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March 2012


www.mipdoc.com The official MIPDoc magazine



Also inside: • MIPDoc International Pitch

David Lyle Adam Gee Brandon Litman

• Conference highlights • Factual programming for sale • The science of pitching • Documentary co-production


• Factual goes digital

COntents i nEWS


NatGeo Channels’ new CEO, David Lyle; MIPDoc International Pitch; Channel 4’s Adam Gee; One Day On Earth’s Brandon Litman



A round-up of the diverse range of factual programming to be found at MIPDoc this year


DOCUMENTARY ROUND-UP Bob Jenkins talks to commissioners and producers to discover who wants what


FACTUAL CO-PRODUCTION Does co-production ensure the health of the market for blue-chip documentaries? Andy Fry investigates


DIGITAL DOCS In a connected world ordinary people are providing content for factual programming. Juliana Koranteng reports


ARCHIVES Bob Jenkins sheds light on this resilient sector



10 Photo: ©BBC

i features


23 mipdoc preVieW The official MIPDoc magazine March 2012. ®

Director of Publications Paul Zilk EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Marie Moinier, Carole Peres Sub Editor Joanna Stephens Proof Reader Debbie Lincoln Contributors Andy Fry, Bob Jenkins, Juliana Koranteng Editorial Management Boutique Editions, UK PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinators Nour Ezzedeen, Emilie Lambert, Amrane Lamiri Production Assistant, Cannes Office Eric Laurent Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Anne de Kerckhove Director of the Television Division Laurine Garaude Sales Director Sabine Chemaly Director of Market Development Ted Baracos Conference Director Lucy Smith Marketing Director Stephane Gambetta Programme Director Karine Bouteiller Managing Director (UK / Australia / New Zealand) Peter Rhodes OBE Sales Manager Elizabeth Delaney Vice President Sales and Business Development, Americas Robert Marking Vice President Business Development, North America JP Bommel Sales Executive Panayiota Pagoulatos Sales Managers Paul Barbaro, Nathalie Gastone Regional Sales Director Fabienne Germond Sales Executives Liliane Dacruz, Cyril Szczerbakow Sales Manager Samira Haddi Digital Media Sales Manager Nancy Denole New Media Development Manager Bastien Gave Australia and New Zealand Representative Natalie Apostolou China Representative Anke Redl CIS Representative Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Latin America Representative Elisa Aquino Middle-East Representative Bassil Hajjar Poland Representative Monika Bednarek South Korea Representative Sunny Kim Taiwan Representative Irene Liu Germany Representative (Digital Media Sector) Renate Radke Adam Published by Reed MIDEM, BP 572, 11 rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France. Contents © 2012, Reed MIDEM Market Publications. Publication registered 1st quarter 2012. ISSN 1963-2258. Printed on 100% recycled paper

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WANT TO KNOW MORE? Media Mastermind Keynote Friday, March 30, 17.00-17.45, Conference room




Lyle to address MIPDoc audience after taking the reins at Nat Geo

THE MIPDOC International Pitch is an annual competition open to all creators and producers of factual programming looking for financing partners to develop their projects. Six of the best applications received will be pitched live in front of an international panel of commissioning editors and broadcasters during MIPDoc. The live pitch session brings together an international audience of producers, distributors and journalists from around the world. And for 2012, MIPDoc has teamed up with open funding platform IndieGoGo (indiegogo.com) to create a dedicated MIPDoc partner page. Entrants can promote their projects and pitch for investment online. Via IndieGoGo prospective producers and directors can create funding campaigns to raise money for individual projects. So far the site has raised finance for some 60,000 campaigns, across 211 countries. Selection for the MIPDoc International Pitch is based on innovation and originality, in storytelling techniques, characters, look, story and themes; and international appeal — projects chosen will have the potential to be developed and aired to international audiences. The final six selected projects will be pitched live in Cannes during MIPDoc, on Friday, March 30.

MIPDOC HIGHLIGHTS A SERIES of conference sessions and workshops designed to grow business for participants will be held during MIPDoc. Among them: • How To Pitch (March 30, 09.30), a round-table workshop during which leading documentary players explain how to make every pitch count. • What Do Buyers Want? (March 30, 11.30) a session where buyers reveal their programming strategies for the 2012 and 2013 seasons and beyond. • Face To Face With Buyers & Commissioners (March 31, 09.00), a matchmaking session where participants pitch to international executives looking for new projects. • Funding And Money Matters (March 31, 10.30) offers new ways of getting funds in the digital era. • New Transmedia/Factual Programming Experiences (March 31, 11.45) explains how new documentary production models are emerging through the latest ideas in cross-media audience engagement. • Co-productions For Success (March 31, 15.30) reveals new international co-productions, new financing models, and new ground-breaking ventures. 4I


ORMER Fox Look president David Lyle took what he describes as his “dream job” just before MIPCOM last year. At MIPTV, the newly-appointed CEO of National Geographic Channels gives the Media Mastermind keynote on Friday, March 30, at 17.00. So after little more than six months at the helm, what is the TV veteran’s assessment of the international market for documentary? “It’s changing right across the board,” Lyle said. “It seems that series are in the ascendance. So for the one-off doc, while there are more of them, proportionately per channel there are fewer.” And this is down to marketing as much as budget. “The amount of publicity you put into a one-off doc, it’s hard to justify that. Whereas if you publicise a docu-series the effectiveness of the publicity dollar goes further.” Nat Geo has had recent success with the series Witness, which uses a considerable amount of user-generated video and included an episode on the capsizing of the Italian cruise ship Costa Concordia. “A lot of the video is from the passengers, and what you might lose in beautifully composed and fabulously lit shots, you gain in immediacy. You get a sense of what the individuals right there were feeling at the time.” At Nat Geo Lyle is aware of a legacy that is to be upheld. “I am very mindful of the fact that the brand has been established over the past 124 years as having accuracy and

David Lyle: “Series are in the ascendance”

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credibility, so we need to be extra vigilant that we are paying attention to that sort of thing.” He added: “But National Geographic Channels around the world are commercial TV channels and the commercial TV remit is ‘Get lots of people in’. So I am looking for that unique area that can be popular, but still coincides with the National Geographic brand.” So will we see any radical changes at National Geographic Channels with the arrival of David Lyle? “No. I’m trying to look at the whole spectrum. I don’t have pre-conceived ideas. Will we do Natural History blue-chip docs? Absolutely. Will we do programmes about sub-cultures? Absolutely.” And for feature-length documentary, Lyle is talking to a number of directors in the genre to see what can be done in the television space. “We will see how Senna does at all the awards ceremonies around the place. I think t hat t ho s e types of documentary can always stand out.”

i neWs WANT TO KNOW MORE? Commissioning 360 Keynote Friday, March 30, 14.30-15.15, Conference room


Gee the wiz shares audience-building skills ADAM Gee, head of cross-platform commissioning at Channel 4 UK, is at MIPDoc to share his expertise in turning TV series into interactive transmedia experiences, at 14.30 on March 30. Focusing primarily on primetime factual series, digital wizard Gee has had awardwinning success in building huge online audiences. “Last year, we created an online switch-over show called Embarrassing Bodies: Live which in turn gave rise to a new TV series, Live From The Clinic, enabling people to consult medical experts about their problems via a Skype link. This year we’re going mobile with three new apps.” For Gee, the significance of these activities goes well beyond their

entertainment value. “For the channel, there’s strategic value in the data we gather. More widely, Embarrassing Bodies has had an impact on the way people actually behave regarding their health.” Last year, for example, based on figures from the UK’s National Health Service, Embarrassing Bodies’ online symptom checkers saved the National Health Service around £410,000 ($650,000) in its first three months by reducing the need for doctor appointments. In another high-profile project, Big Fish Fight, C4 spearheaded a campaign to stop dead fish being dumped back in the sea after being caught. “A week after C4’s transmission, 500,000 people had signed

an online petition, and within six weeks the EU had committed to change its fishing policy,” Gee said. Gee is constantly looking to break new ground with his digital budget. Recent examples of this include The Sexperience 1000, an online data visualisation project that provided graphic insight into the sexual landscape in 21st century Britain. Coming into 2012, he launched New Year Revolution, a 31day online challenge that explored whether people are more successful keeping their New Year resolutions if they do them as part of a group. Completed at the start of February, Gee should be ready to give feedback on that by the time he reaches Cannes.

Channel 4’s Adam Gee: “there’s strategic value in the data we gather”

WANT TO KNOW MORE? Collaborative Creation Keynote Saturday, March 31, 17.00-17.45, Conference room


One Day On Earth is a ‘dream come true’ BRANDON Litman presents global video project One Day On Earth to the MIPDoc audience at 17.00 on March 31. Founded in 2008, the collaboration was the first-ever simultaneous filming project to occur in every country of the world — on October 10, 2010 — and the result was a unique ‘geo-tagged video archive’, as well as an upcoming feature film. It happened again on November 11, 2011 and Litman will explain to MIPDoc delegates how the project has evolved in that short time. The project has brought together a wide range of filmmakers from around the world, “and many of them share a range of incredible stories”, Litman said. “From the very personal ones, such as a young boy from the Netherlands who, due to a debilitating disorder, had a life expectancy of 10 years. A filmmaker by the name of Jonathan Sterkenburg documented him and his family on his 10th birthday, which happened to be on October 10, 2010. There are thousands of professional media creators in the community and the quality of the film and 6I

stories in the film speaks to that — it’s hard to single out just a few.” Funding the project was a challenge from the outset. “We broke the piggy bank to get it off the ground, but used every tool in the shed to keep it alive,” Litman said. “We pre-sold DVDs, did a Kickstarter campaign, and eventually secured a few grants.” And at MIPDoc Litman aims to extend the project beyond its 28,000 members and introduce it to the business community in Cannes. “The content we are aggregating and producing is not only valuable from a business perspective, but we see incredible value in the educational component and as a capacity building exercise for our many NGO partners. Given this rare combination of both content development and social goodwill, we will be able to create a variety of revenue streams.” And soon after MIPTV the film gets its world premiere. “We plan to screen the film in every country in the world on the same day in April. Working with UNESCO, we are securing World Heritage Sites as venues. It is a dream come true.”

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Brandon Litman: “a dream come true”

PrOductnEWs MIPDoc Preview highlights some of the factual content available at MIPDoc, and onwards at MIPTV… MONSTER DISTRIBUTES









A SPECIAL tribute to late singer Amy Winehouse, When Amy Came To Dingle (45 mins) forms part of Other Voices (80 hours+), an HD series featuring performance and interviews with musicians. Other Voices New York, a one-hour special narrated by Gabriel Byrne, featuring artists from both sides of the Atlantic, celebrates the 10th Anniversary of the series. Planet Rock Profiles (130 x 30 mins) is an ongoing biographical series featuring celebrity music artists. A newly updated Coldplay episode is screening, and other episodes include: Alicia Keys, Pink, Sheryl Crow, Beyonce, Shakira and Black Eyed Peas, among others. Monster also brings Bruce Lee – In Pursuit Of The Dragon (90 mins/HD), and Bruce Lee – A Warrior’s Journey (97 mins), which includes action sequences destined for the film he did not live to complete.

THROUGH Your Eyes (40 x 26 mins) is an HD journey around the world from a unique perspective. Sophie Massieu is a journalist who has worked with L’Express, Liberation and Le Figaro, among others, and has been blind from birth. She travels with her dog Pongo to destinations all over the world to experience what she calls humanity’s intangible heritages. Sophie becomes a guide to the atmosphere, customs and traditions of the world, from an unexpected perspective.

HEADING up the catalogue for Goldcrest at MIPTV is The Tsunami And The Cherry Blossom (40 mins), directed by Lucy Walker. The film profiles the survivors in the areas hardest hit by Japan’s devastating tsunami who find the courage to revive and rebuild as cherry blossom season begins, building into a visual poem about the ephemeral nature of life and the healing power of Japan’s most beloved flower. The film, which features photography by Aaron Phillips and music by Moby, won Sundance Film Festival’s Jury Prize and is nominated for an Academy Award.

Filming Through Your Eyes (Upside Television)


When Amy Came To Dingle (Monster Distributes)


STILL Screaming: The Ultimate Scary Movie Retrospective (53 mins/93 mins) is a HD film, produced by Masimedia, that looks at the history of the Scream film triology. This documentary features rare on-set footage and candid interviews with dozens of cast and crew members, including director Wes Craven and stars Neve Campbell, David Arquette, Jamie Kennedy, Matthew Lillard, Liev Schreiber and Henry Winkler.


HISTORY: Science Or Fiction?” (12 x 52 mins), available in HD, that aims to take a new look at the history of mankind. In the show researchers look at the real facts of history that might be completely different from what is generally accepted.


Still Screaming: The Ultimate Scary Movie (Solid Entertainemt)

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The Tsunami And The Cherry Blossom (Goldcrest Films)


LOVE For All is a feature-length documentary that takes an in-depth look at the adult film industry, from the use of state-of-the-art technology to the connections that fans make with their favorite film stars. The film includes commentary from top names in the adult film industry, including Aurora Snow, Jessica Drake and Dana Dearmond. The film is directed by Ama MacDonald, whose previous film, Being Captain Zero, brought to light the story of two retired drug smugglers.

iproductneWs A+E NETWORKS







MANKIND The Story Of All Of Us is a new cinematic 12-hour mini-series from History that looks at the human race from its beginnings, with use of CGI and dramatic reconstructions of critical events in human history. Subjects covered range from the first tools to the construction of the pyramids, the birth of agriculture and revolutions in military technology, through the Vikings’ landing in America and discovery of new worlds, culminating in the industrial revolution and the making of the modern world.


FRENCH Greatest Chefs (10 x 52 mins) is a worldwide tour of restaurants, hotels and rural taverns where the stars of French gastronomy live and work. The series, which is offered to the international market for the first time at MIPTV, follows the chefs in their daily lives as they explore their passion for taste. The series is produced by AB Productions.


ACCESS was gained to FBI files for WMR’s The Mafia’s Greatest Hits (13 x 50 mins), which uncovers the extraordinary truth behind some of the Mafia’s most notorious killers, recognising that killing was used to establish territory and hierarchy. WMR is also highlighting Great Crimes And Trials (26 x 26 mins), which looks at 26 trials that gripped the world and the crimes that led to them. Examples include the Railroad Killer in the US and the lesbian vampire murders in Brisbane, Australia. The series features original interviews with victims, victims’ families and prosecutors, as well as original footage of some of the trials.

Mankind The Story Of All Of Us (A+E Networks)


French Greatest Chefs (AB International Distribution)

The Mafia’s Greatest Hits (World Media Rights)


THE MIPTV catalogue from ARTE includes: Ballad For A Queen (52 mins/90 mins), which looks at the British monarchy, in celebration of the 60-year reign of Elizabeth II; It’s A Bet! (52 mins), which explores the international criminal gangs involved in manipulating internet betting on competitive sports; Football Rebels (5 x 26 mins/90 mins) which profiles some of the feats and achievements of star players on the international football scene, narrated by Eric Cantona; and 360° Geo Report (126 x 52 mins) an HD series that looks into the lives and work of exceptional men and women around the world. Ballad For A Queen (ARTE) 10 I







WIDE Open Road (3 x 60 mins) is a documentary series, with multi-platform elements, that takes a trip through the 20th century looking at how the car has been a driving force behind social, political and economic aspects of human life. The series profiles some of the important models that have been produced over the years, the people who have driven them, and the people from all walks of life who love them.

DISCOVER China has been in production on a series of programmes about varied aspects of Tibetan life and culture since 2005, including Young And Holy, One Day In Tibet, Tibetan Delicacies, Tibetan Medicine, Tibetan Drama, Tibetan Artisan And Craftsman and Thangka. The series has high-definition picture quality and an English-language voiceover. The first two titles have been released, and the remaining programmes are in production.

Wide Open Road (ABC Commercial)

Tibetan Medicine (Discover China Production)

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USING a blend of specially shot real-life sequences and CGI, The Human Body In 3D (2 x 60 mins) tells the story of the pioneers who are at the vanguard of new research to reveal how the human body really works, including inside a human heart, the brain, inside eyes, and skin. The programme features a sword swallower who swallows a stereoscopic endoscope for an up-close look at the digestive system, and looks inside a beating human heart to watch in real time as faulty valves are repaired.

RAGGIES – A Mouthful Of Teeth heads-up a roster of new natural history programming brought to MIPTV by Earth Touch. The Raggedtooth shark can replace up to 30,000 teeth in its life and is a cannibal before it is even born, using its needle-like teeth to kill and eat its siblings while still in the womb. This documentary follows this shark, one of the most successful predators in the ocean, on its biannual migration along the coast of South Africa, revealing its key role in the local ecosystem. Other new one-hour titles include: Maneaters – Love On The Run; Coelacanth – The Great Survivor; Venom Island; and Underwater Okavango.

Raggies – A Mouthful Of Teeth (Earth Touch)

Anna’s Wild Life (Content Television)

DCD RIGHTS The Human Body In 3D (Cineflix Rights)





ARGENTINIAN Lesson, a documentary made by Wojciech Staron, is brought to MIPTV by Polish public television company TVP. The film follows the process of a slow integration of a young boy into a completely new cultural environment. The film has won prizes at documentary film festivals in Leipzig, Florence and Guangzhou, and has been mentioned as one of the top five European films of 2011 by the CineEuropa.

Argentinian Lesson (TVP)

WORKING in the Alaskan waters is one of the harshest environments imaginable. Coast Guard Alaska (10 x 60 mins/HD) follows dangerous search and rescue missions, and a group of new recruits as they train to join the ranks. The series is produced by Al Roker Entertainment. The company also brings The Parole Diaries (13 x 60 mins /HD). Over two-thirds of inmates in the US will be re-incarcerated within three years of their release. This series follows six parole officers — veterans and fresh recruits — through their most difficult and heart-wrenching cases.

Coast Guard Alaska (DCD Rights)

MIPTV marks the debut of a new season of six half-hour shows for the series Anna’s Wild Life, featuring Anna Ryder Richardson and her team as they run a wildlife park. The team is developing breeding programmes for endangered species, and focusing on education and conservation, particularly of the native wildlife of West Wales. Going behind the scenes to discover what it takes to keep the exotic collection healthy and happy, from raising baby meerkats, accommodating highly endangered and dangerous species, and providing some complex training to Steve, the zoo’s resident gibbon, the HD series brings the total number of episodes available to 14.


MIPTV priorities from the Albatross catalogue include: On The Trail Of Evil (52 mins), which gives an insight into the minds of psychopaths, featuring a series of experts looking at how decent humans can become ruthless murderers; The Forest Of The Spirit Bear (52 mins), which features one of the rarest species on the planet, The Kermode, a genetically unique white black bear that lives in the Canadian rain forest; and Giants With Mud Feet looks at the crisis facing elm trees in Europe and America with the spread Dutch Elm Disease.

On The Trail Of Evil (Albatross World Sales) www.mipdoc.com I preview magazine I March 2012 I 11

iproductneWs ELECTRIC SKY







ELECTRIC Sky returns to MIPTV with a wildlife special and factual social series. Secret Life Of The Rainforest (50 mins), available in 2D and 3D, follows scientists from the Smithsonian Tropical Research Institute on their quest for the rare species that live in Panama’s rainforest. The Specials (6 x 30 mins) by Kada Films is a series following Sam, Hilly, Lucy, Lewis and Megan, five friends with special needs who share a house with Hilly’s parents. The group have been friends since childhood and are now twenty-somethings experiencing the ups and downs of everyday life.


PLAY is a 52-minute special from Bonne Pioche Television for Canal + that looks at the human condition through sport, exploring how people unite to express group identity and excel in physical performance. Confirmed champions’ interviews include: Jonny Wilkinson (rugby), Katarina Witt (ice skating), Catherine Destivelle (rock climbing), Oscar Pistorius (athletics), Haile Gebreselassie (running), Nicolas Karabatic (handball) and Eric Cantona (soccer).


FROM draft dodging to the Dayton Accords, from Monica Lewinsky to a balanced budget, the presidency of William Jefferson Clinton veered between scandal and achievement and Clinton (4 x 53 mins/HD), the latest in American Experience’s Presidential series, recounts this fascinating career. Secrets Of The Manor House (53 mins/HD) looks at how life was in Edwardian British houses and how mounting financial, political and social pressures were about to bring momentous changes to both the wealthy and their servants. With eye-witness testimony from key figures at the Fukushima nuclear complex, Inside Fukushima (53 mins/HD) investigates the the crisis. Last Days Of Man (2 x 54 mins/HD) is a scientific examination of the natural and manmade disasters that have the capacity to annihilate the human race.

Secret Life Of The Rainforest (Electric Sky)


Play (Europe Images International) Clinton (PBS International)


USS FRANKLIN: Honor Restored brings to life the compelling saga of the USS Franklin. Directed by Robert Child (Silent Wings), and narrated by actor-director Dale Dye (Platoon, Saving Private Ryan, Band Of Brothers, The Pacific), this documentary is a visual account of USS Franklin and the carrier war in the Pacific. Included are interviews with survivors, who give their eye-witness accounts and share their most intimate and emotional memories of the disaster.

USS Franklin: Honor Restored (Janson Media) 12 I


BETWEEN The Lines (52 mins) profiles five street artists and their reactions to Toronto’s war on graffiti in 2011, as they try to mobilise a fight back. Lesbians, gays, bisexuals and transgendered (LGBT) have seen many aspects of society open up, but in the French-language documentary 70 Years Old … And In The Closet? (49 mins) the question of whether this applies to people of all ages is examined. An English script is available to this programme, and also for Searching For Etienne Brule (49 mins), an examination of the life of the adventurer from two viewpoints — a school animation project, and a historian’s point of view.

Between The Lines (HGagnon Distribution)

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HOLY War (5 x 50 mins) is an HD series that looks at the relationship between Islam and Christianity by delving into the past in order to understand the present, tracing the mobilisation of religious sentiment for political purposes, and shows how false notions of Islam and Christianity are entrenched in our consciousness. Featuring live-action dramatisations and CGI, Holy War consults experts of both faiths to explain how the relationship has evolved.

Holy War (ZDFE)







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MOUNTAIN Love Story (52 mins) follows Polish alpinists Eliza Kubarska and David Kaszlikowski as they take a journey to the fjords of southern Greenland to reach one of the world’s highest sea cliffs. The huge granite wall is reachable only by kayak across a deadly cold sea. They then climb 1,500 metres of cliff-face, all for a kiss, in this heart-warming film. First Hand also brings Beer Is Cheaper Than Therapy (55 mins/78 mins), which looks at the problems American soldiers have when they return home, facing up to what they have had to do in the field of battle.

ZODIAK has acquired worldwide rights for four new titles presented at MIPTV. From ZKK comes My Daughter The Teenage Nudist (60 mins), an amusing documentary following a group of young nudists over one summer, and from Nine Lives comes Burnt Alive (60 mins), which tells the story of Terri and her estranged mother who accidentally scared her for life. Finally, two shows from Special Edition Films: Love On The Transplant List (60 mins) about a cystic fibrosis sufferer as she awaits a double lung transplant; and Battling The Big Freeze (3 x 60 mins) which examines recent extreme weather patterns.

HEADLINING the slate is Super Spider (52 mins), produced by ZED and Nova Media for ARTE, Ushuaia TV, National Geographic US, High Fidelity and TV5 Canada. The HD documentary uncovers the secret super powers of a creature we have been taught to fear. On the eve of the French presidential elections of 2012, ZED also brings Looking For Nicolas Sarkozy produced by Roche Productions for ARTE France, RTBF, VRT, YLE, NRK, SVT, ERT, Telewizia Polska, RTV Slovenija, Ceska TV and ERR. Director William Karel draws a political portrait of Sarkozy through the eyes of foreign media analysts.

Mountain Love Story (First Hand Films)


THE PRODUCTION team for Inside F.D.N.Y. Training Center gained unprecedented access to New York’s firefighter training centre, which has been extensively enhanced, at Randall’s Island. The HD show, which is available in 60-minute, 26-minute and special news footage versions, includes interviews with 9/11 veterans.

Inside F.D.N.Y. Training Center (Panini) 14 I

My Daughter The Teenage Nudist (Zodiak Rights)


NHK BRINGS a range of programmes related to the Fukushima nuclear disaster to MIPTV. Titles include: Steps To The Disaster (2 x 60 mins), a combination of scientific analysis and re-enactment of events in the control room of the power plant; Nuclear Crisis (58 mins), an investigative report into what the government knew; and in partnership with Discovery Channel and Bang Productions, movie star Ken Watanabe visits areas hit by the earthquake and tsunami to see how they are recovering. NHK also brings: Great Nature (13 x 29 mins); The Cosmic Shore (3 x 60 mins), exploring optical phenomena (auroras, meteors, sprites); The Miracle Body 3 (3 x 60 mins), a sportsscience series that focuses on 2012 Olympic hopefuls.

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Super Spider (ZED)


OFF THE Fence’s MIPTV catalogue includes: Raccoon Nation (60 mins), which follows a family of urban raccoons as their young grow and learn to live in the big city; Tsunami 2011 (60 mins) looks at the aftermath of this event and asks fundamental questions about the role of the media during the biggest disaster ever to strike the developed world; and Weapons Of Mass Destruction (60 mins); which explores the dangers of cyber warfare, from its beginnings in the 1980s to the present day, where cyber space is a new battleground.



Factual: the science of pitching Documentaries remain a staple of the content business. But broadcasters’ demands are ever-changing. So who is looking for what and why? Bob Jenkins talks to commissioners and producers


OW IS a great time to be pitch- locally and internationally — programming that breaks ing Discovery’s international the mould. Specifically, we want to develop key landnetworks, says Julian Bellamy, mark specials and new returnable series for our widecreative director and head of ranging portfolios of networks, especially if they are big production and development at enough, or universal enough, to work across different markets. And we will always find the money to fund the Discovery Networks International (DNI). “With the recent establishment of our new internation- right idea.” At A+E’s History, however, Dirk al production and development diHoogstra, senior vice-president of vision and our ambitious strategy development and programming, to fund more original productions “We will always believes that his channel has been, for our international networks, in some ways, the victim of its there’s a huge opportunity for profind the money to own success. “Because we have so ducers across the world to make a fund the right idea” many successful returning series, real impact at Discovery,” he says. Julian Bellamy there are fewer slots for new pro“Our mission is to create great gramming,” he says. He cites two global content that resonates both

Fading Trades, in production with Big baby

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i feature Factual: the science of pitching main strands of History’s schedule, American Originals Big baby Productions, believes short series and highvisibility specials are the way forward. “There’s a deand Artifactual, and successful series such as Ice Road mand for shows that sit in estabTruckers and Swamp People lished successful genres, such as from the former, and Pawn Stars crime and formatted factual, as and American Pickers from the “What works in the well as inexpensive shows from later. “We are interested in hearUS will not necessarily known producers that expose ing ideas that fall outside these the broadcaster to minimum areas,” he adds. “As our president work in Italy — and risk,” she says. Nancy Dubuc always says: ‘Pitch will definitely not play One consequence of this, me something I don’t have!’” in France” Morrison says, is that Big baby Lesley-Anne Morrison is always pushing the boundaLesley-Anne Morrison, CEO ries of the traditional producand director at UK factual shop er/broadcaster relationship. As a current example she points to Fading Trades, which focuses on master craftsmen and their difficulty in recruiting apprentices. Big baby is currently developing the series with a Canadian producer for the educational market, and with Discovery for its online student service. In California, Richard Propper, president of Solid Entertainment, broadly agrees with Morrison, fingering “classic, one-off documentaries and reality series that are easy to produce and that, depending on the subject matter chosen, can appeal to a broad spectrum of demographics” as being at the top of most buyers’ shopping list. Morrison and Propper also agree that there is a good deal of regional variation in the styles and subject matter that are in demand around the world. “Broadcasters are very country- and region-specific in subject matter, format and production style,” Morrison says. “What works in the US will not necessarily work in Italy — and will definitely not play in France.” Propper agrees, citing the rise in popularity in Asia of auto-related programming, such as Solid’s Chasing Classic Cars. In Europe, meanwhile, he reports a return to well-told wildlife docs and certain flavours of reality — “what you might call television comfort food”. Another difference between Europe and Asia identified by Propper is buying patterns. “Asia is buying in larger chunks than used to be the case, while European buyers are getting much pickier,” he says. Interestingly, Propper reveals that Asian interest in auto-related programming is a relatively recent phenomenon. “Even two or three years ago, there would have been no interest in this sort of programming,” he says. He also identifies a worldwide lack of interest in “ostentatious programming — anything to do with making money or spending money when you have made it”. Propper does not see this new-found Asian interest in automobiles as bucking that trend. Rather, he believes that it is because “the Asian economies are relatively strong and confident, and Asian audiences want to think about what they might be able to afford next”. American Pickers, part of History’s Artifactual strand

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i feature Factual: the science of pitching While Morrison and Propper see demand differ- commercial broadcasters are moving away from their ing around the world, Espen Huseby, CEO of distrib- staple fare of factual, in particular the shock docs, in fautor Nordic World, sees greater variation in demand vour of lifestyle and travel,” Huseby says. “And in some occurring between different broadcasters within the countries — Germany and Benelux are examples — same territory. Expanding on this theme, Huseby says: there has been a move by some of the public broadcast“Generally, broadcasters are looking for human inter- ers to become a bit more commercial.” Territory size is also relevant. “In est, lifestyle, travel and the environthe larger territories,” Huseby says, ment as subject matters. In fact, the “broadcasters of all kinds have differences that exist tend to be more “Asia is buying in more channels at their disposal. sharply defined between different In many cases, this has meant the broadcasters in the same markets, larger chunks, number of slots for documentaries rather than between different marwhile European on their main channels has shrunk, kets around the world.” buyers are because these channels tend to foHuseby acknowledges that the difgetting pickier” cus more on news and entertainferences are most apparent between ment, so documentaries are moved public-service broadcasters and their Richard Propper to other, more niche channels. commercial rivals. “PSB broadcastHowever, in the smaller territories, ers are seeking to fulfil their contract with the government by showing the same sort of this does not happen so much, as broadcasters have fewer niche channels at their disposal.” programming they have been airing for years, while the commercial broadcasters are looking for more audience- History’s Hoogstra also sees a broadly even worldwide demand for content. “For the most part, History channels grabbing subjects,” he says. This stereotype, however, is morphing. “Some of the around the world are very happy with the programming

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Norway Massacre: The Killer’s Mind (Discovery)

i feature Factual: the science of pitching that we supply from the US,” he says. “Certainly, the re- is Luxury Train Journeys In India, which premiered ally big events we produce, such as Vietnam In HD and on Travel Channel in Europe and Africa at the end of WW11 In HD, resonate very well everywhere.” And like November. Huseby, Hoogstra says territory size plays a major role: Malhotra is not alone in finding that the challenge of “In some of the larger markets, there is more of a de- the immediate future is financing and producing anymand for greater local focus, local characters, local tone thing more ambitious than a mainstream documentary. Solid Entertainment’s Propper is also concerned that it and local sensibilities.” Discovery’s Bellamy, however, disagrees, believing that is becoming increasingly difficult to find good product. every market, regardless of size, is different. “The core One reason suggested by Propper is the change in comstrengths of our brands lie in how international they missioning policy by many US cable companies. “A few are,” he says. “For example, audiences around the world years ago, US cable operated a 50:50 policy,” he says. are fascinated by engineering and science, and they look “Under this, they would put up half the budget in return to Discovery to bring them fantastic new stories and in- for the North American rights and the producer would keep international, but had to finance the other half of sights into these subjects.” While accepting that “lifestyle can sometimes be more the budget. But increasingly, cablers now want to keep everything and it takes a lot culturally specific” and acof investment to get internaknowledging that “we do have tional rights on really strong more local commissioning for “Generally, broadcasters product”. TLC”, Bellamy nonetheless are looking for human One way in which Solid atinsists that there is still plentempts to address this probty of scope for commissioninterest, lifestyle, travel lem is by working with proing ideas — “from health to and the environment” ducers who are mak i ng body image” — that can work Espen Huseby feature documentaries speacross multiple markets. cifically to enter them for an Academy Award. “We will In India, scope for docuwork with them to make a shorter, typically one-hour, mentary-making of almost any kind is something Iqbal Malhotra, chairman and producer at documentary spe- version for television, which of course does not affect the feature version’s eligibility for the Oscars,” Propper cialist Aim Television, would like to see evolve. “At the explains. moment”, he laments, “there is not very much demand Propper is, however, at pains to stress that the problem for documentary programming in India.” However, this is starting to change with the arrival of is finding quality product: “There is a lot of programDiscovery, Travel Channel and Fox Traveller, which are ming out there — this is LA, after all, and I would say we beginning to commission from local producers. “But on get 20 to 40 self-financed documentaries sent to us evethe main broadcasters in India, there are really only slots ry month. The problem is that 90% of them are rubbish. It’s getting the 10% that’s the trick.” for reality,” Malhotra adds. In common with producers of other genres, Indian documentary-makers face another significant challenge. “In Discovery’s Bellamy also has high-end ambitions: “One India, it is impossible to keep IP,” Malhotra says. “When of the biggest moves for us is to identify and create truyou produce for one of the main broadcasters, they get ly landmark specials and events for Discovery Channel internationally — in fact, the bigger the better. Our top all the rights to everything — even the music.” It was for this reason that, when Aim was founded in priority is to find new returnable series that are huge in 1993, it self-funded all its productions and sold its pro- scope, both in terms of shape and content.” gramming to broadcasters around the world. “But this As an example of the sort of programming he is envisagis now impossible to do with single documentaries, in ing, Bellamy points to Discovery’s recent development which you have one or two main characters and a strong deal with Jane Root’s Nutopia for How We Invented The story to tell,” Malhotra says. As an example, he cites World. He calls the project “DNI’s biggest and most amShamans Of The Himalayas, made by his wife Anu, bitious commission to date” and describes it as “epic in which, after eighteen months with a well known factual scale, idea and budget, but retains local flavour”. “But what I really love about it is it’s like a movie,” specialist had not made a single sale. “And it is not possible to produce an independently fi- Bellamy adds. “It opens like a movie, it has the pace of a nanced show that can compete with one produced on a movie and it goes beyond science to tell the amazing humajor broadcaster’s budget. So for the time being we will man drama behind the creation of the world’s most modstick with safe subjects such as travel.” A case in point ern engineering icons.”

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FUTURE IS IN SERIES AT HISTORY, Dirk Hoogstra is adamant that the channel’s future is based around series. While insisting that there is still a place for specials and big events, such as Tony and Ridley Scott’s Emmy Award-winning Gettysburg and Nutopia’s America: The Story Of Us, he claims History has transitioned from being a specials-driven network to one driven by series. “This year, we will air the 12-hour Mankind: The Story Of All Of Us and our first scripted drama The Hatfields And McCoys,” Hoogstra adds. “And we are also in the early stages of development with a new series idea that will mash comedy and archive.”

History’s Dirk Hoogstra


Co-production is ‘where the world meets’ Without co-production, the specialist factual end of the documentary business would likely freeze as solid as Frozen Planet. Andy Fry considers the projects, paradigms and partnerships that are keeping high-end docs hot


HE FACTUAL content business splits into two main areas. The first is the reality/factual entertainment genre, which has become a key part of free TV and pay-TV schedules in the last five to 10 years. Typically produced in large batches of episodes, top shows in this genre tend to be fully funded domestically, then taken to the international market as formats or series acquisition opportunities. The second is a group of high-end subjects generally referred to as specialist factual. Science, history, natural history and culture are typical of the genre and tend to be produced in shorter runs with higher budgets. As a result, companies working in this field have traditionally been much more dependent on documentary co-production.

Wildest India, an OtF production in association with ZDF/ARTE and Oasis HD, for Discovery Networks International

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A classic example of the co-pro model is Frozen Planet, a stunning seven-part natural-history series co-produced by the BBC, Discovery Channel US and The Open University, with Discovery Channel Canada, ZDF Germany, Antena 3 Spain and Skai TV Greece attached as pre-sale partners. Four years in the making, a project like Frozen Planet is so expensive it cannot get off the ground without pre-production commitments of this kind. Typically, productions of this scale also require a distributor on board. In this case, BBC Worldwide has sold Frozen Planet into around 120 territories, including Australia (Nine Network), Italy (Rai) and Russia (Channel One). Many big budget co-productions have a US cable channel

“Working with a partner you know means there are fewer surprises” Kristina Hollstein

i feature Co-production is ‘where the world meets’ and a public broadcaster as anchor partners. In fact, this arrangement is so common that some of the biggest players form on-going alliances. BBC Worldwide and Discovery, for example, have a long-running partnership that currently runs until 2014 and has, in the past, led to landmark series such as Planet Earth and Blue Planet. There is also a multi-faceted partnership between ZDF Enterprises (ZDFE) and A+E Networks that was formed in 2005 and renewed in 2011 for a further three years. A key component of this, according to ZDFE director of co-productions and development Kristina Hollstein, is a commitment to produce contemporary and ancient history programmes for ZDF in Germany and History in the US. A recent example of this is Planet Egypt, which also had co-pro stalwart ARTE on board. “Partnerships like this make sense because working with a new company on a co-production can be time-consuming,” Hollstein says. “Working with a partner you know means you are already on a similar wavelength. There are fewer surprises as you progress from development through to production.” Even when alliances of this kind are not formalised, there is still a strong inter-dependence between the US pay-TV companies and the major pubcasters. National Geographic, for example, pops up on co-pro credits repeatedly. A case in point is Dawn Of The Ocean, a Gruppe 5 production for ZDF and National Geographic Channel in co-operation with ZDFE. Along similar lines, 2010 saw National Geographic Television (NGT) sign a deal to produce three history/science hybrid specials — Machu Picchu Decoded, Gallipoli’s Deep Secrets and Quest For Solomon’s Mines — for Rai2’s primetime documentary slot Voyager. More recently, Discovery Channel joined forces with NHK and Singaporean production company Bang to make a co-production about Japan’s recovery from the 2011 tsunami and earthquake. Key to making these alliances work is developing a production approach that enables co-pro partners to access the kind of tailored content their upfront investment entitles them to, while also ensuring that distributors have a product that can be exported to as many markets as possible. In the case of the NGT/Rai alliance, NGT’s producers worked with Rai’s Voyager team to ensure customised programmes were delivered for Italian viewers. “Incorporating recognised hosts, local-language experts and other locally appropriate content in a National Geographic production is a cost-effective way for broadcasters to obtain relevant, high-end factual shows,” says Maryanne Culpepper, now president of NGT. She adds, however, that this was not done at the expense of the international versions available to other buyers. A partial exception to the model outlined above is Japan’s public broadcaster NHK. While it has regular co-pro dealings with North American players, NHK’s distinct regional positioning means that it often kick

starts co-pros in a different way from its US and European peers. “We are seeing some Last year, for example, it signed a ‘true co-productions’, in five-year co-production partnerthe sense that we do ship with Qatar-based Al Jazeera Children’s Channel, building on every process together — a relationship that had previously script, shooting, directing spawned the Discover Science seand post-production” ries. This year, NHK is working Sayumi Horie with KBS Korea and TV Brasil on The Miracle Body (3 x 60 mins), which uses cutting-edge film technology and science to explore the bodies of the world’s top athletes. “Over the years, we have enjoyed successful co-productions with many of our Asian partners,” says Sayumi Horie, senior producer of international co-productions at NHK. “In fact, NHK’s first international co-pro was The Silk Road with CCTV in 1980, and the 2005 sequel series was again co-produced with them. Since 2007, we have partnered with Singapore’s MediaCorp and, with KBS coming back to The Asian Pitch last year, we are strengthening our ties with public broadcasters in Asia. Another new partnership last year was with South Korea’s EBS, which joined in the co-pro of Discover Science.” Turning to Europe, NHK has an alliance with France Televisions that echoes the Discovery/BBC and AETN/ ZDF partnerships. “This year will be a very exciting one for NHK because a number of our co-production projects will be ready for broadcast,” Horie says. “The biggest series will be The Cosmic Shore with France5, Discovery Canada and NFB. This is a science documentary that explores optical phenomena occurring in the earth-space 30 Years That Shook boundary zone.”

The World (ZDFE)

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i feature Later this year, NHK will also deliver Work Love Balance (2 x 52 mins), a co-pro with France Televisions and NFB, featuring women in their thirties and forties from various backgrounds and nations. Underlying the importance of the Franco-Canadian connection, Horie also points to Nano Revolution (3 x 75 mins), a co-pro from NHK, CBC, Doc Side/ARTE France. Horie believes there is more to co-pro than sharing resources: “It’s crucial to understand the difference in the styles of editing depending on time slot, audience and culture. We work closely with our partners to share additional information and footage so that all parties will be satisfied.” At the same time, “creative input from international partners is always welcome”, Horie says. “Although the work of collaboration can require much time and patience, there is a high chance we can offer something new to our Japanese audience. We are currently seeing some ‘true co-productions’, in the sense that we do every process together — script, shooting, directing and post-production.” An example is Life Force (6 x 60 mins) with NHNZ, France Televisions, Science Channel and Animal Planet. Another is the NHK/Discovery/Bang Singapore co-pro about the tsunami cited above: “This programme symbolises the spirit of a true international co-production in all aspects of the creative process, including the use of a Japanese director, cameraman and editor, with an international executive production team,” Horie says.

Photo: ©NASA

Co-production is ‘where the world meets’

While the above examples illustrate the spine of the factual co-production community, there are significant trends impacting on the sector, according to Bo Stehmeier, managing director, distribution, at Amsterdam-based Off the Fence (OtF). The first noticeable trend, Stehmeier suggests, is the growing clout of the global channel groups: “The expansion of Discovery, History and National Geographic around the world and across platforms means they are looking to hold on to more rights. But sometimes they are the same rights that distributors need to get ROI [return on investment]. The result is a more complicated negotiation process.” Clearly, this haggling over rights represents a downside risk for distributors in the factual co-pro space. But the second trend identified by Stehmeier is perhaps more encouraging for independent outfits like OtF: “Broadcasters have experienced a lot of personnel cuts, which makes it harder for them to supervise co-productions in-house. This can work to our advantage.” A typical scenario is when a number of networks in different countries have similar slots to fill and are looking to get the best bang for their buck. “Wildlife or history are perfect for this,” Stehmeier adds. “At OtF, we take a subject

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The Cosmic Shore, a co-production with NHK, France5, Discovery Canada and NFB that doesn’t demand heavy editorial involvement from partner channels and create versions for each of them. Because OtF is a producer and distributor, it can broker the process from beginning to end.” Philosophically, this is different from The Frozen Planetstyle co-pro, Stehmeier says: “Some co-pros are about raising additional finance to fund a cracking idea or expensive technology. Others are really about servicing. But they’re important because they make certain kinds of content attainable, which couldn’t be commissioned solely on domestic budgets.” The rise of the global network groups raises another possibility: internal channel group co-production. Anthony Geffen, founder and CEO of Atlantic Productions and one of the world’s leading factual programme producers, believes the big players are looking at ways of co-producing among their own channels — a process that eradicates the issue of conflicting rights and puts them in the box seat when it comes to programme distribution.

Miracle Body (NHK)

“Some co-pros are about raising finance to fund a cracking idea or expensive technology. Others are really about servicing” Bo Stehmeier

i feature

Photo: ©BBC

Co-production is ‘where the world meets’ example, has one eye on the centenary “The appointment of Julian Bellamy of the outbreak of the First World as creative director of Discovery “The beauty of War in 2014. Networks International is part of co-pros is that ZDFE has also been busy in the run this process of developing cross-borthey are where up to the 100th anniversary of the der productions in-house,” Geffen sinking of Titanic (April 14, 2012). says. “And it’s also something that the world meets” Its major title is Saving The Titanic, a is being explored by the owners Anthony Geffen big-budget drama-documentary shot of National Geographic Channel in the UK and Ireland, which tells the [News Corp]. I understand the logic but I hope it doesn’t come at the expense of tradition- story of the engineers, stokers and fireman who tried to al co-pros. The beauty of co-pros is that they are where keep the ship running. the world meets. And from an independent producer’s point of view, they are a way to retain rights rather than National Geographic, A+E Networks, Discovery and PBS have dominated the quality end of the US factujust being work for hire.” al scene for years. But now they are sharing the limeKristina Hollstein has been director co-productions and light with Smithsonian Channel, a joint venture bedevelopment at ZDF Enterprises (ZDFE) for 15 years. tween the world-famous Smithsonian Institution and During that time, she has been involved in co-produc- CBS-owned Showtime. tions with pretty much every major player in the market. The good news for factual producers is that the Smithsonian Channel is committed to co-production. But she admits that it is becoming tougher. Citing ZDFE’s co-pro alliance with A+E Networks- “Smithsonian is a world-class brand with world-class reowned History channel, she says: “Their emphasis has search capabilities,” says the channel’s executive viceshifted to factual entertainment, which means less em- president, David Royle. “But we are a small emerging phasis on co-production specials. At the same time, they television network, which means co-production is a great want more rights for their international channels. But we way for us to produce quality at the right price. While a have to be very careful about what we give up, because lot of the factual TV business has moved towards realsmall changes in rights can make a big difference in dis- ity formats, we’re co-producing numerous one-off specials and series with leading international producers and tribution revenues.” In terms of topics that work well as co-pros, history is top broadcasters.” of the list. “One of our major projects at the moment is The channel covers a broad range of subjects, from histo30 Years That Shook The World, which tells the story of ry and science to modern music and the arts. With a comthe period from the First World War to the Second World mercial attitude and a young demographic, it has manWar using 70,000 rolls of unseen archive,” Hollstein says. aged to develop relationships with partners in markets “That’s the kind of project that would really benefit from including the UK, France, Germany, Japan and Korea. having British, French and US co-pro partners involved”. “We did a co-production with ITV and Brook Lapping Given the subject matter, how about calling in Russian called 9/11: The Day That Changed The World,” Royle backers? “It would be interesting to talk to Russians,” says. “That was such a strong show in the US and the UK Hollstein agrees. “But co-production is complicated and that we are working on a new project with the same partrequires major investment. To date, the necessary level of ners. We also had a successful collaboration around the True Stories series, which is co-produced with Channel 5, investment hasn’t been available from Russia.” As in drama, factual co-pros tend to have more appeal History UK, Discovery Canada and BBC Worldwide.” if there is a promotable hook. The 30 Years project, for Perhaps not surprisingly, the Smithsonian looks to bring its own scientific and historical expertise to the table during co-productions. As home to the Hope Diamond, it was a no-brainer to create a series about the fabled gem — The Mystery Of The Hope Diamond (1 x 60 mins), coproduced with Channel 4 and Nat Geo UK. “Coming up is a really exciting co-production called Titanoboa: Monster Snake, which is based around the huge snake fossil found in Colombia in 2002,” Royle adds. Co-produced by Smithsonian Channel, Wide-Eyed Entertainment and yap films in association with History Television Canada, the project also has FremantleMedia Frozen Planet (BBC Worldwide) Enterprises attached.

FUTURE IS IN SERIES ATLANTIC Productions is a pioneer in high-end factual filmmaking. To illustrate the point, you don’t need to look any further than First Life with David Attenborough, a series for the BBC, BBC Worldwide, the Australian Broadcasting Corporation and Discovery Channel that picked up three EMMY Awards in 2011. Not content with pushing back the boundaries of 2DTV, Atlantic is also pioneering 3D factual filmmaking. After the success of productions such as Flying Monsters 3D, it has formed a production joint venture with BSkyB called Colossus, to make more groundbreaking 3D events. Next up is the hugely ambitious Galapagos 3D, a three-part exploration of the remote islands that helped Charles Darwin formulate his thesis on the origin of species. “The kind of 3D we do is incredibly expensive, but there aren’t many customers in the market yet. So it needs its own business model,” says Atlantic founder and CEO Anthony Geffen. “Theatrical distribution, including IMAX, is important. A lot of broadcasters without 3D channels are interested in showing our 3D films in 2D, but are sometimes put off by the higher price associated with it.”

The Bachelor King (Atlantic 3D)

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It’s all about teamwork A new type of factual programming has been born out of the connected world, where ordinary people provide the content for extraordinary productions. Juliana Koranteng reports


OME TIME in the middle of this year, anyone in the world will be able to catch a real-life glimpse of how Britons live, thanks to a multi-media, multiplatform documentary called Britain In A Day. It will be shown on YouTube and the UK’s BBC Two network. Co-produced by the UK public broadcaster BBC and Scott Free, the production venture of British Oscarwinning director Ridley Scott, it had invited the nation’s population to use digital or phone cameras to capture an element of their life on the day of November 12, 2011. From the thousands of videos uploaded on to YouTube, the BBC and Scott Free will create Britain In A Day. “We’re going to take that content to shape a contemporary record of what life is like in modern Britain,” says Saul Nasse, controller of BBC Learning, the broadcaster’s division dedicated to educational resources. “We’ve had more than 10,000 submissions, something we couldn’t have done even five years ago.” Considering that the video-sharing website — now capable of enabling content owners to launch their own TV channels online — started in 2005, it is probably true to say that the crowd-sourcing technique used to produce Britain In A Day might have physically been impossible a few years ago.

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The BBC/Scott Free production was influenced by Life In A Day, a similar project based on video clips gathered from around the world. That was also produced by Scott, and directed by award-winning documentary maker Kevin Macdonald in 2011. Both productions not only demonstrate that the quality of digitally driven crowd-sourced productions can be high, but also confirm that multiplatform distribution of documentaries is a media force we can no longer ignore. Nasse says that viewers’ growing access to the internet and mobile devices globally is influencing the way documentaries are produced. Our War, a documentary series about UK soldiers in Afghanistan, aired on BBC Three last year. It was based on uncensored footage shot by the soldiers themselves with mobile devices and helmet cameras to show the war through their eyes. “Additionally, we commissioned loads of intimate short films created around individuals affected by the war for mobile consumption and online,” Nasse adds. The BBC’s move into multiplatform documentaries follows its viewers’ rapid adoption of the pioneering catchup TV service iPlayer, which the BBC launched in 2007. “Now that iPlayer is increasingly available on mobile, think of it being watched by anyone at any time on any

“iPlayer... think of it being watched by anyone at any time on any device” Saul Nasse

Nutopia’s Mankind: The Story Of All Of Us

i feature It’s all about teamwork device,” Nasse says. Whether online or on mobile, social media enables TV networks to build direct connections with viewers and allow the talent and stars to engage with fans. National Geographic Channel and its sister company National Geographic Society are using multiplatform and multi-format distribution to commemorate the 100th anniversary of the sinking of the Titanic this year. In April, it will be airing two related films in 380 million homes in 165 countries in 38 languages globally. The first is Titanic: The Final Word, with James Cameron. This documentary will see the Oscar-laden director of the 1997 epic disaster movie Titanic — which cost $200m but earned more than $1.8bn in box-office receipts — lead a forensic investigation into what exactly happened during the ‘unsinkable’ ship’s fatal maiden voyage. Cameron’s show will be complemented by Save The Titanic with Bob Ballard, the man who originally discovered the wreck in 1985. NationalGeographic.com and NatGeotv.com websites will form the digital hub around which viewers will be able to access or purchase physical books and e-books, mobile apps, a series of downloadable games, DVD boxset, the flagship print magazine National Geographic or its digital version, tickets to a live presentation by Ballard on April 10, plus a host of other digital services. The whole venture will be promoted on air and on multiple digital platforms, including the almost 50 Twitter accounts for the global and localised editions of National Geographic Channel. Using similar tactics on a Facebook app last year, on the anniversary of terrorists’ attacks on New York’s Twin Towers, National Geographic Channel invited US users to recall where they were on 11 September 2001. The project’s invitation to enter your location on the fateful day on an interactive map, gave the Facebook page an emotional nuance that might otherwise have been missing. National Geographic Channel’s adoption of multiplatform media took on a second-screen dimension last November when it employed a social-TV app created by New York-based Umami, for Apple’s iPad tablet. The app’s technology offers an audio-fingerprinting system that allows viewers to use the tablet to access customised live and pre-recorded content from cable TV, broadcast networks, websites and social-media networks, while the original TV programme is on air. Discovery Communications hit the second-screen button in March last year, when it announced the launch of its Discovery Channel’s app for the iPad. The app, developed with Texas-based Bottle Rocket Apps, enabled viewers to access videos of archive shows and existing programmes such as American Chopper, Deadliest Catch and Mythbusters. It also permitted users to share and recommend their favourite pieces of content by communicating and engaging with each other as

Mythbusters, available via Discovery’s iPad app well as with the shows via Twitter and Facebook. Shortly after, Discovery joined forces with US-based Phunware to launch another app for both the iPad and iPhone that targeted non-English speaking Discovery channels in Latin America, Brazil and German-speaking European markets. As multi-format and platform distribution emerges and evolves, independent documentary content producers are embracing digital technology to advance. Jane Root, CEO of independent production group Nutopia, firmly believes you cannot escape the application of new technology in documentary production. “We specialise in mega documentaries, huge network-defining projects with high-end production, including exclusive interviews, CGI and drama reconstructions,” she says. These media techniques are being applied to Nutopia productions such as Mankind: The Story Of All Of Us, a 12part, one-hour extravaganza about the history of mankind to premiere on A+E Networks’ History internationally. Also in production by Nutopia is Great Britain: Our Story, a seven-hour epic to launch on the UK’s Sky Atlantic. A+E Networks devised free online games and quizzes for America: The Story Of All Of Us, an expansive production about the history of the US, which Nutopia produced for History before Mankind: The Story Of All Of Us. “Although History did not monetise the games element, it will be an interesting aspect to consider with other partners,” Root adds. “There is a big multiplatform element, including online games and a variety of interactive educational content, in our Story Of Us… series. Such possibilities have made us want to be at the forefront of new distribution platforms. The days of the ‘Great Divide’ between old media and new media are well and truly over.”

DJ GOES DIGITAL THE WAY in which non-fiction TV networks and programmes use digital media to spread their brand is a lesson being picked up by other factual content creators and marketers seeking to enhance their respective brands. Tiesto, the Dutch electronic-music DJ and record producer, joined forces with electronic-goods maker HP and computer-chip giant Intel to create a series of web-only documentaries called In The Booth in January. The 10-part show, produced with New York-based transmedia company Believe Entertainment Group, featured exclusive behindthe-scenes film of Tiesto in action. The documentary was transmitted on YouTube and promoted via social media, providing Tiesto fans access to the artist in a way they could never have done before, even during his live performances. They also helped raise Intel and HP’s profiles among a generation of consumers who get their entertainment via electronic and digital gadgets.

DJ Tiesto in the web-only documentary In The Booth

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i feature ARCHIVES

Finding strength in tough times The archive business is showing resilience as more platforms thirsty for content open up. Bob Jenkins reports


T ISN’T sexy, it rarely makes the headlines, but according to The Global Trade in Audio-Visual Archives: A Market Assessment published by archive trade body FOCAL International, the broadcast archive industry grew at more than 5% per annum worldwide between 2004 and 2009. A track record that would make many other industry sectors green with envy. And, says Associated Press’ director of international archive, Alwyn Lyndsey: “This growth is continuing as we have

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seen an upswing in overall use in the past 12 months. He says this is due to the high number of big events in 2011 — the Japan earthquake/tsunami, the killing of Osama Bin Laden, The Arab Spring, the London riots, the News International phone tapping affair, the Royal Wedding in the UK, the death of Kim Jong II, and many more. And, Lindsey says, “as we have extensive footage relating to these events as well as contextual historical footage, we have had an incredibly busy 2011”.

Uprising in Libya (AP)

i feature Finding strength in tough times Colette Forest, senior manager business development In addition to stable, event driven growth, another characteristic of the archive business is that it is much less and content sales at Radio-Canada also emphasises the advantage a library gets from being a part of a news likely than other sectors, to find new entrants, especially gathering organisation. “We are one of the very few into the international market. French archives in Canada, and we have over 400,000 One of the few recent examples to buck this truth is hours of video and 200,000 hours of audio,” she says, RussiaTeleRadio Worldwide (RTR) its international “Our main rival is the National Film Board of Canada, arm having only just become fully operational following but our big advantage over them is that we have a news agreements signed in June 2010. Echoing earlier comments, marketing manager, Kitty room, and so we can supply arFitzgerald also reports increased chive from yesterday.” She adds: business, something she attributes “Sales of news and current affairs “They increasingly to “increased demand from new footage accounts for about 70% channels and new media, and the want us to mine of our total sales.” fact that, for programme makers, Paul Maidment, director at BBC ever deeper into the archive is cheaper than creating Motion Gallery, is another who archive to find that, new content”. Fitzgerald sees this speaks of the robust health of the previously unseen, demand as being primarily driven archive sector. Echoing the imlittle gem” by, “24/7 news, digital technologyportance of events, and being aleducation, and the internet, tablied to a news gathering organisaPaul Maidment lets, and other hand held devices”. tion, Maidment says that archive But she too also believes that a key is very much a business driven by driver in the sector’s growth is “the events. He adds: “We have some very big events coming up in 2012, including the Queen’s rapid change in current world affairs and people’s deJubilee, the US Presidential election, and, of course, the sire not only for news, but also for the ability to be able to contextualise it”. Fitzgerald also stresses the need to Olympics.” But despite these positives, Maidment says his team is be mindful of the cost of upgrading some old footage to having to work harder now than in the past to achieve modern digital standards, saying: “The quality to which sales — and this is especially true where the documen- old footage can be restored versus its real commercial worth can be a fine balance.” tary maker is covering a well-worked subject. “These days they increasingly want us to mine ever deeper Context is a very important consideration for Radiointo the archive to find that, previously unseen, little Canada’s Forest, who says: “Our contracts are very clear gem.” Meanwhile Motion Gallery is taking a more pro- that the material may not be modified or used out of conactive approach to marketing its vast archive. “We in- text in order to make it look as though it is saying somecreasingly look at upcoming events and what we hold thing that was not originally intended. This is one of the on them, and then we will suggest projects built around key challenges of running an archive.” these events and our archive to independent produc- For AP’s Lindsey another challenge is provided by ever shorter turnaround times. “We are seeing more and ers,” Maidment says. But there is a complexity involved in making archive more fast-turnaround documentaries,” Lindsey says. available. “There are broadcasters who only want to “However, we are fortunate in that, being a news organclear the rights for their own territory, and add others isation we live and breathe short deadlines. We underas and when they make sales,” Maidment says. “In the stand that culture, and we offer a very fast service and long-run this will cost them more of course but it is fine will do whatever it takes to meet a client’s deadline.” with us, and it does mean that they avoid paying to clear rights they might not use. But there are producers who, especially when a broadcaster has committed to a seaSTOCK FOOTAGE INDUSTRY WORTH $394M PER YEAR son or two, will look to do bulk deals, and we are happy THE ASSOCIATIONof Commercial Stock Image Licensors (ACSIL) and Thriving Archives in these cases to either let them have a discounted rate have released a new survey that values the stock footage industry at $394m per year. in return for guarantee of using a minimum number of Findings show the need for accessing analogue footage has been greatly reduced if not eliminated. Websites are also improving as companies migrate more clips online minutes over a stated period of time — usually a year — and add more e-commerce functionality. This means that many in the stock footage or else to agree to the producer using a certain number business are seeing greater productivity. of minutes as they need them in return for a one-off fee. “Based on the performance of the 73 companies in our sample group, the footage industry appears to be in stable condition. Total industry revenue has increased since The rights that they choose to clear under such deals can 2007 and is now estimated at $394m per year,” said David Seevers, Thriving Archives’ vary enormously; it and depends on how the producer founder and president.“ sees the programme they are making.”

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tips &tools Dear Participant, The entire MIPDoc team is committed to ensuring your event experience goes as smoothly and efficiently as possible so you can focus on achieving your objectives. This document is intended to assist you in your preparation for MIPDoc. The following information will provide you with the necessary tools to arrive with a full meeting schedule in place and an in-depth understanding of the market.



MAKE CONTACTS AND APPOINTMENTS BEFORE ARRIVAL To get the most out of your experience, we encourage you to identify potential business partners and schedule meetings in advance using the MIPDoc database. RESERVE YOUR ACCOMMODATION The Hotel Reservations Service is available to help you address your booking and accommodation requirements. For further information, please contact: +33 (0)1 41 90 49 36 Email: hotel.miptv@reedmidem.com DON’T MISS MIPDOC CONFERENCES & EVENTS Consult the MIPDoc conferences programme details in this Preview Magazine. MIPDoc conferences are open to all participants free of charge on presentation of their badge, depending on venue capacity. Consult our website, www.mipdoc.com, for further details. ORGANISING AN EVENT If you wish to organise an event during MIPDoc, such as a cocktail party, screening or press conference, our Events Department is available to offer advice and assistance: +33 (0)1 41 90 44 96 @ info.events@reedmidem.com NEED HELP? Reed MIDEM staff members are available to answer questions and provide oneonone 30 I

assistance before & after the market. Please do not hesitate to ask their advice or assistance: +33 (0)1 41 90 44 41/42 @ customerhelpdesk@reedmidem.com 2 TRANSPORTATION

PLAN YOUR FLIGHT TO NICE Travel agencies MIPDoc has two official travel agency partners who can help find the best airfares: ë Silver Voyages (France and Southern Europe): +33 (0)1 45 61 90 59 @ silvervoyages@wanadoo.fr


Rent a car through MIPDoc partner Sixt for special rates reserved for MIPDoc participants. To take advantage of this deal, use promotion code: 9963828. For more information, consult the transport section under “Prepare” on www.miptv.com, visit www.sixt.com or dial +33(0)8 20 00 74 98. Sixt has agency locations at Nice airport and in Cannes. Helicopter

ë Dovetail Foks (UK and Northern Europe)

+44 (0)20 7025 1515

@ exhibition@dovetailfoks.com

Airline and travel discounts Fly for less with a special MIPDoc offer from Air France KLM at www.airfranceklm-globalmeetings.com (ID code : 14597AF) AIRPORT The Nice Côte d’Azur International Airport (NCE) offers direct flights to many cities around the world. It is situated 24km (15 miles) southeast of Cannes, 30-45 minutes by car or 50 minutes by bus from the city centre. +33 (0)820 423 333 www.nice.aeroport.fr

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Azur Hélicoptère operates regular 6-minute flights between Nice Côte d’Azur International Airport and Cannes. A free shuttle takes you from the Cannes heliport to your destination. As a participant, you can benefit from negotiated rate of 99€ per person (+15€ heliport tax). For reservations, call +33 (0)4 93 90 40 70 Bus

Bus 210 is an express line from Nice Airport to Cannes’ town hall. Buses run every half hour, with trips taking about 50 minutes. The Nice Airport ticket desk is located in Terminal 1 and Terminal 2. One-way/return tickets cost €16.50/€26. Visit www.rca.tm.fr for further information.

itips&tools Taxis Available at the Nice Airport, from Terminal 1 (Gate A1) and Terminal 2 (Gate A3).The average taxi fare between Cannes and Nice airport is 80€, with trips taking about 30 minutes. A night rate applies between 19.00-7.00. To reserve a taxi, call the Allo Taxi Cannes 24/7 hotline at +33 (0)8 90 71 22 27, or their daytime number at +33 (0)6 20 26 65 94 (available 9.0018.00). Visit www.taxicannes.fr for further information. Train For information about rail travel between Nice and Cannes or for additional destinations, please call 3635 (France only) or +33 (0)8 92 35 35 35 (international number). A one-way ticket between Nice and Cannes costs between €4.50 and €8.00. IN CANNES Free MIPDoc shuttle bus service The free MIPDoc shuttle bus service is available to all delegates, running between hotels located outside Cannes and the Palais des Festivals. Schedules will be available on www.miptv.com and in hotels and at the Registration Desk.

TOURIST INFORMATION The Cannes Tourism Office is located at the Palais des Festivals on la Croisette.

ë Registration opening hours

+33 (0)4 93 39 24 53

Thursday, March 29

@ tourisme@semec.com

Pre-registration: save time by registering before the market 14.00-19.30

ë Registration during the event

www.cannes-on-line.com 3 DON’T FORGET TO PACK…

YOUR INVOICE Foreign participants are eligible for a refund on French Value Added Tax (VAT) under certain conditions. TEVEA International, the fiscal advisor located at MIPTV in Palais des Festivals, can organise and process your VAT refund request. Remember to bring the original copies of your invoices with you to the market and to visit TEVEA before you leave Cannes. YOUR E-TICKET If you have registered in advance, you will receive an e-ticket. Please print your e-ticket and bring it with you to Cannes. The bar code will facilitate identification and make collecting your badge faster and easier.

Cannes local buses

Friday, March 30 Saturday, March 31

8.00-19.00 8.30-19.00

ë If you received an E-Ticket, please bring it with you. The bar code will facilitate identification and speed up the printing of your badge. ë If you are a journalist, reporter or photographer, please go directly to the Press Registration Desk at the Marriott to collect your badge. Please note that you must register as a member of the press before you arrive in Cannes. ë If you are conference speaker, please go directly to the Registration Desk to collect your badge. ë Badge types: badges indicate if the wearer is a participant, buyer, press or official. Please note that only buyers have access to the digital library. Please remember to wear your MIPDoc badge at all times. ë MIPTV Badges can also be delivered at the MIPDoc Registration Desk.


A local bus network services Cannes and the surrounding areas (€1 for a one-way ticket). Car parks Numerous covered public car parks are located within walking distance of the Carlton Hotel. These can be paid for with a magnetic card available at the Tourism Office at the Palais des Festivals. MIPDoc strongly advises you to book well ahead of the market. ë Equiptech: Chambre de Commerce et d’Industrie, Gare Maritime Fax: +33 (0)4 92 98 70 01 @ equiptech@cote-azur.cci.fr ë Uniparc Cannes SNC

+33 (0)4 93 68 79 02 / 13

MARRIOTT HOTEL The Marriott Hotel is situated on the famous La Croisette and is clearly signposted throughout Cannes. The hotel’s address is: 50 La Croisette 06400 Cannes France For more information, call +33 (0)4 92 99 70 00, or visit www.jwmarriottcannes.com OTHER USEFUL INFORMATION Country code: +33 Time zone: GMT +1 Electricity: 220 volts AC, 50 Hz, round two-pin plug Measuring system: metric Currency: euro

@ mgaufillet@interparking.com / jjolly@


COLLECTING YOUR BADGE To access MIPDoc, you will need to collect your official badge and bag at the Registration Desk at the Marriott.

FIRST TIMER ORIENTATION AND DISCOVERY TOUR If you have never attended MIPDoc before or would like to meet our team, please join us for our First-Timer Orientation and Discovery Tour, taking place Friday, March 30 (8.45), in the Networking Lounge at the Marriott Hotel. The events will include an orientation session and guided tour of the show. Take advantage of this opportunity to receive one-on-one assistance and advice on how to achieve your goals during the market. 5 HOW DOES MIPDoc WORK?

FIND OUT WHO IS AT MIPDOC 2012 When you check in at the Registration Desk, you will receive a delegate’s bag and Catalogue/Guide. This publication lists all the companies and delegates present at the market, as well as the programmes available in the digital library.

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itips&tools VIEWING PROGRAMMES Buyers can watch a wide range of cutting-edge programmes in individual screening booths. This simple and effective system exposes programmes to the largest possible buying audience. When buyers pick up their badges, they will receive a smartcard to access the digital library. Once connected to a PC in one of the screening booths, they will be able to start screening. An interface will help them select programmes or carry out advanced searches, according to the criteria and products listed in the Programme Catalogue. ë Screening hours Friday, March 30 8.30-19.00 Saturday, March 31 8.30-19.00 The screening booths areas: level -1 will be available exclusively for buyers. Depending on availability, producers and distributors can also accompany buyers who wish to screen their registered programmes. Simply ask the registration staff on site. “Lists of buyers who have screened programmes” & “Content lists for buyers” ë Production and distribution companies with programmes listed in the Catalogue and digital library can view the names and contact information of the buyers who have screened their programmes. ë Each buyer can review a list of the content they have screened during the event. These lists are available at four stations located in the registration area. Important: “Final lists of buyers who have screened your programmes” during MIPDoc and “Content lists for buyers” will be available by request only beginning Sunday, April 1. ë If you are a MIPTV exhibitor or participant, lists will be available Sunday, April 1 (14.00) Wednesday, April 4 (18.00), at the Palais des Festivals (location to be confirmed).

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ë If you are not a MIPTV participant, screening lists will be directly sent by email as from Monday, April 9. Please note that we no longer return screening materials sent to the digital library.

Email Cellhire for further information: France: paris@cellhire.com UK: york@cellhire.com USA: newyork@cellhire.com 7 KEEPING IN CONTACT DURING


We offer an extensive range of services to make your stay in Cannes as pleasant as possible. BUSINESS CENTRE Phone, fax, photocopying, typing and printing services are available in the hotel’s Business Centre. CLOAKROOM Take advantage of the free cloakroom to avoid carrying your coat or bag around all day. THE NEWS Don’t hesitate to contact our News Team with details of your breaking news and deals. @ julian.newby@btinternet.com HOTEL HOTLINE The MIPDoc Hotel Reservation Service offers a 24hour hotline to help you with issues regarding hotel check in and check out. The hotline can also respond to any accommodation queries. +33 (0)6 85 54 30 53 MOBILE PHONES & 3G DATA CARDS RENTAL CellHire, MIPDoc’s mobile telephone partner, can equip you with an international cell phone during the market. You will receive free incoming calls while in France and enjoy competitive international rates. 3G data cards are also available should you need unlimited wireless internet access throughout the event. Reserve your mobile phone, Blackberry, SIM card or 3G data card well ahead of the market at www.cellhire.fr/reedmidem or +33 (0)6 83 58 44 22

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NETWORKING LOUNGE: LEVEL – 1 This comfortable and functional meeting place for MIPDoc participants is the ideal place to make new contacts and conduct business. Assistant will be available to give you the information you need and help arrange your appointments. COMMUNICATING WITH PARTICIPANTS ON MIPDOC Use the Online Database to schedule your meetings efficiently before the show and receive messages from other participants before arriving in Cannes. All participants’ email addresses are posted on the MIPDoc online database, unless they have chosen not to publish this information. Use our free email stations located in the registration area, to send and check email during the market. 8 MIPDoc ONLINE SCREENINGS

MIPDoc Online Screenings will go live Sunday, April 1, 2012. The service will allow buyers to continue watching MIPDoc programmes after the market closes, and will be free of charge until 29th February 2013. Discover this service during MIPDoc by visiting the demonstration booth in the registration area.

Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.