to keep fans in the fold and keep them coming back. As a group, fans spend more than a billion hours each year playing League of Legends and still they return for more, watching their superstars play to win in arenas and virtual arenas that transform “games” into “sports”. Superior digital platform: Combining the best of a live television experience with Net ix-style streaming, editorial news and sports stats as well as social media leaderboards, this platform


is an entertainment fan’s dream and a media company’s model-of-excellence. For the win: Riot Games shows big entertainment how it’s done when it comes to building a


formidable, digital competitive advantage.

Up Your Game In addition to taking from the best, what can traditional TV businesses do to capitalise on eSports? If you are a broadcaster with a brand and demographic that dovetails with eSports audiences, consider adding eSports to your programming schedule, including event shows, news round-ups and magazine-style aftershows. If you are a producer, cast eSports talent in your new TV shows to instantly gain rabid fans, launch a reality series featuring dynamic eSports rivalries or even create scripted drama – think “Friday Night Lights” set in the world of eSports. If you are a distributor, be sure you are placing your current, relevant avails beyond broadcast and onto Twitch,


YouTube and emerging digital platforms. eSports are here to stay. It’s game on, so prepare to compete and have fun.

Join our MIPTV crowd at the Digital Talks sessions, including the “eSports: The Next Big Play?” panel,


Monday April 4, 2016. I’ll be hosting the day’s events, and hope you’ll come by and say hello!

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"TV is everywhere"... that's why RTL Group co-CEO Guillaume de Posch says "TV" now stands for "total video", not "television". He explained the concept to Ali May, just after his visionary MIPTV keynote.

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More videos: CATHERINE WARREN Catherine Warren is the president of Vancouver–based FanTrust Entertainment Strategies, a management consultancy which helps entertainment companies with digital strategy and activation. Check out the consultancy's case studies at


APRIL 2, 2016


Time shifting and internet screens boost TV viewing times

APRIL 1, 2016


How to unlock the potential of video commerce

MARCH 30, 2016


Mobile up 15%, all-screen watch time down double digits – Nextgen TV viewing in gures

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The next session was eSports, The Next Big Content Play? Moderated by CEO and co-founder Peter Warman of Newzoo, it included James Glasscock, svp business development and Machinima, and Laurence Jones, commercial director at Endemol Shine Group.

"TV is everywhere"... that's why RTL Group co‑CEO Guillaume de Posch says "TV" now stands for "total video", not "television". He explained the concept to Ali May, just after his visionary MIPTV keynote. More videos:

Newzoo is something like a comScore of esports, and Warman kicked o with stats about what esports looks like. Esports is a sports segment in which pro-gamers engage in live competition. In terms of audience, Casual Viewers in 2016 account for 125 million people worldwide, while Enthusiasts—those who play in addition to watching esports games livestreamed online—total 131 million. By 2019 these gures will rise 11.2%—to 165 million and 180 million, respectively. Asia Paci c currently accounts for 44% of the esports audience.

As in sports, a large amount of the esports audience spectates and doesn’t play. “That audience skews older, richer and has families,” said Warman, breaking down one stereotype people assume about the sector—that it is primarily young, male and a bit skint. Speaking of, revenues per fan are also rising. Currently fans spend an average of $3.50, which is expected to yield global revenues of $0.46 billion this year, or a full one billion in the most optimistic estimates—meaning it’s rapidly catching up to traditional sports spend (which has the advantage of years on the esports sector, as well as a fully mature merchandising and advertising economy). But these numbers are not up to date, as Warman observes: “We’re going to hit $1B sooner than we realise,” he admits, because NewZoo did not account for major networks, like the BBC and Turner, beginning aggressive industry investments as soon as this year.


“Lots of game companies are suddenly building extra divisions on esports to monetise the viewing audience,” Warman went on. “There’s no escaping that the interactive media space is heading that way at an enormous speed. And interest from broadcast media is growing as well. Everybody has their own approach.” Game developer Blizzard, creators of the young and popular game Hearthstone, recently “hired a big media guy to help them become the ESPN of esports,” he added. James Glasscock of Machinima then approached the stage to talk about their numbers, which total 4 billion monthly views. “We’re taking a lot of programming to premium window distribution” this year, he said. Before 2015, Machinima primarily distributed on Twitch and Youtube; moving forward, “you’ll see more premium windows”—as is the case for its web programme Chasing the Cup, which aired on broadcast networks in US:

Chasing the Cup: Fresh Start [EPISODE 1]

Endemol Shine’s also released its own esports-tailored o ering, dubbed Legends of Gaming, just one example of what the company has planned for this lucrative market, according to Laurence Jones.

Legends of Gaming Trailer

While people may be incredulous to learn that millions want to watch others play video games online, 80 million hours of just such esports content was consumed on Twitch alone in one month, per Warman. “It’s a very tribal phenomenon that crosses boundaries. The nature of gameplay doesn’t change regardless of geography,” so people in France can play with people in California; the sector is by nature an international one. “300 million fans of esports is starting to rival major leagues like the NFL and NBA in the United States,” Glasscock added.


This is impressive, given that “Gaming has only been around for 100 months rather than 100 years,” said Jones. “Esports is a natural evolution of online multi-player competition. Just because that’s married to the growth of gaming in general, where mobile phones led the way with that, the audience has grown very quickly—so people are slowly noticing.” Brands are waking up to the opportunity, too. “You’re starting to see the beginning of consolidation” in the sector, said Glasscock. “Modern Times bought ESL and Dreamhack; Turner Broadcasting introduced the e-League, which willl launch in May. Esports starting to take a similar path to other sports leagues in the evolution of sports.” Except that monetisation will be faster; sports experienced decades of consolidation, with advertisers and corporate sponsors integrating progressively. “In esports, all of that has moved faster, thanks to enabling technologies like Twitch and the internet,” said Glasscock. “It’s a very economical way for advertisers and content distributors to reach millennials. It’s more e

cient than more expensive types of traditional programming.”

Building on that, Warman said that Matt Wolfe of Coca Cola—a longtime esports sponsor— called esorts a better investment in terms of e ective reach compared to the Super Bowl. And it isn’t just for guys. “The fastest growing audience of gaming on Youtube is females over age 25. The audience is a lot bigger than male; it’s females and families,” asserted Jones. Tablet gaming and mobile will also transform the sector. “Mobile has been very disruptive,” said Glasscock, pointing to Vainglory’s recent three-year contract announcement with Twitch. Vainglory, the rst-ever purely-mobile esports game, has existed for less than a year. “It’ll be interesting to see how esports evolves on mobile.” And there’s a lot to be gained by working to help mainstreamise esports, which is still on its quest for its own football—a game anyone can enjoy, even if they don’t necessarily know the rules. Mainstream broadcast will be a big aid. “I don’t see esports disrupting traditional distribution; I see it aligning with it,” said Glasscock. “It’s about content and context, the relationship between pro-gamers and fans, pro-gamers and fans and the game itself,” Jones added. “Broadcasters must identify how they’re going to tell a story and what story they’ll tell. They must commit to and own that arena. We’ve got a challenge to work out how we tell that story. It’s exciting.” Your biggest partner in this respect may well be the publishers themselves. “That’s how you’re gonna produce the best content,” said Glasscock. “Some are more hands-on than others. Riot is very active in managing their IP. Activision is taking a similar path, whereas Valve partnered with Turner for their e-League on TBS. It’s unclear what’s the right model; there’s always something to be said about focusing on the core business. At Machinima, that’s what we do: Our core business is storytelling. We think publishers appreciate that.” He encouraged interested parties to get educated before jumping in, and reinforced the opportunity to reach young male audiences at a low price point. “The sponsors who put their money on the table and started participating have already recognised this and are doubling down.” “Identify and target the genre and game you feel is appropriate to you, use a mix of media approaches,” Jones added. “Go for it long term, talk to the community, to the games.”







Voice are Periscoping live before, after and even during shows, for example. “We’re also seeing comedians and drama stars… goggleboxing,” he said: they broadcast themselves on Periscope watching the show they were in, and talk to fans about it. “It’s an amazing way to put the audience into the palm of your hand,” said Biddle. Is there advertising on Periscope? “At the moment we haven’t seen that, there’s no model for that

Tweets WorldScreen @worldscreen MIPTV: The Week in Drama… #MIPTV #MipTV2016

at the moment. In theory if you were standing in front of a board that had advertising on it, like

MIPTV: The Week in Drama - TVDRAMA

Match of the Day, you could do that,” said Biddle.

Almost 400 acquisition executives spent their Sunday before MIPTV ensconced at the JW Marriott in Cannes screening 12 new buzzy

Sörman talked about the appeal of live for creators: YouTubers can nd editing the “perfect”


content for YouTube or Instagram quite stressful, whereas live is more raw and relaxed, whether it’s broadcasting live through their own app, or ring out short video clips through Snapchat. Keenan was asked about original content on Streamup, and how important that might be. “A lot of the strong television formats and some of the strong online-video formats on YouTube can be done live: live reality shows, live beauty tutorials, live pranks,” he said. “If my reading of

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entertainment history is any indication, it’s a huge disruption… It’s becoming the new must-watch appointment-to-view television.” He noted that while the viewership of reality television on traditional channels has been going down, the viewership of online vloggers has been going up. “While the reality shows became less real: scripted faux-reality… the video bloggers were looking into the camera and talking to people, and engaging with them in the comments.” Sörman agreed: “Everything is really turning into live. People are looking for the content that is real, and what is more real than live?” he said. “This will drive the experience across all platforms. It needs to be video, it needs to be live.” Keenan noted that there have been live platforms before in the past, many of which were before their time. “It’s really to me the shared viewing experience

27m Jonathan Laor Retweeted Natan Edelsburg @twatan #MIPTV 2016: @Applicaster's @petercassidy_ on how RTL & América Televisión use them:

and the interactivity and the chatting between the viewers that has made our platforms grow so fast.” Keenan talked about how people make money: tip-jar donations are working well for creators. Brands are moving in to live video fast, he added. “Wherever the eyeballs go, the advertisers follow,” he said. Meanwhile, Sörman talked about how online in uencers operate. “They see their audience like a family, where they really hang out with them. And the fans see the YouTubers or 05 Apr

the in uencers as their best friends. It’s why the branded entertainment deals with these in uencers are so powerful: it’s your best friend who tells you to buy this car or whatever.” Sörman talked about one young Swedish YouTuber’s recent near-live broadcast of something


unusual: doing her housework. “She cleaned her room for one hour and 42 minutes. And this video got 1.5m views in Sweden out of a population of nine million!… And there’s now this YouTube tag where the kids are all cleaning their rooms. It’s good for parents!” Keenan wrapped up: “The viewer is the new studio boss and the crowd is always right. There’s no more force-feeding content down the throats… or just doing something similar to a hit before.”





Delport announcement of Studio+ in our breakdown of his epic keynote on the power of mobile and the need for premium content. Studio+ will notably valorise European and Latin content and collaborators.)

Tweets WorldScreen @worldscreen

#MIPFormats: The No. 9 hashtag, especially in reference to this week’s most-viewed MIPBlog post

MIPTV: The Week in Drama… #MIPTV #MipTV2016

—for our MIPFormats International Pitch report, not forgetting Fresh TV Formats, which notably

MIPTV: The Week in Drama - TVDRAMA

included Dogs Might Fly and a multiplicity of reality formats about “virtual” ways of cultivating

Almost 400 acquisition executives spent their Sunday before MIPTV ensconced at the JW Marriott in Cannes screening 12 new buzzy

relationships, like Date My Avatar.


“A plateau was reached two years ago when people started worrying about too many extreme formats—things that were exploiting people, and too many talent formats,” said Newby of MIP Publications. “The formats market was being polarised, and talent plateauing out. Commuting to online is a way of testing out the next big thing. It’s low budget and mass market. The best formats are water cooler moments that can be tested and experienced in groups.”

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Bisson of Ampere Analysis observed that much of the content we saw speaks most to the millennial market. “I’m slightly older—generation X, before the millennials—and swiping on appearance” (à la Tinder) “isn’t part of my makeup. I think that’s re ected in the new dating formats.” “Another thing captivating millennials is the trend towards live,” Warren added, pointing to the prevalence of Periscope and other livestream o erings, such as Facebook Live. “Talk about


fresh, raw and unedited! These young celebs and talent are throwing themselves up there and not feeling like anything has to be done, let alone hair and makeup.”

Jonathan Laor Retweeted Natan Edelsburg @twatan

Nordic World’s The Stream, for example, leverages live to draw more attention to burgeoning pop stars.

#MIPTV 2016: @Applicaster's @petercassidy_ on how RTL & América Televisión use them:

#factual: This hashtag was responsible for 2 of the top 10 @mip Tweets, driven in great part by Morgan Spurlock’s galvanising keynote on Saturday. “Morgan Spurlock’s very interesting because he encapsulates everything. He’s a branded content man, makes lms for theatre, and works with brands. He’s a 360 guy,” said Newby, building on 05 Apr

credentials to add weight to Spurlock’s conviction that we’re in a golden age of factual entertainment. But factual, he noted, has also evolved from our common understanding. “You have to ask the


question, what is factual?” Newby went on. “Making a Murderer was one of the most compelling things we’ve ever seen, and Jinx as well. I binged it, and I don’t binge factual, because it was edited like drama and left information out like a drama. They blurred the lines between factual and ction.” After explaining that his millennial kids turned him onto the aforementioned programmes, Newby observed that Making a Murderer “was trailer park trash at its worst, shown with all its warts. But we followed it because it was beautifully edited. Sometimes you forgot that it was not drama.”

# ction: The MIPDrama screenings were featured in the MIPBlog top 10. There were 58 shares for


the Fresh TV ction report, plus, just today, The Hollywood Reporter reported on Net ix beating Channel 4 to secure Black Mirror. “That is a possibly game changing example of a new player beating a traditional player to secure the rights for new series,” said Martin, who asked the panel how they believed it would change the game.


“The money Net ix is spending on new drama is a phenomenon compared to what they make, which we don’t know, so they’ve been changing the game” for a long time, said Newby,

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who wittily added, “windowing goes out the window!”

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“The trend for global licensing, driven by Net ix and some others, changes how content is produced,” said Bisson. “It encourages cross border co-prododuction because you want a story that works in many markets, not just the UK or US. There’s de nitely a shift towards internationalisation, co-production, and global licensing—key, going forward.” Bisson also observed that, 15 years ago, Sky was a disruptor. “Everyone is moving in the same direction. It’s about control of rights. Global rights have become an incredibly valuable asset in TV industry.”

MIP Markets 4h

"TV is everywhere"... that's why RTL Group co‑CEO Guillaume de Posch says "TV" now stands for "total video", not "television". He explained the concept to Ali May, just after his visionary MIPTV keynote. More videos:

Flomenbaum of Found Remote on The Drum pointed out that Net ix and Hulu all started as primarily content licensors and are increasingly original content-heavy. “It’s all about data: Net ix uses it to inform content they’re creating,” he said. But it isn’t the only one, either: “Twitter is banking on their resonance with sports fans and know they can sell around the NFL deal, and Facebook stands to gain the most from getting into the original content space. They have the most deterministic data about everyone on their platform and can create content around those people.” Net ix pioneered that model with data-driven shows like House of Cards, but Facebook can take it one step further, Flomenbaum predicted. “Sky’s now spending a lot of money on original drama. But headlines about its premiership deal a year ago, that represents billions,” Newby said. “That’s something they have to do to maintain their position, and it’s something you’re not gonna see Net ix do for quite some time.” “Sky’s been backing away from a number of sports, and they’ve let BT take some away quite happily,” Bisson countered. “The Premier League is an exception; one of a kind.”

#VR: This was our No. 8 hashtag, with 40 RT’s and likes for tweets around our MIPBlog report about what virtual reality represents for TV. “I have two words for VR: Excitement and questions,” said Bisson. “The question is, will it be another 3D—will it op and disappear? It has similar constraints: a headset requirement, and investment in new technology. What was very clear from this market, though, is it’s not actually about the tech but about the content. So what sort of content will work well?” He noted that Discovery and Fox Sports are making aggressive moves into the arena, but it remains a new world that needs mapping. “How do you create a toolkit of techniques to drive the viewer through the environment?” The pathway to this is clearer for games, where users have objectives, but less evident for TV. “The content has to come or there will be no market,” he said. Warren pointed to the educational value of the experience. What if you could immerse yourself in the events of the Arab Spring, and in the end develop more empathy for the people who actually experienced it? And Flomenbaum pointed to VR’s implications for the travel industry: “It will never replace experience, but it will create FOMO (fear of missing out) moments that drive people to want to experience things for themselves.”

#esports: This topic alone generated 42 shares for MIPBlog’s report on whether esports would become the next great content powerhouse. Esports is a space that represents pro-level gamers competing live in video games, and enjoys an


“Live video streaming inspires new talent and provides new platforms for traditional TV to get in front of the fans instantly.�





With thanks to the Bell Fund, where I serve on the Board as Communications Chair, for sponsoring the MIPTV Digital Talks; to Reed Midem and the MIPTV team for VIP event hosting, editorial coverage, blog publishing and colorful photography; and to the International Academy of Television Arts & Sciences, where I serve on the Nominating Committee, for a wonderful night at the Kids Emmy Awards, held for the first time in Cannes. Catherine Warren, President, FanTrust April 2016


You can find out more about FanTrust and grow your entertainment business with Digital Strategy by contacting: Catherine Warren, President +1 (604) 724-4609 Read Client Success Stories: Follow us on Twitter @FanTrust


FanTrust at MIPTV 2016  

Digital Articles & Panel Discussions A selection of top trends, key commentary and timely coverage from The World’s Television Content Mark...

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