Issuu on Google+

March 2011

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MIPTV Preview magazine

www.miptv.com ALSO INSIDE

T H E

HE’S BACK!

CONNECTED CREATIVITY AT MIPTV

WORLD PREMIERE TV SCREENING

Inside, page 12

Inside, page 14

Inside, page 12

O F F I C I A L

M I P T V

Focus on Co-Production • Content for Sale in Cannes • Spotlight on 3DTV • Branded Entertainment • International Digital Emmy® Awards • Kids Programming

M A G A Z I N E


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“SUPERB“ The Sunday Telegraph

“BETTER THAN T I TA N I C “ The Times

DRAMA | 2 x 90 mins | MIPTV Stand RB1 Riviera Beach U Cannes fidsales@fremantlemedia.com www.fremantlemedia.com

“BRILLIANT“ The I ndependent


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“CLE VER” The Daily Telegraph

“A N E X T R A O R D I N A R Y STORY”

“ P O W E R F U L” The S cotsman

The Guardian

SOME DECISIONS CAN CHANGE THE COURSE OF HISTORY

A

production for the BBC and ARD


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EDITORIAL

Dear Friends It’s a pleasure to welcome you to the MIPTV 2011 Preview Magazine which brings you the highlights of what promises to be a particularly active and vibrant market. This year sees the launch of Connected Creativity, the new global forum bringing together the leading innovators in entertainment, mobile media and technology. Connected Creativity addresses the important content opportunities created by connected devices, giving the leading players in this growing ecosystem the chance to convene, exchange ideas, and do business.

Laurine Garaude

The Connected Creativity Forum, a new conference and networking experience exclusively for Connected Creativity delegates, takes place at the Majestic Hotel in parallel with MIPTV. Connected Creativity also houses Content 360 and the new Experience Hub, showcasing the most recent innovations — and these will be open to all MIPTV participants. MIPTV has a strong focus on international co-productions with a particular emphasis on fiction. Co-production will be the focus of our Producers Forum as well as at MIPDoc, with an increased number of commissioning editors in attendance. Great programming is at the heart of MIPTV and following a successful launch at MIPCOM, we are bringing the World Premiere Television Screenings back to Cannes. Join us in the Grand Auditorium on April 4, for the international premiere of Irish-Canadian co-production Camelot presented by GK-tv in association with Starz Entertainment, in the presence of stars Eva Green and Joseph Fiennes. MIPFormats, which launched last year, has grown from one to two days. Targeted conferences, pitching sessions and a host of networking events will provide unique business opportunities for the formats community. MIPTV will be featuring a new Spotlight On 3DTV organised in partnership with Sony Corporation including a dedicated 3DTV Broadcast Content Experience within the exhibition and 3DTV conference sessions. We are also delighted to be hosting the Branded Entertainment Summit with Ogilvy & Mather, featuring branded entertainment case studies and branded content screenings. It’s going to make for a very busy week in Cannes with over 11,500 participants in attendance and 4000 buyers, a large number of big product launches, screenings and star power, as you will discover in the upcoming pages. Thanking you so much for your support and I look forward to seeing you in Cannes. All best regards, Laurine Garaude Director of the TV division Reed MIDEM


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Monroe

Vera

Marchlands

Lewis

Case Histories w/t

MIPTV Stand No: R38.01 www.itvstudios.com

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CONTENTS

MIPTV Preview magazine — March 2011 Director of publications: Paul Zilk Editorial Department – Editor in Chief: Julian Newby – Deputy Editor: Debbie Lincoln – Sub Editor: Joanna Stephens – Contributors: Marlene Edmunds, Andy Fry, Bob Jenkins, Juliana Koranteng, Max Leonard, Gary Smith – Technical Editor in Chief: Herve Traisnel – Deputy Technical Editor in Chief: Frederic Beauseigneur – Graphic Designer: Carole Peres – Editorial Management: Boutique Editions Ltd. Production Department – Content Director: Jean-Marc Andre – Publications Production and Development Manager: Martin Screpel – Publishing Product Manager: Chealsy Choquette – Publishing Coordinators: Amrane Lamiri, Bruno Piauger – Production Assistants: Emilie Lambert, David Le Chapelain, Veronica Pirim – Production Assistant, Cannes Office: Eric Laurent – Printer: Riccobono Imprimeurs, Le Muy (France)

CHINA’s Win Sing brings its two latest 3D

Management, Marketing & Sales Team – Director of the Television Division: Laurine Garaude – Director of Digital Media: Ted Baracos – Sales Director: Sabine Chemaly – Brand Manager: Dee Perryman – 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 – Executive Sales Director, North America: MJ Sorenson – Sales executive: Panayiota Pagoulatos – Sales Managers: Paul Barbaro, Nathalie Gastone – International Sales Manager: Fabienne Germond – Sales Executives: Liliane Dacruz, Cyril Szczerbakow – Sales Manager: Samira Haddi – Digital Media Sales Manager: Nancy Denole – 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

friends of GG Bond. More MIPTV product

www.mipcom.com Published by Reed MIDEM BP 572 – 11, rue du Colonel Pierre Avia – 75726 Paris Cedex 15 Contents © 2011 Reed MIDEM Market Publications – Publication Printed on 100% Registered: 1st quarter 2011 recycled paper ISSN 1963-2258

animations to MIPTV. Fairy Tales Of The Brick Kingdom is the fifth season of the GG Bond series, and is the first full HD animation aired on CCTV. The series mixes up characters from fairy tales who become news on page xx

NEWS 12

Arnold Schwarzenegger; Camelot premiere

14

Connected Creativity

16

Rodolphe Belmer of Canal+

18

Ogilvy & Mather’s Miles

22

PRODUCT NEWS Content for sale in Cannes

FEATURES 50

Connected Entertainment: Mobile Technology and Content

68

Co-production

78

Kids and animation

84

European drama

MIPTV NEWCOMERS

92

Branded entertainment

New faces in Cannes

99

3DTV

Young 20

28

Global 3D Spotlight

104 MIPTV USEFUL TIPS CONNECTED CREATIVITY AT MIPTV

See insert between pages 82-83

FULL CONFERENCE PROGRAMME INSIDE


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NEED PROGRAMMING?

4 x 60 min

13 x 60 min

Relocating animals across the globe.

Battling it out for control of the Big Day.

Produced by: Windfall Films

23 x 60 min One victim…two suspects.

13 x 60 min

26 x 60 min

One person’s junk is another person’s treasure.

Three couples wine, dine and undermine each other.

9 x 60 min Man vs. monster snakes in the Everglades.

10 x 30 min

27 x 30 min

Hidden camera show where fans control celebs.

Best friends try to cook-up a cupcake empire. Produced by: Force Four Entertainment

SCREEN ONLINE NOW: cineflixinternationalscreening.com


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WE HAVE IT!

6 x 60 min True stories of cold-blooded contract killings.

1 x 60 min Inside the outrageous world of poodle grooming. Produced by: Nancy Glass Productions for TLC

26 x 30 min

26 x 30 min

One woman’s mission to turn old into sold.

Take the challenge to take the cash.

8 x 30 min Sextuplets and the City. Produced by: Figure 8 Films for TLC

8 x 60 min Cooking up a second chance. Produced by: Seven Networks (Australia)

82 x 60 min Investigating the unthinkable.

MIPTV 201 1 STAND: 07.02 – 09.01

cineflixinternational.com


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NEWS

He’s Back Arnold Schwarzenegger is back in Cannes for the first time in eight years to unveil a new international television series. Schwarzenegger will provide details of the project during an exclusive press conference at MIPTV on Monday, April 4 and will be meeting international buyers in Cannes.

FOCUS ON FICTION ALONGSIDE the World Premiere Screening of Camelot, MIPTV will build on its new ‘festival feel’ with screenings of fiction across April 4 and 5. The screenings will feature US indepedent, Nordic and European fiction. One of the highlights of this series of screenings will be Tele Munchen’s Moby Dick, on April 5 at 17.00. The company has partnered with RHI Entertainment, Germany's RTL and Austrian state broadcaster ORF on the adaptation of Herman Melville's 1851 classic novel. Charlie Cox, Donald Sutherland and Gillian Anderson star alongside William Hurt and Ethan Hawke in the $25.5m production, Tele Munchen’s most expensive ever.

Camelot stars get red carpet treatment THE SECOND edition of the World Premiere TV Screenings in Cannes sees the first international outing of the 10-part series Camelot, presented by GK-tv, in association with Starz. An Irish-Canadian co-production, Camelot’s star-studded cast includes Jamie Campbell Bower, and Joseph Fiennes and Eva Green, who will walk the red carpet at the gala event at MIPTV on Monday, April 4.

GK-tv President Craig Cegielski said that to give the company’s first series such a high-profile international launch was “a bold step forward” for GK-tv. “The timing seemed to fit perfectly, we’re really proud of it. We think the show has incredible characters and the cast is spectacular — and it definitely continues to grow with each episode.” Cegielski said the series came into being in a comparatively short period of time.

Jamie Campbell Bower and Eva Green star in GK-tv’s Camelot

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Graham King’s GK Films launched GK-tv to develop, produce and distribute television programming worldwide, in November 2009, when former Lionsgate executive Cegielski was named president. “We got hold of the property in January, set up that same month with (Starz CEO) Chris Albrecht... and started shooting in late June. So in less than a calendar year we have put together a high-profile series with incredible

landscapes, great costumes and phenomenal sets. It’s a great collection of fantastic people who put this show together.” Cegielski added: “When you see Eva Green walk into the screen, she has such a presence, she commands your attention and you know you have been teleported into a new world, and a dangerous world, and one where you’d better keep your wits about you.”

GK-tv president Craig Cegielski


022_PASSION_PV_P13_TV__ 18/02/11 11:28 Page1

INJECT SOME PASSION INTO YOUR SCHEDULES NEW SERIES

ALL NEW

SEASON

FORMAT ALS AVAILAOBL E

PRETTY HURTS 10x30’

STALKED: SOMEONE’S WATCHING 6x30'& 16x30'

24/7 with Hollywood’s HOT injector to the stars, Rand Rusher. It hurts to be beautiful!

True crime stories take the viewer on a dramatic journey of obsessive and twisted psychology.

Produced by GOGO Luckey for LOGO

Produced by Atlas Media for Investigation Discovery

FORMAT ALS AVAILAOBL E

ALL NEW

SEASON

FORMAT ALS AVAILAOBL E

TORI & DEAN: STORIBOOK WEDDINGS 9x60’

TO BUILD OR NOT TO BUILD

It is the year of THE wedding! Hollywood’s A list couple become wedding planners.

This ratings winning series is back with more self builds on a budget. From foundations to finishing touches.

Produced by World Of Wonder and Life In the Bowl for Oxygen

Produced by True North for BBC One

5x30’ & 20x60’

ALL NEW

SEASON

BECOMING CHAZ 1x90’/ 1x60’

CURIOUS AND UNUSUAL DEATHS 6x30’ & 13 x30’

Critically acclaimed at Sundance Film Festival, Cher's daughter, Chastity, becomes her son, Chaz.

The series is back with all new episodes exploring the strangest deaths in history and the science behind them.

Produced by World Of Wonder

Produced by Lamport-Sheppard for C&I Channel UK & Discovery Canada

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VISIT OUR MIPTV STAND # H4.30 to schedule an appointment email info@passiondistribution.com


cc_news_aV3+J+D+OK_. 22/02/11 11:12 Page1

NEWS

HANS VESTBERG ON THE SOCIETY OF THE FUTURE

Ericsson’s Hans Vestberg: “Think about this industry and what we can do with it.”

HANS Vestberg, president and CEO of Ericsson, will present the inaugural Connected Creativity keynote at MIPTV 2011 on Tuesday, April 5. During the Shaping The Networked Society Connected Creativity keynote, Vestberg will outline his vision of a networked society and its impact on the media industry. He has predicted that 50 billion connected devices will be in use by the year 2020. Vestberg said recently that over the next 10 to 20 years, the world will evolve into a "networked society," where all devices can benefit from being connected into networks. A lot of the coming data-traffic growth will be driven by video and images, he said, adding that the development of mobile devices, broadband services and cloud computing will drive the evolution of the networked society. In other predictions Vestberg said that in five years time there will some seven billion mobile subscriptions in the world because “people will have more than one”. He also predicted three billion broadband connections in five years time. “That is amazing,” he said. “Think about this industry and what we can do with it.”

Connected Creativity delivers new business opportunities at MIPTV CONNECTED Creativity is a new event at MIPTV, designed to facilitate business opportunities for professionals in connected entertainment. Connected Creativity is the result of a partnership between MIPTV and GSMA, the international mobile industry association. The event is designed to enable technology, media and entertainment professionals to connect with investors and decision-makers, and to establish new international partnerships. Connected Creativity comprises four key elements. The Connected Creativity Forum is an exclusive conference and networking experience that takes place at the Majestic hotel, April 5 to 7. High-level speakers will address Connected Creativity participants during a programme of conferences on the themes Connected Consumer, Connected Content, and Connected Future. CC Ventures is a start-up competition for entrepreneurs (see Connected Creativity insert).

The Majestic hotel, site of the Connected Creativity Forum

Content 360 is MIPTV’s international creative festival on cross-media audience engagement. The Experience Hub is a pavilion featuring the latest technology and innovations. It will feature three curated spaces: the Digital Living Room, the Connected Play Room,

and the Connected Street. It will also feature designed areas for selected partners, including Orange, and exclusive presentations, demo sessions and guided tours. Content 360 and The Experience Hub are open to Connected Creativity and MIPTV participants.

Content 360 focuses on apps and games CONTENT 360, MIPTV’s digital creative festival and pitching competition for new concepts in cross-platform audience engagement, brings together top creative talent and media groups from around the world. This year the event forms a part of the Connected Creativity series of events — and remains open to all MIPTV participants. Categories for 2011 are: Interactive & cross-media digital entertainment formats, spon-

sored by FremnatleMedia/RTL Group; Smartphone apps for youth engagement, sponsored by the National Film Board of Canada; Online and social gaming; and Rich media tablet and social TV apps. FremantleMedia’s Claire Tavernier, a Content 360 jury member, said: “We’ll particularly look at the originality of the concept, and the understanding of both the TV and the digital world. The National Film Board Of

Canada (NFB) is looking for apps to be developed as companions or standalone products in relation to the NFB documentaries Sexy Inc. and Staying Real, which explore sexual stereotypes and hypersexualisation of pre-teens and teens in the media. There are prizes totalling some €22,000 of development money for winning ideas; a third sponsor of the 2011 edition of Content 360 is Yahoo!

For more Connected Creativity see insert between pages 82-83

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ALL THE BEST INGREDIENTS TO BAKE THE RATINGS ALL NEW

ALL NEW

SEASON

SEASON

FORMAT ALS AVAILAOBL E

THE GREAT FOOD TRUCK RACE 6x60’ & 7x60’

OUTDOOR ROOMS 14x30’ & 13x30’

The hottest, freshest format in food competition returns as new contestants hit the road to cook up trade.

Visionary landscape artist Jamie Durie transforms tired and worn out backyards into amazing outdoor rooms.

Produce by RelativityREAL for Food Network

Produced by Scout Productions for HGTV

NEW SERIES

SECRETS FROM A STYLIST

NEW SERIES

ROOM CRASHERS 13x30’ Total 143 Hrs

13x30’ & 1x60’

Bath Crashers – Yard Crashers – House Crashers

Design Star winner customizes a room layer by layer to help homeowners discover their individual & personal taste.

The CRASHERS brand keeps growing and now new series makes over a room from dull to dreamy.

Produced by Tricon Films & Television for HGTV

Produced by The Idea Factory for DIY Network

NEW SERIES

ALL NEW

SEASON

FORMAT ALS AVAILAOBL E

ICE BRIGADE 6x30’

CUPCAKE WARS 9x60’ & 13x60’

New series that is the new Ace of Cakes but in Ice! Great characters creating amazing ice sculptures to order.

The cupcake bake off is back following US ratings success. The global cupcake business is BIG!

Produced by Mandt Brothers for Food Network

Produced by Super Delicious LLC for Food Network

AVAILABLE TO SCREEN NOW: www.passiondistribution.com

VISIT OUR MIPTV STAND # H4.30 to schedule an appointment email info@passiondistribution.com


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NEWS

SPOTLIGHT ON CO-PRODUCTION THE PRODUCERS’ Forum returns to MIPTV, its aim to stimulate the next generation of groundbreaking production deals with producers from around the world through a series of conferences, matchmaking sessions and the newly-established Co-production Lounge. This year's co-production initiative at MIPTV is designed to help develop new partnerships between international content producers in drama and fiction. The Producers’ Forum kicks off with a presentation from The Pitch Doctor, Paul Boross, on April 8 at 08.00, who will speak at the Co-Production Lounge on how best to pitch your ideas to potential co-production partners. The Co-Production Lounge is a dedicated space for producers,

Belmer prioritises co-production as Canal+ increases investment RODOLPHE Belmer, COO of Canal+ will be kicking off the two days of Producers’ Forum conferences and matchmaking sessions devoted to co-production at MIPTV 2011. In his keynote address, Belmer will be talking about the need to maintain the international supply of original programming, and will highlight the importance of co-production for any drama to have real international potential. “In 2011 Canal+ will be ramping up its coproductions with popular US series such as XIII and Borgia,” Belmer said. “We will be investing €50m in TV dramas this year, against the €40m invested in 2010, for which 40 hours of primetime series were produced.”

The Producers’ Forum is dedicated to industry meetings and working sessions with conferences that will explore themes — including drama co-production — through specific case studies, as well as looking at the co-production strategies of TV networks. Rodolphe Belmer joined the Canal+ group in 2001 and is now executive vice-president of content, and chief operating officer of Canal+. The broadcaster is France's leading pay-TV group and currently has 12.3 million subscribers internationally. Borgia is a co-production between Canal+ and EOS Entertainment, with Germany’s Beta Film picking up worldw ide dist r i bution outside France.

Canal+’s Rodolphe Belmer: “Ramping up co-productions”

associations and film commissions to meet with key players in co-production ventures around the world. The Co-Production Lounge will also host a series of workshops and networking sessions. Other co-production events on April 4 include Expert Roundtables: Meet The Tutors in the Co-Production Lounge at 11.00; a conference session Co-Production For Success in Auditorium A, also at 11.00; and two sessions on Global Co-Production Strategies also in Auditorium A at

Zodiak’s Frank sees recovery in coming year NEWLY-installed CEO of Zodiak Media Group David Frank is optimistic for 2011. “With some exceptions where a particular production company might have done well because they’ve had a specific hit, the larger groups, the likes of ourselves and Endemol and Fremantle — even Shine — I’d say they’ve all had quite a challenging last couple of years.” But things are

14.15 and 15.15, before the co-production keynote address from Rodolphe Belmer of Canal+. On April 5, the Latin America Workshop at 09.30 and a Matchmaking session at 10.45 take place in the Co-Production Lounge, followed by an Asia workshop at 14.30 and a further matchmaking session at 15.15, at the same venue. Zodiak Media Group’s David Frank: “A period of recovery”

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looking up. “Without doubt that there is a real sense that 2011 will see an improvement in those conditions, and an improvement in our performance. Not necessarily a spectacular one — I would describe it as a period of recovery rather than turbo-charged growth.” Frank takes part in a keynote discussion on day one of MIPTV, a session that forms part of the Producers’ Forum. Zodiak Media Group has existed for little more than a year following the acquisition of RDF Media Group by Zodiak Entertainment last year. His keynote marks his first major international appearance following the restructuring of the Group. Frank can speak first hand about the challenges posed by the wave of consolidation sweeping the industry. His aim is to build “a solid brand”

behind the Zodiak name while enabling the production entities within the group to work independently. “We’re a people business and we’re a creative business and the big challenge for me is to ensure there is creative autonomy at a local level for the 49 operating production companies within the group, while at the same time ensuring that the whole can be greater than the sum of the parts.” One of Zodiak’s growth areas is with its relationships with brands. “That’s an indicator as to the way the industry is going. Zodiak Active is a business with €30-€40m of turnover. That indicates that the financing model for content is changing rapidly and there is much greater interaction between producers and brands, who in the end fund what we do.”


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EW ALL NIES SER

DESIGN YOUR PASSION TO FULFIL A DREAM

LUDO BITES AMERICA 6x60’

GARO UNLEASHED 6x60'

5-star chef Ludo heats up local American eateries when they host openings of his innovative pop-up restaurant.

Garo is a New York City couture fashion designer who does more than design clothes – he fashions identities.

Produced by Authentic Entertainment for Sundance Channel

Produced by NorthSouth Productions for Sundance Channel

ALL ON THE LINE 8x60’

LOVE/LUST 10x60’

Creative Director for ELLE, Joe Zee, guides fashion designers to a make or break meeting with a buyer.

LOVE/LUST is a fun and surprising look at the backstories of the most iconic products of our time.

Produced by Authentic Entertainment for Sundance Channel

Produced by Sharp Entertainment for Sundance Channel

QUIRKY 6x60’

SHOEBOX SESSIONS 10x30'

The Quirky team of resident geniuses have only one week to take new product ideas from concept to creation.

Celebrities share intimate mementos of their past revealing who they are today.

Produced by Sharp Entertainment for Sundance Channel

Produced by RelativityREAL for Sundance Channel

AVAILABLE TO SCREEN NOW: www.passiondistribution.com

VISIT OUR MIPTV STAND # H4.30 to schedule an appointment email info@passiondistribution.com


18-P19_MIPTV Preview News page 3+D+OK_. 21/02/11 17:45 Page1

NEWS: BRANDED ENTERTAINMENT

BRANDED CONTENT ‘IN ADOLESCENCE’

OgilvyEntertainment’s Doug Scott: “Producers are very much looking for economic support”

AD AGENCY Ogilvy & Mather is holding a series of meetings with brands, and a closed-door workshop dedicated to developing collaboration between brands, agencies, producers and broadcasters, during MIPTV. OgilvyEntertainment president Doug Scott said branded entertainment is in its adolescence. “For the most part, the producers of content have identified the challenges they’re faced with moving forward, in an environment where audiences are getting smaller and shifting from the larger networks and traditional models, to alternatives. Therefore the producers are very much looking for economic support from a production standpoint, as well as recognise value that a brand can bring from a marketing perspective.” We will soon see case studies evolve that “show the power of a brand-production-distributor-consumer partnership”, he said. And while there is the slow lifting of regulations in some parts of the world, there are still obstacles in the way. As far as compromising of content is concerned, if all parties are working together from the onset of a project that can “elevate the brand to establish a conversation within society that gives the brand association to that (conversation) then I think it’s a true win for all involved.” Ogilvy & Mather is partner with MIPTV in its Branded Entertainment series of conferences.

Agencies become publishers in new era of brand partnerships MILES Young, global CEO of Ogilvy & Mather Worldwide, gives the Branded Entertainment Summit opening keynote at 17.00 on Tuesday, April 5. Delegates will hear that, in the past, there has been a distrust, on the part of the consumer, of content in which there has been brand involvement. “That’s not totally a thing of the past actually,” he said. “But I think there is substantially less distrust than previously existed, and that’s because brands have become more sophisticated in the way in which they seek to do it. Brands are now developing into much more sophisticated content producers.” He cited Coca-Cola, which used

to employ creative officers: “Now they’re called content officers.” He said that agencies have taken on more of the role of publisher and less the role of “creator of oneshot messages”. But few agencies are there yet: “I think we’re talking about the leading edge, a little bit of pioneering.” He added: “The old way of thinking would be ‘Slap the brand on and get it as large as possible’. In our view it’s the opposite that’s necessary. There has to be a connection with the brand, but the branding itself has to be very subtle because the essence of the contract with the consumer is that you’re giving them something that is rewarding in itself.”

Ogilvy & Mather Worldwide’s Miles Young: “Substantially less distrust”

Cannes spotlight on branded entertainment MIPTV’s Branded Entertainment programme underscores the growing interest of ad agencies to work with producers and broadcasters on brand-funded programming. An expanded conference track, the Branded Entertainment Summit, takes place April 5 and 6 and is produced in partnership with the Branded Content Marketing Association (BCMA). Andrew Canter, BCMA managing director, cohosts two opening sessions across April 5 and 6. The BCMA has spent much time recently focusing on effectiveness measurement of branded content, and has developed a new evaluation tool, the Content Monitor, which according to Canter “has proven the enormous value for brands using content as a core marketing strategy

18 / M I P T V P R E V I E W M A G A Z I N E 2 0 1 1

through a number of high-profile case studies”. BCMA chairman Morgan Holt added: “These days entertainment is a multi-channel experience for most consumers and

BCMA’s Andrew Canter: “Enormous value for brands”

the brand is an essential part of that mix, often for funding reasons but increasingly to bring new partners and audiences to the table. It’s never been more of a ‘now’ question to understand how audiences, producers, and brands work together.” Reed MIDEM will give the first ever MIPTV Brand Of The Year Award to a brand which has made an outstanding contribution to branded entertainment innovation. The committee formed to select the brand includes representatives of key advertising agencies and production companies from around the world. Some of the best examples of branded entertainment content will be screened on Tuesday, April 5, and that evening MIPTV is hosting the first-ever Branded Entertainment Cocktail the Majestic hotel.


044_71Int_PV_TV__ 21/02/11 14:53 Page1

Event Movie | 90´

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20-P20_miptv_news4+D+J+OK_. 22/02/11 11:26 Page1

NEWS

OPENING NIGHT PARTY THE INTERNATIONAL Digital Emmy Awards will once again be a feature of the MIPTV Opening Night Party. Open to all delegates and held at the Carlton hotel on Monday, April 4 between 19.45 and 21.45, the Party is sponsored by High TV, marking the launch of the company’s new 24-hour 3D entertainment channel in Hong Kong, on the same day. Three Awards will be given at the Emmy ceremony, in the categories Children & Young People, Fiction and Non-Fiction. The Academy will also honour creator and director of the web series The LXD, Jon M Chu, with the Pioneer Prize for innovation in the field of multi-platform entertainment. The International Digital Emmy® Awards recognise the best in digital programming from around the world. The annual Cannes event, organised by MIPTV and The International Academy Of Television Arts & Sciences, has been established to highlight the importance of content created and designed for delivery on a digital platform.

The Carlton hotel, venue for the MIPTV Opening Night Party

Sony partners with MIPTV to take TV into a new dimension A NEW 3D content initiative launches at MIPTV 2011, its aim to support and stimulate the international market for 3DTV programming. Launched in partnership with Sony Corporation, MIPTV’s Global 3D Spotlight is designed to enable content creators to understand the future potential for 3D content and to facilitate business between 3D producers and 3D channels. A central feature of the initiative will be a dedicated 3DTV Broadcast Content Experience where Sony Bravia TVs will show 3D content from 3D channels including 3net, SkyperfecTV and BS Fuji. A 3DTV conference track will take place on Wednesday, April 6, and there will also be opportunities for private meetings with buyers of

MIPTV’s Global 3D Spotlight aims to stimulate the market for 3DTV programming

3DTV content. Studies show interest from consumers in 3DTV is growing. IMS Research forecasts that by the end of 2014, 9% of worldwide TV households will have a 3DTV set. US penetration is ex-

pected to be much higher, at 40%; Germany is another 3DTV hotspot. MIPTV’s Global 3D Spotlight will also include a special 3DTV supplement to the MIPTV Daily News on Tuesday, April 5.

Boross has tips on making the most of MIP THE PITCH Doctor Paul Boross kick starts the 2011 conference programme with The Pitch Doctor’s Guide To Making It At MIP, in which the communications expert shares his tips and tactics for “squeezing value out of every second of your time in Cannes”. The 75-minute session, which starts at 08.00 in the Co-Production Lounge, focuses on the psychology of sales and pitching. Boross, who said clients report a 75% increase in pitch success rate following one of his training courses, will explain how “the art and science of persuading people to give you business” works in the context of a high-pressure Cannes market. Boross said delegates should con-

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sider attendance at MIPTV as a business investment. “And you can blow that investment in seconds if you fail to deliver your message to the right person at the right moment,” he said. “A successful pitch is a combination of psychological insight and commercial instinct. But most important is to understand that you are your own USP. You may think you’re selling the next great game show, but what people are actually buying is their connection with you.” The Pitch Doctor's Guide to Making It At MIP Monday, April 4 — 8.00 - 9.15

Full MIPTV Conference Programme Inside

Paul Boross: “Understand that you are your own USP”


© 2011 A&E Television Networks, LLC. All rights reserved. 0092.

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MOVIE

MOVIE

AMANDA KNOX: MURDER ON TRIAL IN ITALY

HE LOVES ME

SERIES

SERIOUSLY FUNNY KIDS

SERIES

GLAMOUR BELLES

SERIES

FOUR OF A KIND

Announcing original Lifetime Movies and Series direct from AETN. ®

AETN is where you’ll find totally original programming from the fastest-growing US pay TV networks. And now, with the addition of a raft of new Lifetime Movies and factual entertainment Series developed by Lifetime, the AETN catalogue at over 8,800 hours has all of TV’s most popular genres covered.

More genres, more hit shows.

AETNinternational.com

For So Much More, speak with your AETN International sales representative or visit us at MIP TV, Booth G3-18.

MOVIES

CRIME

LIFESTYLE

11-0092_MIPTV PreviewDailyNewsAd_FIN.indd 1

ENTERTAINMENT

BIOGRAPHY

HISTORY

REAL-LIFE: CHARACTER

REAL-LIFE: HOPE

REAL-LIFE: CELEBRITY

PARANORMAL

CONFLICT

2/11/11 4:06 PM


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MIPTV NEWCOMERS WELCOME TO CANNES

Newcomers in Cannes There are many attending MIPTV who would happily and proudly call themselves veterans — familiar faces known to the industry. But MIPTV also attracts new companies and new faces, keen to reap the business opportunities available every year in Cannes. Debbie Lincoln spoke with some of them ahead of MIPTV 2011 ... Chris Fletcher • Director of programming and sales Earth-Touch • South Africa

Zhibin Gu Managing director Win Sing Animation China “WING Sing Animation, founded in 1986, is a subsidiary of the Win Sing Entertainment Group. Equipped with three fully-owned production houses and over 400 talented creative professionals, the studio maintains an annual production of 30 hours of quality 3D and 3D stereoscopic animated films and HD content. The company is a leading player in the Chinese content market, maintaining long-term relationships with over 500 essential business partners in various fields including TV stations, merchandise licensing and video distribution. “During the market, I would like to meet animation buyers, foreign distribution agents and broadcasters. I am also interested in meeting companies looking for a business partner with good expertise of the Chinese market, and try to develop a pre-sale or co-production relationships for new programmes.”

“EARTH-Touch is a Durbanbased production and distribution company specialising in blue-chip natural history films and series. We have offices in London and Washington. As well as our own productions we also represent high quality product from independent producers. “MIPTV gives us the ability to present our films to the interna-

tional broadcasting community, and also enables us to discuss upcoming projects with potential co-production partners from major broadcasters in Europe and North America. “We have a good volume of HD wildlife films, all produced in the past 12 months. We have completed six films which are selling to wildlife slots in all major terri-

tories, and we have also developed important co-production partnerships to fund our future slate of programmes.”

Zoe Duffelen • International sales director • Ginx TV • UK “GINX was launched in 2007 dedicated to joining the world of video gaming to mainstream entertainment. Since then we have successfully launched two 24-hour channels in Indonesia and Turkey, with a third pending in the UK early in the second quarter of 2011, and we have branded blocks into New Zealand and India. Our HD content

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is available for all forms of media. MIPTV gives us an opportunity to meet platforms and broadcasters across the globe under one roof. During the market we will be presenting the Ginx brand, the channel and stand-alone programming. “Over the past 12 months Ginx has added a number of new titles including: Gamesport, which looks at

sport gaming titles; The Quest, a PC and action game series; Planet Of The Apps, delving into the world of downloadable applications and games; and Games Evolved, looking at the history behind some of the biggest brands and characters in the industry. Ginx TV has entered the world of HD production, with 3D following closely behind.”

Lady Geraldine Elliott • Founder/director Lady Gerladine’s Designs • UK “LADY Geraldine’s Designs is a creative design company for film, television and books, focused on new animation characters and stories for a worldwide audience. “Television producers, production houses and book publishers that are interested in our original characters said that our product would be perfect for MIPTV... so here we are. We are looking to get

our characters out into the international marketplace and are keen to speak with companies who are able to help achieve this. “Our uniqueness lies in our creations… from touching character sets, through to our exciting and moving storylines – these are a must to see. We have declined production offers so far, as we wholeheartedly believe we can

find our perfect partners at MIPTV to help create exceptional animation for a more international audience.”


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MIPTV NEWCOMERS

Sem B Moioli • Business development director Revolver Production • Italy

Jocelyn Shearer Vice-president Footage sales Discovery Access • US

“DISCOVERY Access, Discovery Communications’ footage service, offers hundreds of thousands of hours of video content available for license. Never before available, the library is searchable and downloadable on a newlylaunched e-commerce website, www.DiscoveryAccess.com. Additionally, any content not yet processed for the website is also available for deeper research inquiries. “Discovery has always had great reach with the international production community as coproduction or commissioning partners, but now we seek to expand our reach internationally as a content source. “With the launch of Discovery Access, Discovery is now offering twenty-five years of content from around the globe, covering Discovery Communications 28 global entertainment networks and multiplatform media brands, DiscoveryAccess.com is home to the most diverse collection of digital media, and available now.”

“OUR COMPANYwas created last year and it’s the sum of the experience of four partners with different experiences in media and business with the common will to create really new formats for television and all media. “I attended MIPTV many times in the past, In 1998 I created Game Network, a 24/ 7 channel dedicated to video games and I knew well how MIPTV is a crossroads for the industry and the

best platform to start promoting our new venture and ideas. We attended MIPCOM last year and we established some good relationships, now with MIPTV we think we can really take off and soon we will be on air with our first format The Desk. “We are already cooking up new formats… so I hope that very soon our partners can discover and appreciate our USPs. We are a start-up but with good experi-

ence so we are happy about how this mix is working. MIPTV is definitely an important platform and for us a very important milestone in our growth.”

Lisa Lee • Acquisition & sales manager Hong Kong King Land Media Co Beijing Office • China

“HONG Kong King Land Media is a distribution company whose main activity is to introduce overseas programmes to Chinese viewers. We

business partnerships with those companies who hold rights for various kinds of animation films, feature and TV movies. “King Land Media is a bridge for international entertainment companies who would like to start or expand their business in China, especially the Chinese mainland, the most robust market with billions of viewers.”

Sarim Fassi-Fihri • President Association Marocaine des Professions de l'Audiovisuel & du Cinema (AMPAC)/Moroccan Pavilion • Morocco “THE MOROCCAN Pavilion is under the AMPAC flag. AMPAC is a trade association regrouping companies in the audio-visual field and the film business — Moroccan TV channels, the Film Authority, and film producers. The state monopoly on TV broadcasting was repealed in 2003, and now we have three TV channels acting as private competitors. They have to produce, co-produce and broadcast a cer-

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mostly buy movies (90/120 mins) and animation. We need all TV rights for the Chinese mainland and we also consider the rights for online broadcast and cinema. In the past few years, we have introduced nearly 200 titles into China. “At MIPTV we’d like to meet future partners and select programmes for year 2011-2012, and to establish

tain amount of domestic productions and this has increased the Moroccan production industry. “Today, we think we can take part to the international market and show our expertise. Moreover, Morocco is one of the most famous locations in the world. We promote our country at the Cannes Film Festival, and we think we can also do it during MIPTV. “We are looking for co-produc-

tion partnerships with territories and companies who have the same economic level in the field of production. We will also look to develop projects internationally. And of course we are welcoming all the film-makers who wish to shoot in Morocco.”


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Enter a New Le

vel of Online Screen ing at www.zdf- enter p r ises.de AS of MIptv 20 11 Facts for your success:

The world’s first and only zoo detective! Invites youngsters to actively join in the investigation Non-violent mischief-making instead of crimes

Visit us at MIPTV 2011: Booth No. 21.02 – 23.01 Sales, Merchandising and Coproductions | Erich-Dombrowski-Str. 1 | 55127 Mainz | Germany programinfo@zdf-enterprises.de | www.sales.zdf-enterprises.de | P +49 (0) 6131. 991.1601


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MIPTV NEWCOMERS

Charlie Tango • CEO • The Munchies Movies Production • Italy Lennart Blixt

“TV PRODUCER The Munchies Movies Production was born in 2003 and has worked with the most important Italian networks. It’s specialised in entertainment, animation and puppet-show formats for national and international markets. Most of the projects for this year are for kids, including a new interpretation of children’s fairy tales and a kitchen show. A

Owner/sales director Ruta Ett DVD AB • Sweden “RUTA Ett DVD develops 3D animated TV series and unique and exciting children concepts. The Box Of Fairy Tales was launched in Sweden in 2009, and since then has sold over 75,000 units in Sweden. Egmont launched The Box of Fairy Tales in Finland at the end of 2010, and soon it will be launched in Norway. At the end of 2010 the new series Heroes Of The City was launched in Sweden and Finland. At MIPTV we will begin international sales of the fist 26 episodes of Heroes Of The City. “We know through our Swedish network that MIPTV is the best place to be to start building our international network. We are looking for partnerships with buyers, licensors of brands, characters and other intellectual properties, and companies with an interesting network and knowledge about sales and distribution of children's properties. “Ruta Ett DVD is 100% owner of all rights and our new series is a unique adventure series where all citizens are emergency vehicles or other cars. We see great potential and interest among the target pre-school audience.”

care for quality and a drive to be daring in content are at the core of the company. “We decided to join MIPTV to begin collaboration with national and international companies, export our products to an international market, and improve our relationships in the Italian market. “We are looking forward to collaborating with new TV companies

ready to exit from the ordinary and willing to present a fresh and provocative message.”

Joao Pedro Nava • Distribution director • SIC Channels • Portugal

“SIC STANDS for Sociedade Independente de Comunicacao. We were the first private television company to broadcast in Portugal in 1992, putting an end to a 35-year state monopoly.

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“Since 2001 cable subscribers have had a channel exclusively dedicated to news, 24-hours-a-day in Portuguese, SIC Noticias. Even before cable demand we launched SIC Internacional in 1997. SIC Internacional now reaches more than 4.5 million viewers around the world. “We currently own six TV Channels — the above mentioned plus three thematic cable channels SIC Radical, SIC Mulher and SIC K, and from those, four are distributed on international platforms. Top-quality content production and

distribution of fiction, entertainment, news and lifestyle programming has been central to these channels. “MIPTV is the perfect spot to bring all this content to acquisition professionals from all over the world. From our comedies to a major exclusive documentary on Jose Mourinho, entertainment formats, novelas and several awarded news reports. MIPTV is the place to close direct deals, to find new distributors that handle specific content or just to meet new people and let them know about us.”

Dmitry Rudovskiy • CEO • Art Pictures Media • Russia “ART PICTURES was founded in 1992 as a production company specialised in music videos and ad spots. In 2005 it was renamed Art Pictures Studio, which started as a film production company. In 2009 Studio Art Pictures Media was formed as a distributor, focusing on Russian and foreign independent movies and the Studio’s releases. At the top of future production plans is a detective movie The Winter Queen (starring Milla Jovovich and Anton Yelchin), and war drama Stalingrad. “The 9th Company, a movie

about the Soviet war in Afghanistan, became the greatest Russian box office success of 2005, and in 2006 it was selected for consideration for Best Foreign Language Film at the Oscars. Also, the film had the best TV rating on Channel One Russia. “MIPTV is not the first content market for Art Pictures Media, but it is the world’s greatest gathering in TV and media and we don’t want to miss it. We believe that our participation in this extraordinary occasion will give us a unique opportunity not only to represent

our products, but most importantly it will give us an opportunity to learn a lot from professionals, to exchange experience in the world’s entertainment content market.”


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PRODUCT NEWS

For sale at MIPTV Who’s selling what at MIPTV this year? The following pages feature a selection of the multi-platform products on sale

Killer or victim?

Amanda Knox: Murder On Trial In Italy (AETN International)

AETN brings a new line-up of Lifetime movies to MIPTV. Headlining the slate is Amanda Knox: Murder On Trial In Italy (1 x 2 hours). Directed by Robert Dornhelm and featuring Hayden Panettiere and Marcia Gay Harden, the movie is based on the headline-grabbing story of the American student accused by Italian authorities of killing her roommate in 2007. The film asks whether Knox (Panettiere), along with her boyfriend Raffaele Sollecito and acquaintance Rudy Guede, actually committed the crime, or if she was the victim. Other offerings include the thrillers He Loves Me (starring Heather Locklear) and And Baby Will Fall (with Bendan Fehr), and Bringing Ashley Home (starring Jennifer Morrison), based on the true story of a woman’s search for her missing sister.

Convicts on the run TONY’s Revenge (8 x 52 mins) is a new series that charts the adventures of two cellmates who escape prison together, despite the fact that they have nothing in common. Tony comes from the old days of organised crime and Kenz is a young North African deliquent. Tony is desperate to expose the police and crooks who betrayed him. The series is brought to MIPTV by AB International Distribution. The company also brings family series Sparrowhawk (6 x 52 mins), about a former privateer who has to clear his name.

Tony’s Revenge (AB International Distribution)

Lauriann is stepping out with the stars

Laurieann Gibson, host of The Dance Scene (CIMG)

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RYAN Seacrest Productions' new show The Dance Scene (working title) is brought to MIPTV for its debut by Comcast International Media Group (CIMG). The 8 x 30-minute series follows the life and work of choreographer and creative director Laurieann Gibson as she prepares dancers to perform with some of the music industry's highest-profile stars, including Lady Gaga. CIMG also brings Kourtney And Kim Take New York, in which the Kardashian sisters have their eyes set on conquering New York with their Dash clothing stores.

Danni Lowinski (SevenOne International)

Do-it-yourself lawyer HEADLINING the MIPTV slate of series and movies from SevenOne International is Danni Lowinski, the first German series to be locally adapted in the US. CBS Television Studios is currently producing the pilot for consideration at The CW Television Network, starring Amanda Walsh (Danni), Carla Gallo and George Dzundza. Danni, a trained hairdresser, began studying law and now at age 32, has passed her exams and is enthusiastic about practicing her profession. But when all her job applications are rejected she defies her father’s wish that she should go back to hairdressing, and decides to offer legal advice to the less fortunate — in an unorthodox setting. The first season of Danni Lowinski premiered on German channel SAT.1 in the spring of 2010.

Dr Seuss gets animated PORTFOLIO International returns to MIPTV with children’s animated series The Cat In The Hat Knows A Lot About That!, which as a result of recent deals will be seen on Disney Channel Spain, Norway’s public broadcaster NRK, Finland’s MTV Oy, Al Jazeera’s Arabic channel and Canadian French language children’s channel Yoopa. The series, which launched in 2010 on Treehouse in Canada and PBS Kids in the US, sees Dr. Seuss’ Cat accompanying two sixyear-old friends, with Fish, Thing 1 and Thing 2, on a series of scientific adventures, covering subjects from how bees make honey to why owls sleep during the day.


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PRODUCT NEWS

Beauty and the beasts

The Cariocas (Globo TV International)

Globo’s new line-up BRAZIL’s Globo TV International brings a slate of drama and passion to MIPTV, including: The Cariocas, an HD series of ten 25-minute stand-alone episodes about modern sophisticated Rio de Janeiro women; Cat’s Cradle, a telenovela following the life of Gustavo, a rich and intolerant man, married to Veronica, a vindictive woman. Gustavo only discovers true love when he meets Rose, a simple, hard-working woman; Written In The Stars (100 x 45 mins) a telenovela about three people and their crossed destinies; Passione (160 x 45 mins), about the secrets of a powerful family; and, Miracle Hands (5 x 52 mins), a drama series about a doctor with the power of healing, hailed as saint by some and criminal by others.

Papillon takes off

Once upon a time

GLASSBOX Television’s Bite TV has partnered with Duopoly and Farmhouse Productions for a new comedy web series, Papillon (15 x 4 mins), starring Kevin McDonald (Kids In The Hall). The series will be seen in Canada first on bite.ca and then broadcast on Bite TV, and on internet platform Babelgum in the US. Papillon features a discount airline working out of Ontario, that promises to “put the flutter back into flying”, with no unnecessary perks such as in-flight drinks, meals, or seatbelts. The comedy series is linked to the blog www.cabinpressure.org that helps frustrated travelers share their air travel horror stories.

XNOTE, distributor and producer of documentaries, music and products for children, is in production on a DVD collection of fairy tales, Digikids. Six are completed with six more in production. In the series some of the best-loved classics are re-told in simple animation, where an opened book tells the story, narrated and with original songs. There is also a version without voice so that a parent or child can tell the story.

Really Me (Fresh TV)

Digikids (Xnote)

The realities of reality TV PRODUCTION is under way on live-action situation comedy Really Me, developed by Fresh TV in association with Family Channel. Really Me follows 15-year-old Maddy (Sydney Imbeau), the ninth-grader who wins a contest landing her own reality TV show for a year. Middle-child Maddy has been overshadowed her entire life by her popular older brother, her genius little brother and her former NHL hockey star father, and realises that even though she and her best friend Julia become stars, being on screen can be tough when you live with a family of scene-stealers.

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BEAUTIFUL Boy, a film brought to MIPTV by Lightning Entertainment, is to get a US release through Anchor Bay Films. The drama starring Michael Sheen and Maria Bello has been well received at international festival screenings. Lightning is also highlighting Kill The Irishman, a crime thriller with a cast including Ray Stevenson, Val Kilmer and Christopher Walken; supernatural horror Needle; and adult title Battle Bang, in which two MMA fighters battle for a date with a woman. Beautiful Boy (Lightning Entertainment)

The long Hello! HELLO! Hollywood, the Mandarin-language show about Hollywood, has expanded its weekly magazine format show from 30 to 45 minutes. Produced by Metan Development Group Hello! Hollywood is now available in over 250 million homes in China, as well as Mandarin-focused TV outlets in North America. Hello! Hollywood first launched in 2009 on 10 stations in China, and is now available on over 50 stations, as well as 13 Chinese online platforms. The original half-hour version is still available.

Hello! Hollywood (Metan Development Group)


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PRODUCT NEWS

Kids left home alone

Dark side of Being Human

This time it’s not personal

ZODIAK Rights brings drama series Being Human to Cannes. The original UK series, produced by Touchpaper Television, has sold to more than 40 territories. The North American adaptation (13 x 60 mins), is produced by Muse Entertainment and is set in Boston, following three paranormal roommates, a vampire, a ghost and a werewolf. Zodiak also brings new kids’ property Redakai, Conquer The Kairu (52 x 30 mins) about a 15-year-old martial art trainee who embarks on a quest to find an ancient alien energy. Nothing Personal (Cineflix International)

HOSTED and narrated by Sopranos’ star Steve Schirippa, Nothing Personal is a new crime series that recounts the true stories of contract killings, with each episode detailing the story of a professional ‘hit’, from crimes of passion and greed, to gangland executions and mafia contracts. The series is brought to MIPTV by Cineflix International.

The Sparticle Mystery (Cake)

CAKE brings over 50 hours of kids and family entertainment programming to MIPTV. Highlights include: The Sparticle Mystery (13 x 30 mins), about a group of children left alone on Earth when a secret science experiment goes catastrophically wrong; Poppy Cat (52 x 11 mins), a new pre-school series based on best-selling books by Lara Jones; Oscar’s Oasis (78 x 7 mins), which features Oscar the lizard; Eliot Kid Season 2 (52 x 13 mins), about the over-imaginative mind of a young boy; and Angelo Rules (78 x 7 mins), about 12-year-old Angelo, who aims to control his life using elaborate comic strategies.

Trouble at the movies

Musicians On The Record Being Human (Zodiak Rights)

Supernatural persuaders TOEI Animation brings the eighth season of the action-fantasy series Pretty Cure — Suite Pretty Cure — to buyers at MIPTV. In the series, produced by Toei Animation, two junior high school students, Hibiki and Kanade, are visited by a fairy from the musical country Major Land, who is looking for legendary warriors called Pretty Cure. The fairy persuades the girls to become Pretty Cure in order to protect the earth from an evil force planning to destroy the world. On The Record guest Lady Gaga (Target Entertainment)

The Cinema Hold Up (Shoreline Entertainment)

THE CINEMA Hold Up (Aslato Al Cine), a film from Los Angeles-based Shoreline Entertainment, tells the story of four youngsters — Negus, Chale, Sapo and Chata — who have been friends since childhood. The teenagers come from a block of flats in Mexico’s Guerrero colony, and with too much time on their hands they to discuss the idea of robbing a cinema. Each has a different reason to go ahead with the heist. The adventure brings their lives to a crisis point, threatening the only thing they have — their friendship.

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Suite Pretty Cure (Toei Animation)

TARGET Entertainment brings new music show On The Record to MIPTV. Produced by Fuse for Fuse channel in the US, the 30 x 30minute HD show features candid interviews with some of the world’s leading music artists, discussing everything from their music influences to the pressures of life in the spotlight. Hosted by Toure Neblett, the artists include: Lady Gaga, 50 Cent, Jay-Z, Rihanna, The Foo Fighters, Christina Aguilera, Snoop Dog and Ludacris. Exclusive unseen footage and extended interviews with some of the artists are also available in spin-off episodes titled The Lost Tapes.


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PRODUCT NEWS

Dancing around the world TOON Distribution is at MIPTV representing Toon Factory productions as well as third-party properties including Chico, Chica Boumba (52 x 3.50 mins), a series in production aimed at encouraging children to dance to all styles of music from around the world. Toon Factory is currently working on HD series My Friend Grompf (52 x 13 mins) for France 3 and Disney Channel and has just started production on Tony & Alberto (78 x 7.50 mins) for M6 and Canal J.

Chico, Chica Boumba (Toon Distribution)

Teen life in London

History behind the hair

The Cut (Fireworks International)

FIREWORKS International, the television and digital distribution arm of ContentFilm launches new HD drama series The Cut to the international marketplace at MIPTV. Produced by the UK’s BBC with a cast and storylines suggested by teens, the fast-paced drama is set in London and deals with feuds, relationships, secrets and lies. Billed as combining the realism of UK youth series with the aspirational feel of US teen dramas, The Cut is available as 200 x 5-minute episodes for online and 40 x 30 minutes for TV.

AFRICAN Beauties (43 mins) explores the art of hairstyling in Africa, a mix of fantasy, creativity and skilled craft that is firmly rooted in African tradition and culture, the show is brought to MIPTV by Albatross World Sales. The company also brings As The World Eats: Pizza/Falafel/Hamburger/Sushi (4 x 43 mins), a global culinary journey and The World’s Greatest Balloon Adventures (5 x 52 mins), a travel and adventure series shot in the Alps, Venezuela, Sri Lanka, Mongolia and Kenya, which is in production and available for pre-sale.

No pain, no gain

Banking on plankton

Lola & Virginia go live

PASSION Distribution and Go Go Luckey Entertainment have signed a distribution deal for Go Go Luckey’s new reality series, Pretty Hurts. The 10 x 30-minute workplace series stars Rand Rusher, a Beverly Hills’s dermatological nurse and injector to the stars. Each episode features full patient makeovers and a behindthe-scenes look at the latest procedures in the beauty business. Passion holds worldwide rights (excluding the US) to the show, and also brings 350 new hours of programming to MIPTV, including 100 hours of lifestyle series from Scripps Networks International.

PLANKTON Invasion, brought to MIPTV by TeamTO, features miniscule marine creatures planning to conquer earth, and is the first animation series granted the Decade For Education For Sustainable Development label by UNESCO. The 3D series (78 x 7 mins) is also adhering to the guidelines of ECOPROD, a French initiative with the objective of making audiovisual and film production more environmentally responsible. The TV serieswill be complemented by an educational website, presence on mobile platforms, gaming and virtual worlds, as well as licensing.

SPAIN’s Imira Entertainment is moving into live-action kid’s entertainment with the new live-action version of animated series Lola & Virginia (26 x 26 mins) which is being co-produced with Brave Films. The show is produced in partnership and in joint ownership with RAI Cinema, and is pre-sold to Nickelodeon for Spain, Portugal and Italy. Lola & Virginia is a comedy that follows the high school adventures of the eponymous girls. Lola is an advocate of justice and is ready to fight for anyone in need. Virginia by contast, needs to be the centre of attention and will do whatever it takes to be number one. The two fifteen-year old antagonists are rivals in everything. The animated series (52 x 12 mins) has sold in over 100 territories and 27 languages.

Lola & Virginia (26 x 26 mins)

Pretty Hurts (Passion Distribution)

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Plankton Invasion (TeamTO]


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PRODUCT NEWS

Fun in the Flesh Air AUSTRALIA-based producer Vision TV teams up with airbrush artist Wayne Harrison, and photographer Dave Anderson to create Flesh Air (13 x 27 mins), an HD reality series about painted cars, painted bikes and painted girls. Sports cars, hot rods, vintage cars, and motorcycles are transformed by painted fantasy murals, and then models are painted to match before Anderson conducts a photo shoot.

Endgame makes move

Endgame (Endemol Worldwide Distribution)

HIGHLIGHTS from Endemol Worldwide Distribution’s MIPTV slate include Endgame, a 13 x 1-hour drama featuring chess master Arkady Balagan, who is traumatised by the murder of his fiancee and is terrified to leave his luxury hotel. To pay his bill he begins solving mysteries, using an unlikely band of hotel employees and chess fanatics to do his legwork. From the kids’ genre comes Matt Hatter Chronicles, a 26 x half-hour 3D animated series about a family that are defenders of a gateway to a different dimension. Reality series Nightmare Next Door (13 x 60 mins) meanwhile tells the stories of murders that have shocked small-town America.

Looking for a Glee star THE GLEE Project (working title), brought to MIPTV by Fox Look, is a 10 x 1-hour competition/reality show to find a new actor, dancer and singer to participate in the new season of Glee, the smash-hit Fox musical-comedydrama. The show is set to air on Oxygen in the US, running weekly until just before the broadcast of Glee season three.

Flesh Air (Vision TV)

I don’t want to die CONNIE Diletti is a 32-year-old optimist, her only problem is that she’s afraid to die. Corpus (60 mins/HD), from Canada’s Tricon Films & Television, chronicles Connie’s exploration of non-traditional afterlife services; from plastination, cryonics, mummification, space travel, to using remains to grow a coral reef. The company also brings HD series: InSecurity (13 x 30 mins), an action comedy featuring the fictional National Intelligence and Security Agency; Livin’ Loud (12 x 30 mins), a reality series in which two girls and two guys take a 3,680-mile road trip seeking out cool people, extreme experiences and weird adventures; ‘Hick’ Town (6 x 30 mins), a documentary that delves into the inner workings of one of America’s fastestgrowing cities, featuring John Hickenlooper , Mayor of Denver; and Where’s My Goat (60 mins) in which Christopher Richardson travels to a Zambian village in search of one of the goats he has bought online.

Corpus (Tricon Films & Television)

Crystal clear Cinderella

Cinderella (Electric Sky)

UK DISTRIBUTOR Electric Sky comes to MIPTV with a growing catalogue of operas and ballets. Cinderella (105 mins), by Glass Slipper Productions for the BBC, is a new HD version of the fairytale classic created to celebrate Birmingham Royal Ballet’s 20th anniversary. Electric Sky also brings the HD ballet Alice’s Adventures In Wonderland (100 mins), and documentary Black On Red (60 mins). Launched at MIPTV, the documentary follows the Royal New Zealand Ballet as they tour China.

Sherlock cracks zoo mysteries

Sherlock Yack – Zoo Detective (ZDF Enterprises)

SHERLOCK Yack – Zoo Detective (52 x 11 mins) features a zoo manager who is also its detective, investigating crime with his young assistant, Hermione. Produced by Mondo TV (France) for TF 1, ZDF and ZDF Enterprises, the kid’s animation series is based on a French book series. ZDF Enterprises also brings the second season of Danish crime series The Protectors (10 x 60 mins), in which the Danish foreign minister plans to re-open the embassy in Islamabad.

MIPTV PREVIEW MAGAZINE 2011 /

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PRODUCT NEWS

New series in the can

Rescue mission

BRB INTERNACIONAL is screening the initial episodes of Canimals (52 x 7 mins) at MIPTV. Produced by Screen 21, Aardman and Voozclub, the series features animated characters shaped like tin cans that interact in real-life scenes. Canimals has been acquired by Mediaset-Italia1 for broadcast in Italy at the end of this year. Also, the Mediaset group will manage the licensing and merchandising rights for the series in Italy. Canimals (BRB Internacional)

More monkey business 4KIDS is prioritising three new properties at MIPTV, including 26 new episodes of Rocket Monkeys, (26 x 30 mins/ 52 x 11 mins), featuring NOSA-trained monkeynauts Wally and Gus as they explore the universe. Yu-Gi-Oh! 3D: Bonds Beyond Time (60 mins), meanwhile, is a new theatrical film created by manga artist Kazuki Takahashi claims to be the world’s first full-length animated feature to be drawn by hand and then rendered into 3D. Also from 4Kids comes new episodes of Yu-Gi-Oh 5Ds: Road To Destiny (90 x 30 mins), in which a new enemy emerges and Yusei and his friends must save the world — one duel at a time.

Fighting evil across time Laconia (FremantleMedia Enterprises)

Huntik (Rainbow)

RAINBOW brings 26 new episodes of Huntik, Secrets And Seekers to MIPTV. The series features an ongoing struggle between an evil organisation and the noble Seekers, who battle across the globe and through time. Also from Rainbow, PopPixie (52 x 13 mins), which debuted in last year on France 3’s Mon Ludo, is an animated comedy for four-to 10-yearolds which takes place in Pixieville, where gnomes and magical animals live happily together with Pixies. However, the tranquility is often upset by naughty Elves.

Rocket Monkeys (4Kids)

New-look detective dramas ITV STUDIOS Global Entertainment debuts BBC One’s detective drama Case Histories at MIPTV. Adapted from Kate Atkinson’s novels and starring Jason Isaacs, the series is set in and around Edinburgh. Featuring ex-soldier and policeman Jackson Brodie, the two-part stories are warm, funny and moving, an uplifting re-imagining of the detective genre. Case Histories (ITV Studios Global Entertainment)

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THREE drama series top the priority list for FremantleMedia Enterprises at MIPTV. Laconia (2 x 90 mins) is the story of the luxury cruise ship sailing from South Africa to Liverpool in 1942, carrying civilians, children, wounded soldiers and 1,800 hundred Italian prisoners. Mistaken for a troop carrier by a German U-boat, the Laconia was attacked. Defying protocol, the U-boat captain puts his career on the line to rescue surviving passengers. Exile (3 x 60 mins/2 x 90 mins) features Tom, a successful London journalist who when his career and life fall to ruins returns to his hometown for the first time in 18 years, to find his father in the grip of Alzheimer’s. Tom begins to unravel the childhood mystery that drove him away. The Crimson Petal And The White (4 x 1 60 mins/2 x 120 hours, drama) tells the story of a wellread young prostitute in 19th Century London who yearns for a better life.

Kids go undercover PRODUCER and distributor, Skywriter Media & Entertainment Group brings live-action adventure series On The Run (26 x 30 mins) to MIPTV. The series begins when John and Louise Falconer, former CIA profilers, are accused of sharing government secrets and sent to prison. Their kids, Aiden and Meg, are placed in a juvenile work farm, but make a daring escape and go on the run to prove their parents’ innocence. The series is produced by Skywriter Television with Evatopia.


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PRODUCT NEWS

Rastamouse goes global DHX MEDIA headlines its MIPTV slate with new pre-school series Rastamouse (52 x 11 mins). Rastamouse, together with Scratchy and Zoomer, make up the Easy Crew — a crime fighting, mystery-solving, special agent, reggae band. The CBeebiescommissioned stop-motion Rastamouse (DHX Media) animated series has already sold to ABC TV with ABC Commercial snapping up home video rights in Australia. Canal+ (MiniMini) has acquired TV rights in Poland and HOP! has picked up all available episodes for Israel. Toronto-based DHX Media represents worldwide television rights (excluding UK) and worldwide L&M rights to the property, which launches in the UK later this year.

Summer in style

Karen Sealy, presenter of Summer Home (Picture Box Distribution)

CANADA’s Picture Box Distribution is bringing new design series Summer Home to MIPTV. The 10 x 30-minute show sees interior designer Karen Sealy renovate vacation properties using simple and inexpensive design principles and materials. Produced by RTR Media, the series premieres on HGTV Canada later this year and will be available to international buyers soon after.

Blumenthal is back

Breaking a conspiracy MUNICH-based distributor Bavaria Media Television brings a new science fiction thriller to this year’s MIPTV called Alpha 0.7 — The Enemy Within. The series, which is also in feature-length format, is set in Stuttgart in 2017, when Johanna, finds out that she has become part of a neurological experiment and that someone else has taken control of her thoughts. Together with an activist fighting against the state, Johanna uncovers a major conspiracy. Also new from Bavaria Media comes a new series from French-speaking Switzerland, T’es Pas La Seule (20 x 30 mins), about a young, urban mother who inherits a vineyard.

Heston’s Fishy Feast (Optomen International)

OPTOMEN International is in Cannes with a follow-up to the series Heston’s Feasts with Michelin-starred chef Heston Blumenthal. In the new one-hour special Heston’s Fishy Feast, the chef prepares a seafood supper, displaying his trademark flair, stunning flavours and textures, and surprises for the lucky diners. The programme also draws attention to issues of the sustainability of food sourced from the sea.

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Alpha 0.7 – The Enemy Within (Bavaria Media Television)

Friends in trouble

Brothers (Nordic World)

IN NRK’s new drama series Brothers (4 x 45 mins), refugees Mano and his friend Sharan are smuggled into Norway in the hope of starting a new, more peaceful life in Oslo. Their arrival proves less than tranquil as they are forced to conduct a robbery to repay the smugglers. The raid goes wrong and when they are caught by the police Mano takes the blame to protect his friend. The series is brought to MIPTV by Nordic World. The company also brings Operation Sea Breeze (1 x 58 mins), a documentary about the Isreali action against the convoy of aid and activists headed for Gaza.

Character studies

Sarah Jessica Parker features in America In Primetime (First Hand Films)

FIRST Hand Films is highlighting two new shows at MIPTV. Four-part HD series America In Primetime looks at the evolution of the best of American scripted entertainment, each episode exploring a different character type: Independent Women, Men Of The House, Crusaders and Misfits, and includes interviews with writers, actors, producers and directors. America In Primetime is produced by The Documentary Group, with National Academy of Television Arts and Sciences Foundation, WETA Washington DC, for Public Broadcasting Service (PBS) and the Corporation for Public Broadcasting (CPB) Production Company.


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“THE BEST NEW SHOW ON TV” -ENTERTAINMENT WEEKLY

SEASON 2 PRODUCTION STARTS SPRING 2011

Drama / Suspense Series (2011) 19 x 60 minutes

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PRODUCT NEWS

Virtually famous COOKIE Jar Entertainment brings its first older demographic live action/CGI animation production to MIPTV, Mudpit. The series follows teens Reese, Geneva, Liam and Mikey as they form a virtual rock band in the CGI world of Muzika, a game and competition where the teen’s images and actions are scanned into the game using hi-tech cameras, and their stylised animated avatars battle against other virtual bands for a coveted record deal. In real life they engage in the daily comedy and drama of teenage life. Each episode features an original musical performance by Mudpit.

High-risk, in high-definition CALIFORNIA-based Solid Entertainment puts the spotlight on kite surfing in Catchin’ Air (6 x 48 mins). The athletes that take part in this exreme sport skim across water and take to the skies to perform jaw-dropping tricks in mid-air. The series follows professional kite surfers Andy ‘Grasshopper’ Hurdman and Sean Reyngoudt, and HD cameras capture six locations from Alaska and the Pacific Coast to Florida. Solid also brings Stripped: Greg Friedler’s Naked Las Vegas (52 mins/89 mins), that follows photographer Friedler shooting for the fourth and final book in his Naked series (Naked New York, Naked London, Naked Los Angeles), finding 173 naked human beings of every shape, size, and walk of life.

Be afraid, be very afraid PARIS-based Moonscoop is showcasing the second season of Casper’s Scare School (52 x 11 mins/26 x 22 mins) at MIPTV. The series — which continues the adventures of the friendly ghost Casper— is a Moonscoop production with Classic Media and DQE. Moonscoop handles worldwide distribution with the exception of North and Latin America, and the UK, which is handled by Classic Media, and the Middle East, Oceania and Asia which is managed by DQE. Delivery is set for early 2012 with TF1, Cartoon Network US and Disney Channel Spain and Portugal on board to air the new season.

Casper’s Scare School (Moonscoop)

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Catchin’ Air (Solid Entertainment)

Going to the zoo

Kid Guides (Octapixx Worldwide)

KID GUIDES (13 x 30 mins), is a child-friendly travel series, brought to the international market by Octapixx Worldwide, that follows hosts Matt and Brittney as they take children to famous zoos, aquariums, museums and other family-friendly destinations, with the young hosts providing a fresh take on the travel genre. The series, now in development for its second season, has received an Emmy Award and garnered seals of approval from the Parents Television Council and the Parents Choice Foundation.

Mudpit (Cookie Jar Entertainment)

Memphis — the movie THE FREMANTLE Corporation has chosen MIPTV for the international premiere of Memphis, a film based on the story and characters from the Broadway musical, set in the underground dance clubs of 1950s Memphis. The show’s music was written by David Bryan, the keyboard player, songwriter and founding member of Bon Jovi. The show is to be produced later this year by the Broadway Television. Fremantle also brings Bug Rangers, an action-filled CGI comedy that follows the adventures of three bug friends, Squiggz, Cosmo, and Flutter. Produced by Happenstance LLC, Bug Rangers is available in HD.

Unhealthy obsessions MY STRANGE Addiction (60 mins/12 x 30 mins) documents the stories of people who are battling obsessive behaviour that is taking over their lives. Featuring obsessions from turning to chocolate or retail therapy, to obsessive ingesting of household detergent or chalk. Rive Gauche Television introduces the series to international broadcasters at MIPTV.


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Mystery Series (2011) 26 x 60 minutes

I NT E R N AT I O N A L

Sales Rights For Continental Europe

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PRODUCT NEWS

Serving up murder with a smile

Man vs. volcano

RECIPE For Murder (53 mins) tells the story of a real-life post-World War II crime wave, in which women murdered their nearest and dearest with rat poison. Also on the menu from ABC Commercial comes What Do You Know? (65 x 26 mins), a general knowledge game show for youngsters. The arts slate feaRecipe For Murder (ABC Commercial) tures A Thousand Encores: The Ballets Russes In Australia (56 mins), the story of how one of the greatest ballet companies of the 20th century transformed the cultural landscape of conservative 1930s Australia. Lucy Culliton’s Big Skies (25 mins) meanwhile, follows one of Australia’s contemporary painters as she travels back to her childhood farm to capture the landscape on canvas. Super Eruption (MarVista Entertainment)

Fatherly advice

A slice of reality

FATHER Albert Cutie hit the headlines first when he left the Roman Catholic Church to marry. His self-help book, Real Life, Real Love, became a Spanish-language best-seller and his appearances on Spanish-language channels earned him the nickname Father Oprah. This year marks his English-language debut as a talk show host. The daily one-hour show, Father Albert, is brought to MIPTV by DebmarMercury, and will air on Fox channels.

Super-sidekicks

MARVISTA Entertainment, producer and distributor of family programming, has chosen MIPTV to premiere the film Super Eruption. Beneath the Yellowstone national park is the Yellowstone Caldera, a giant hot spot for volcanic activity, and what scientists call a supervolcano, which is threatening to erupt and destroy a large part of North America. In the film it is up to Yellowstone’s top scientist and a park ranger to put aside their differences and formulate a plan in time to save millions of lives. Super Eruption, which is set to air in the US on an NBC Universal channel, stars MyAnna Buring and Richard Burji and is produced by MarVista Entertainment.

Royal retrospective The Apprentice (Screentime ShinAwiL)

Sidekick (Nelvana Enterprises)

EMBARK on an adventure to learn how to save the world from mutated monsters with Eric, Trevor, and their gang of friends from the Sidekick Academy in the 52 x 11-minute animation series, brought to MIPTV by Nelvana Enterprises. The company will also spotlight the new CGI-animated Franklin & Friends with 26 half-hour episodes based on books by Paulette Bourgeois and Brenda Clark, the publication of which celebrates a 25th anniversary this year. The series follows Franklin, the fun-loving curious turtle as he tackles the daily challenges with his pals.

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INDEPENDENT Irish producer Screentime ShinAwiL is at MIPTV with a range of programming including: Test The Teachers, in which pupils devise questions and challenges for teachers at a rival school; Charity Lords Of The Ring follows 10 celebrities, trained by renowned boxers to compete to raise money for their chosen charities; SoccaStars (10 x 60 mins) follows the fortunes of aspiring soccer stars who compete to win a professional football contract; The Apprentice Ireland sees a group of 16 aspiring entrepreneurs compete to work for businessman Bill Cullen; and Dragon’s Den Ireland gives hopefuls the chance to pitch their business to five successful venture capitalists.

THE ROYALS (50 mins) is a compilation of actual footage from monumental events from the lives of the UK royal family, spanning coronations, births and weddings, and including the announcement of the wedding of Prince William and Kate Middleton. The programme is brought to MIPTV by Global Telemedia.

The Royals (Global Telemedia)


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PRODUCT NEWS

All brains and no work ODD JOB Jack (52 x 30 mins) chronicles the misadventures of perpetually unemployed Jack Ryder, a 25-year old graduate. Produced by Canada’s Duopoly for The Comedy Network in Canada, the show is going to Hulu.com. Also, an interactive website based on Jack’s job of the week prompts viewers to play games and fans can freely download every character, prop, and background to edit, animate and use as they wish. Jack is voiced by Don McKellar, with guest performances including John Goodman, James Woods, Carrie Fisher, and Leslie Nielsen.

Tales from the woods STUDIO 100 Media is launching a new animation series, Woodlies (26 x 24 mins), at MIPTV. The series is currently in production, targeted at six- to 11-year-olds, and combines adventure with environmental issues. Produced by Woodlies Pty, in association with Telegael Teoranta, Channel 7 (Australia) and ZDF (Germany), the show is distributed by Studio100 Media. The Woodlies are on a mission to protect their forest from the human Uglies and get their paws on the food.

Game on for football Woodlies (Studio 100 Media)

Wild life gets animated CYBER Group Studios’ wildlife adventure animation Tales Of Tatonka has already sold in 40 countries, and the company is in Cannes with 12 new episodes of the 3D HD series, each with a two-minute segment of wildlife footage. The series now comprises 52 x 13-minute episodes. Cyber also brings the first episodes of Fish N Chips (52 x 13 mins), a slapstick comedy, featuring a deep-sea diver cat chasing a fish, targeted at children aged six to 10. Early episodes of Nina Patalo (78 x 7 mins) are also available.

Women of the world

Lara hits teen age

POLAND’s TVN brings TV series Recipe For Life (13 x 60 mins) to MIPTV, the story of a woman who tries to bring the right balance to her life, spicing up what is dull, but it does not always go to plan. TVN is also in development on Women At The End Of The World (10 x 30 mins), a series featuring women from different cultures, religions and professions around the world. In Silence (60 mins) meanwhile, profiles the families involved in the horrifying air crash in Poland that killed many military leaders, politicians, and the president.

Ask Lara (Tomavistas/Telescreen)

Women At The End Of The World (TVN)

TARGETED at nine- to 13-year-olds Ask Lara is a 2D comedy animation series that follows Lara and her four friends as they embark on puberty. The series is set to launch in 2012, and was created by Spain’s Tomavistas (Spain) and commissioned by Televisio de Catalunya, BBC Learning and Dutch public broadcaster VPRO. Joining the project as co-producers are Red Kite Animations from Scotland and Submarine from the Netherlands, and Dutch distributor Telescreen is distributior.

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FOOTSCHOOL TV is a soccer-themed channel, combining learning and entertainment, and is available through cable, satellite, mobile, DSL and DTT operators around the world. Its coaching programmes contain advice from stars, tactical analyses, training sessions and nutrition, as well as sports derived from football, including beach soccer, indoor football and freestyle. The channel was recently nominated in the sports category of the Hot Bird TV Awards, honouring thematic channels on Eutelsat platforms.

Dianne takes to the stage A LIVE HD concert at the Theatre du Chatelet in Paris (90 mins/52 mins) featuring Dianne Reeves tops the performance catalogue of GAD at MIPTV. From the current affairs catalogue comes Spratlys (52 mins), about the dispute involving China over the resource-rich islands off the coasts of Vietnam and Malaysia. From the science genre comes Science Of Fasting (52 mins), looking at one of the most ancient medical treatments in the world.

Dianne Reeves (GAD)


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COMING SOON

One voyage. A world of untold stories.

The television drama event of 2012 From Oscar速 winning screenwriter Julian Fellowes, director Brian Percival and BAFTA award-winning producer Nigel Stafford-Clark. A Deep Indigo, ITV STUDIOS, Lookout Point, Mid-Atlantic & Sienna Films Production. 4 x 1 hour, 2 x 90 versions MIPTV Stand No: R38.01 www.itvstudios.com

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For Licensing Opportunities: International: Guido BertĂŠ, Mondo TV Consumer Products guido.berte@mondotv guido.berte@mondotv.it .it

ADV BK GENERICA indd 1

Italy: Giada Paterlini, Starbright Srl g.paterlini@starbright.it

For TV / DVD Rights: Mondo TV Sales T Team eam e mondotv@mondotv mondotv@mondotv.it .it

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PRODUCT NEWS

Winx: the story so far…

Mice in a mess

Love is blind

NICKELODEON and Rainbow are co-producing four specials to summarise Series One, Two and Three of their animation series Winx. In Series One the Winx Club was formed as the girls discover their fairy powers at college. Series Two sees the addition of Layla and the magical Pixies. In Season Three they are finally in their last year of college when they qualify as full-fledged fairies.

FOOTHILL Entertainment is highlighting animated children’s comedy series Raz & Benny, targeting the 6- to 9-year-old audience. Creative development and marketing is financed by Odyssey Pictures, a partner of Foothill. Other projects to be co-developed are Gunk Aliens and My Momtourage And Me. Foothill is also representing three of Odyssey’s titles for international distribution: Kings Of France, Vauban and On The Farm.

POLAND’s TVP brings new film dramas to Cannes this year, including Blind Date (95 mins), a love story set during the winning holiday trip from a TV dating show. Other films on the slate are Made In Poland (90 mins), about the redemption of a rebellious young man, and Venice, a family saga. From TVP’s factual slate comes A Heart-Broken Circus, Lech Majewski – The World According To Bruegel, and Magda, Love And Cancer.

Winx (Rainbow) Raz & Benny (Foothill Entertainment)

Justin in profile

A business affair

NEW TITLES from California-based Vision Films include six 70-minute music profiles featuring Justin Beiber, Britney Spears, Lil’ Wayne, Beyonce, Eminem and Taylor Swift. Also from Vision comes William & Kate: A Royal Love Story (2 x 60 mins), the first part covers the story of the couple up to the engagement, and the second part concentrates on the wedding.

TURKEY’s Global Agency brings drama series 1001 Nights to MIPTV. A single mother — an architect — is struggling to raise money for her son’s medical treatment. Her boss takes advantage of this situation, and although love blossoms between them it is always overshadowed by a dark secret. 1001 Nights has aired in more than 12 territories in primetime.

Dividing the estate You Can’t Take It With You, from talkbackTHAMES, tackles the problems of dividing an estate and writing a will. The series launched on the UK’s BBC2, and is brought to MIPTV by FremantleMedia. You Can’t Take It With You follows families as they make the decisions about who gets what, and why. They are assisted by a lawyer and an expert presenter.

Justin Beiber (Vision Films)

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You Can't Take It With You (FremantleMedia)

Blind Date (TVP)

Rocking over the world MONSTER Distributes is highlighting two music series at MIPTV. Other Voices is a series that runs to 66 hour episodes, featuring performances and interviews with some of the biggest names in international music. Planet Rock Profiles (130 x 30 mins), a biographies series including Alicia Keys, Beyonce and Shakira. Other shows include: Imogen Heap Live At The Royal Albert Hall, The Rite for Exorcism: Myths, Mystery, & Hope; Bruce Lee – In Pursuit Of The Dragon and Bruce Lee – A Warrior’s Journey.

A taste of Italy ITALIAN producer The Munchies brings a roster of programming for the first time at MIPTV, including: Fun 4 Lunch, with recipes for kids explained by a presenter with two puppet assistants; Murales, an animation show where graffiti comes to life; Fairy Tales World, using puppets in an animated world; Romeo Cash Juliet, follows two €10 notes as they leave an ATM and pass hand-to-hand; In Your Shoes, which puts you inside another person’s brain; and, Piazza La Risata, a journey through beautiful Italian squares collecting jokes.


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at meet us

BOOTH R31-24

272 eps x 24 min AT CINEMAS

http://tv.smurf.com I.M.P.S. Rue du Cerf 85 B-1332 Genval (Belgium) Tel.: +32 (0)2 652 02 20 Fax: +32 (0)2 652 01 60

IN

3D

SUMMER 2011

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©2010 CPII. SMURF, and all Smurfs characters ® & ©2010 Lafig Belgium. All Rights Reserved.


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CONNECTED ENTERTAINMENT

TA K I N G I T W I T H YO U

All eyes on mobile Mobile broadband means content owners can take their market well beyond living rooms, as some pioneers are discovering. Juliana Koranteng reports

D

Connected media need to be personal. Connecting where you are and making it relevant to what you’re interested in are key Tero Ojanpera

Pictures of eyes, all photographed on mobile phones by listeners to the BBC World radio programme Outlook

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ELIVERING content to consumers on any device, any time and, especially, anywhere has rapidly become reality with the portability that wireless technology allows. Combined with cloud computing, which enables limitless media storage, mobile broadband gives content owners greater control of their distribution strategy. Add to these developments the nascent field of connected TV, and the potential for factual and entertainment programming expands radically. “We need to create a seamless experience on a mobile device, a PC or on home-entertainment systems, so that users can take their content with them, regardless of time and place,” says Michael O’Hara, chief marketing officer at the GSMA, the trade organisation representing nearly 800 mobile operators and related communications companies in 219 countries. “The advances in mobile broadband technology, the proliferation of feature-rich smartphones, the creation of innovative new apps and the ability to deliver personalised and contextual user experiences — mobile is making this all a reality.” The beauty of mobile broadband is that it can be embedded in a variety of devices, including consumer electronic goods. Unsurprisingly, this makes mobile carriers essential contributors to the distribution of connected media and TV, explaining the GSMA’s participation in MIPTV. Although lagging behind standard


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CONNECTED ENTERTAINMENT

mobile communications, which currently has 5 billion-plus subscriptions worldwide, mobile broadband is expected to have more than 1 billion users by 2015, according to research firm Ovum. That is good news for content providers and wireless carriers who “will have a larger addressable market to target, because the data will be accessible even on the go, and because of the intelligence elements that a cloud solution can offer (for example, learning the demographics and GPS locations of mobile users)”, O’Hara adds.

We would like our services to be on all screens while ensuring we keep the same customer data, irrespective of which service they use Guillaume Lacroix

“Film, TV, music will all transfer seamless from one location to another, from the TV screen to mobile and even to your car,” says Ralph Simon, chairman emeritus and founder of the Mobile Entertainment Forum Americas. Handset makers and wireless carriers have started implementing connected-content strategies. “Connected media need to be relevant, location-sensitive and personal. Connecting where you are and making it relevant to what you’re interested in are key,” says Tero Ojanpera, executive vice-president, services, at handset manufacturer Nokia. Its strategy centres on the apps offered on Nokia smartphones via the Nokia Ovi Store, which is reporting more

than four million downloads a day. Moreover, Nokia smartphones, with their built-in location and GPS-sensitive Ovi Maps, Gig Finder (for searching live entertainment), Ovi Music (now mostly in emerging markets), plus its Point & Find augmented-reality technology are designed to connect to other media. Last year, Nokia tested its vision by funding Conspiracy For Good (CFG), an interactive trans-media thriller written by Hollywood TV screenwriter/producer Tim Kring, which used the internet, storytelling, augmented-reality games, plus real people, live, to move the narrative forward. Apply that relevance, GPS-directed geolocation and personalisation to mobile advertising, and brand owners will also discover connected media’s effectiveness. “After all, advertising is about making things relevant for all participants,” Ojanpera says. French-owned international network Orange started to invest in connected TV as far back as 2003, says Guillaume Lacroix, the operator’s head of content product development. In that year, it used telephone lines via an IPTV (internet protocol TV) network to deliver video-on-demand, free-to-air and pay-TV services to TV sets. A catchup TV venture was added in 2007. Today, Orange has become a connected- media operation with 3.8 million TV viewers, mostly in France, plus subscribers to its 3G-delivered mobile-TV service. “All devices are becoming media devices, not just communication ones,” Lacroix says. “We’re very aware of this at Orange and would like our services to be on all screens while ensuring we keep the same customer data, irrespective of which service they use.” To understand content owners’ needs, Orange is investing in projects designed with multi-platform connected media in mind. It has joined forces with French book publisher

Livre de Poche and author Alexandre Jardin, who has written Fanfan 2, a trans-media follow-up to the best-selling love story Fanfan. In addition to a paperback edition, the trans-media version of Fanfan 2 will use GPS, viral marketing and interactivity so that readers can influence the plot via websites, social networks, plus mobile and tablet apps. This multi-screen interactive narrative started last October and is set to end in May. And starting this spring is Detective Avenue, a multi-screen thriller in which Orange subscribers are invited to help find a killer. The network, which already operates a 3D channel for showing live out-of-home events, believes it is too early to describe connected media as a mass-market offering. “What we’re doing are trials, but there is a lot of development to come,” Lacroix explains. So, in the brave new connected world, is there a role for cable-TV networks, which have used digital technology to connect TV, telephony and the internet for subscribers for nearly a decade? Mike Fries, president/CEO of international cable-network group Liberty Global, agrees digital-cable technology is ancient when compared with smartphones, iPads and social networking. Cable operators will be part of the connected generation, but in a home-centric way. “We will be there...with a rendered 3D user interface, easy search and navigation. Home networking is our future.”

Orange‘s Guillaume Lacroix: “All devices are becoming media devices”

GSMA’s Michael O’Hara: “Personalised and contextual user experiences”

Liberty Global’s Mike Fries: “Digital-cable technology is ancient”

MILLIONS! The Nokia Ovi Store is reporting more than four million downloads a day.

Nokia’s Tero Ojanpera: “Connected media need to be relevant”

MIPTV PREVIEW MAGAZINE 2011 /

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CONNECTED ENTERTAINMENT

INSPECTING GADGETS

A revolution driven by devices Yahoo! Connected TV

Connected media is going mass-market, driven by a new generation of smart devices, intuitive technology and future-focused services. Juliana Koranteng looks at the goods and gadgets about to change your world

I

T LOOKS like boom time for the manufacturers of connected-media goods. The demand for high-tech electronic and digital gadgets that consumers can use to access internet-connected content will soar, according to a host of analysts. Just take a look at the following assessments and forecasts about a business that will make the vision of ‘any device, anytime, anywhere’ a reality: • According to US-based Parks Associates, sales of internet-connectable TV devices will hit the 350 millionplus mark globally by 2015. • In-Stat predicts the number of installed web-enabled consumer electronic devices will be in excess of 230 million by 2014.

• In-Stat also estimates that the number of high-speed broadband homes reached 763 million last year. • Forrester Research says 24 millionplus tablet computers will be sold this year — more than double 2010 sales. • One billion consumer-electronic devices will be hooked to the still growing mobile broadband (as opposed to PC broadband) networks by 2016, according to UMTS Forum. • At a shareholders meeting last year, Hans Vestberg, president and CEO of electronics giant Ericsson, said he envisioned a staggering 50 billion connected by 2020. And let’s not forget the advent of 4G networks, the next generation of high-speed wireless telephony. It should help make mobile-broad-

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band smartphones as formidable as any powerful computer. Meanwhile, ‘cloud technology’, designed to give service-providers and consumers unlimited capacity in cyberspace to store their media content (as opposed to storage on limited hard discs), is going mainstream. So who are the main players targeting consumers in this fast emerging sector? Technology and electronic-goods manufacturers, from behemoths such as Google, Apple, Microsoft, Sony, Samsung, Panasonic and Yahoo! to smaller enterprises such as the UK’s Miniweb Technologies and US-based Boxee, are vying to invade the connected-TV and media space.

Panasonic’s Viera Connect, Samsung’s Smart TV and the Sony internet tv are already selling, starting in the US. Google’s new TV application enables Sony internet tv viewers to tweet, surf the internet and access Sony’s new Video On Demand Powered By Qriocity, the multiplatform VOD service in their living rooms. The

This is the first year when you can say connected media has truly arrived Shahid Khan


038_NOVAVISION_PV_TV__ 21/02/11 14:44 Page1

There were

TWO

leading companies providing non verbal funny clips, home video, bloopers, candid camera… catered

FOR THE entire family. Come & let’s talk

PRICE Because, since February 15th 2011, The world’s largest providers

OF hilarious clips, NOVAVISION and MEG, are

ONE


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CONNECTED ENTERTAINMENT

iPlayer, the catch-up TV platform from the UK’s BBC, is already accessible via Sony’s PlayStation 3 (PS3) console. Sony is considering installing an app for its PlayStation games and a link to its PlayStation Network on new connected TV in the near future. “By March, more than 50 million TV screens in US homes alone will be internet-enabled via Sony PS3s, Sony internet tv and Sony Wi-Fi Blu-ray players,” said Sir Howard Stringer, Sony’s chairman and CEO, at a recent industry event. Stringer’s sentiment about potential growth is supported by Shahid Khan, chairman and chief strategist at New York-based international media consultancy MediaMorph. “This is the first year when you can say connected media has truly arrived,” Khan says “For content producers, this is good news. Now they have a much broader audience for their content.” Jerome de Vitry, Miniweb’s CEO, foresees a world where “content rights will follow individuals, and not be locked to specific devices”. He adds: “People will have ‘digital-rights lockers’. The system will be almost

entirely cloud. Viewers will use a single-payment mechanism for all services.” Connected media hit the headlines last year when major content-owners, including US networks ABC, CBS, NBC and Fox, blocked TV sets with pre-installed Google-TV software from gaining access to the online editions of their programmes. Google then postponed the January roll-out of Google TV for reasons that remain unclear. But it plans to resurrect the roll-out this spring and the technology is already pre-installed on Logitech’s Revue TV and Sony internet tv, which are in US retail outlets. Competing for connected-TV disposable income is Apple, maker of the leading smartphone iPhone and the iPad tablet, which introduced an improved version of its Apple TV last September. Apple TV, which downloads and plays content from Apple’s iTunes online store and other internet media, had topped one million units in sales by the end of 2010. Late last year, Samsung kicked off an aggressive marketing campaign for

its Smart TV, an upgraded version of the internet TV it launched in 2007. Microsoft has also entered the connected-TV fray, albeit via its popular Xbox 360 games console. To date, subscribers can watch UK satellite TV network Sky through Microsoft’s Xbox 360 consoles, which hit 50 million units in global sales last year. Its Xbox Live games network has 30 million-plus multiplayer subscribers online. Microsoft Mediaroom, the technology infrastructure employed by telecoms companies to host IPTV (internet protocol TV) networks, has been upgraded to permit viewers to watch programmes and surf websites via their TV set-top boxes, home computers, smartphones, Xbox 360 games consoles and any device featuring Microsoft’s new Windows 7 operating system. Xbox Live subscribers will be able to stream TV shows on Netflix and Hulu Plus, the fast growing US online-video services, using Kinect, Microsoft’s new controller-free gadget that enables players to interact with games using just hands and voice (no joystick). More than eight million units of Kinect sensors were

Civolution’s Alex Terpstra: “In real time, you’ll have the option of watching TV with friends, independent of location”

Miniweb’s Jerome de Vitry: ‘Content rights will follow individuals”

Yahoo! Connected TV’s advertiser partners

54 / M I P T V P R E V I E W M A G A Z I N E 2 0 1 1

Vision IPTV’s John Mills: “Content... paid for by brands”


039_NOVAVISION_PV_TV__ 21/02/11 14:43 Page1

There were

TWO leading companies providing non verbal funny clips, home video, bloopers, candid camera… catered

FOR THE entire family. Come & let’s talk

PRICE Because, since February 15th 2011, The world’s largest providers

OF hilarious clips, NOVAVISION and MEG, are

ONE The new entity NOVAVISION

- MEG is excited to meet you at MIPTV

MIPTV booth R32.04 sales@novavision.fr • Phone : + 33 1 75 47 80 70 • www.novavision.fr


033_MDA_PV_TV__ 22/02/11 12:29 Page1


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CONNECTED ENTERTAINMENT

sold in the two months following its launch in November 2010.

Yahoo! Connected TV’s Russ Schafer: “The TV sector is ready for Broadcast Interactivity”

In the new-media universe, we are talking less about content protection and more about new opportunities and monetisation

Yahoo!, the once dominant searchengine operator, is also making significant inroads into connected TV after introducing its Yahoo! Connected TV platform three years ago. That original platform had widgets that allowed audiences to use the websites of major content-owners and the social media-networks Facebook and Twitter on TV. In January, Yahoo! introduced Broadcast Interactivity, which empowers content-owners to create their own apps. This allows viewers and advertisers to interact in real time, and viewers to interact with shows, make online purchases, or request information about programmes. The pilot programme begins with US broadcast and cable networks ABC, CBS, HSN (Home Shopping Network) and Showtime.

Andy Nobbs

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Explaining why the TV sector is ready for Broadcast Interactivity, Russ Schafer, senior director of product marketing at Yahoo! Connected TV,

Sony: part of the connected TV ‘invasion’

says: “Millions of consumers globally bring a mobile phone or PC into the living room while watching TV, so the desire to combine internet content with TV is there.” TV sets featuring the Yahoo! platform

are expected to be in about eight million homes internationally by now. To ensure interoperability among the different hardware and software tools, a cross-industry consortium called DECE (Digital Entertainment


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CONNECTED ENTERTAINMENT

MediaMorph’s Shahid Khan: Producers “have a much broader audience for their content” Content Ecosystem), including Microsoft, has been formed. Its technology — UltraViolet — has been adopted by six Hollywood studios (Paramount Pictures, Lionsgate Entertainment, Twentieth Century Fox, Universal Pictures, Sony Pic-

tures Entertainment and Warner Bros. Entertainment). YouView, the open connected-TV platform being planned by leading UK broadcasters and communications groups, has developed the core technology specifications and companion standards so that manufacturers can build connected-TV appliances using the same underlying YouView technology. It is planning a similar standardisation programme for content-providers. YouView is being designed to complement HbbTV (Hybrid Broadcast Broadband TV), a pan-European version. The media and communications sectors could not avoid connected media, even if they wanted to. “I can see marketing and talent agencies making content for the internet, but it being paid for by brands,” says John Mills, CEO of Vi-

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sion IPTV, the UK-based internet TV service-provider. Civolution, the Netherlands-headquartered broadcast-monitoring company and online content-identification specialist, sees other possibilities. “In the new-media universe of connected TV, tablets and smartphones, we are talking less about content protection and more about new business opportunities and monetisation. Content-identification technologies, such as watermarking and fingerprinting, are leading the way in trying to cement all parties in the media ecosystem together,” says Andy Nobbs, Civolution’s chief commercial officer. “Watermarking and fingerprinting technologies can make tablets and smartphones a lot smarter by enabling them to automatically synchronise to content broadcasted

on TV,” adds Civolution’s CEO, Alex Terpstra. This technological revolution prompted Miniweb’s de Vitry to see a future where “media consumption will be social”. He adds: “In real time, you’ll have the option of watching TV with friends, independent of location. The majority of content will be available on most devices, connected and ubiquitous.”

GETTING KINECTED! More than eight million units of Kinect sensors were sold in the two months following its launch in November 2010.


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CONNECTED ENTERTAINMENT

FROM MASS MEDIA TO MY MEDIA

Connectivity and beyond! Connected media have put consumers in control of more than the channel selector, as Juliana Koranteng discovers from savvy content providers

BOUT 10 years ago, MTV Network International’s (MTVNI) Philip O’Ferrall was asked to predict media’s future. “It was in the early stages of TV going on the internet,” he recalls. “I believed the industry was going from ‘mass media’ to ‘my media’. Our electronic programme guides would be mobile devices, which you could hook into your TV set.” Since then, the sector has talked about “fragmented media” or “media convergence”. But O’Ferrall, MTVNI’s current senior vice-president, digital media, was in fact foreseeing “connected media”. And it is drastically influencing the way

A

content is created and distributed: The Walt Disney Company’s Toy Story 3 blockbuster animation movie has a Facebook page for lead character Woody. It directs fans to related websites and video games. Kids can read the story via an iPad app, meet the characters in “real life” at Disneyland Paris, and hug LotsO-Huggin, another Toy Story character, at the Disney store. Orange, once just a telecoms company, has evolved into a media operation that recently paid nearly €60m ($81.5m) for 49% of Dailymotion, the world’s second-biggest video-sharing site.

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TV and movie production group meld. This sector allows people to News Corp, refusing to just watch its surf, search, make purchases, internewspaper business decline, intro- act with content, download apps and duced The Daily, the world’s first stream video online, on TV and even when the programme is off air. tablet newspaper, in January. The new US-based TV Everywhere service, from Comcast and Time Warner, will give their cable subscribers streamed proSince everything today grammes online, on catch-up is governed by the search and video-on-demand platand recommendation of forms, and on Turner-branded content, I want them to iPad, iPhone and Android smartbe able to recommend phones. Although still at the nascent stage, shows directly to friends connected media are where the inautomatically ternet and broadcast technologies

Philip O'Ferrall


018_EBS_PV_TV__ 17/02/11 17:44 Page1

MIPTV stand 08.20 Contact PETER LEE

hh_lee@ebs.co.kr

An ancient kingdom, reborn in 3D...

Part1 The City of Gods, ANGKOR WAT Part2 The Seat of Empire, ANGKOR THOM

3D STEREO HD

2 x 50 minutes


64_67-P58_60_MIP3_connected+D+OK_. 22/02/11 10:24 Page2

CONNECTED ENTERTAINMENT

It is also influencing the way producers work, says Gus Desbarats, chairman of trade group British Design Innovation and design consultancy TheAlloy, whose previous work has won an Oscar for technical achievement. “Since its inception, TV has been about producers deciding what is available to consumers and when. Connected media is at the whim of the customer, who now has control.” MTVNI has been implementing connected creativity for years, O’Ferrall says. “Our fans and TV audiences are connected all the time. And, since everything today is governed by the search and recommendation of content, I want them to be able to recommend shows directly to friends automatically.”

We have to listen to our audiences to ensure we’re satisfying them in a few years, as development times tend to still be quite long Giorgio Stock

Disney knows that the way consumers respond to connected media could change during a show’s production cycle. “Consumers want to influence the journeys characters take and we have to listen to our audiences to ensure we’re satisfying them in a few years, as development times tend to still be quite long,” says Giorgio Stock, executive vice-president/general manager at Disney Channels’ interactive media group, music group and publishing, EMEA. “We must ensure we connect

our content engines during the incubation stage so that we can plant the connected experiences at a point in time that can be executed to maximum effect.” Additionally, media companies are applying connectivity to online games, which enables players to transfer seamlessly between consoles and other platforms. It explains why Zynga, creator of Facebook’s most popular casual game, Farmville, describes its mission as “connecting the world through games”. For example, players of Club Penguin: Elite Penguin Force, on Disney’s kid-oriented Club Penguin virtual world, can continue the game on the Nintendo DS. Habbo Hotel, the teen-oriented virtual world that generates cash by encouraging its inhabitants to pay for virtual goods, believes it has the foundation to grow revenues via connected media. Operated by Sulake in Finland, Habbo has more than 200 million registered users online, and mobile via Facebook apps, in 150 countries. It earned $6m from the sales of virtual goods, including casual games, in December 2010 alone, and saw total income increase 25% from 2009. “We’re interested in all platforms and connected points. We’re looking to port the experience to tablet computers next,” says Phil Guest, Habbo’s executive vice-president of global ad sales. “Advertising is also growing. Connected media will lead to the amplification of [advertisers’] branding.” TV programmers are learning from the casual-games sector’s use of multi-screen cross-platforms to extend users’ experiences. The Voice Of Holland, a new TV singing competition launched on Dutch network RTL Nederland last September, is promoted as a “100% cross-media format”. Created by

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Talpa Media Group, which was cofounded by reality-TV pioneer John de Mol, the format has since been sold globally. It uses mobile apps, social media and other digital platforms, says Arno Otto, RTL Nederland’s managing director, digital media, in the network’s newsletter. “Newspapers have content for one day; magazine content has a shelf life for a week or month; our latest formats have the power to keep consumers engaged for months.” Such developments will create a new type of production company, insists Gary Morgan, CEO of Splash News, a Los Angeles news agency that syndicates videos to publishers and portals such as MSN and Orange in 32 countries and four languages on web and mobile. “Apps and connected media allow us to create our own programming and put it on a Samsung connected TV, laptop, smartphone and tablets, or the iPhone and iPad,” Morgan says. “We’re now creating a new breed of entertainment show, supplied by [video] paparazzi around the world. It is TV for the Twitter generation, where we take audiences directly to what’s happening on the street.” Through its Digital Studio, NBC Universal has collaborated with advertisers to produce multi-platform pilots. American Family Insurance, Samsung Mobile and Nestea ice tea are among brands that have underwritten shows such as FCU: Fact Checkers Unit, CTRL and In Gayle We Trust, for TV, web, mobile, VOD, Xbox and PlayStation games consoles. “Audiences are very sophisticated now and have many choices. That means the requirement of good, consistent and unique content is more important, not less,” says Vivi Zigler, NBC Universal Digital Entertainment’s president. “Since new technologies or products can’t, by

Disney Channels’ Giorgio Stock: “Consumers want to influence the journeys characters take”

British Design Innovation/ TheAlloy’s Gus Desbarats: “Connected media is at the whim of the customer, who now has control”

MTV Network International’s Philip O’Ferrall: “I believed the industry was going from ‘mass media’ to ‘my media’”


2011 CONFERENCES & EVENTS The future of content is at MIPTV

MIPTV 2011 KEYNOTES TRANSFORMING AUDIENCE ENGAGEMENT MIPTV and Connected Creativity delegates are invited to capture the latest innovations and concepts for next generation content, audience participation and interactivity through the 6th annual Content 360 competition. This year’s competition has focused on finding the best examples of Tablet & Social TV Apps, online & social games as well as the most innovative ideas for digital formats and smart phone Apps.

CONTENT 360 FESTIVAL PITCHING SESSIONS & EVENTS

RODOLPHE BELMER, Executive Vice President, Content, Canal+ Group, COO Canal+

WEDNESDAY 6 APRIL

11.30-12.45

10.15-11.15

10.00-12.00

PUBLIC PITCH

PUBLIC PITCH

SHOWCASE

Category 1: Interactive and Cross Media Digital Entertainment Formats

Category 3: Rich Media Tablet and Social TV Apps

Content 360 International Showcases

In n partnership with &

Take a peek at the best new, indy-fiction series from Finland, Denmark, Norway and Sweden. HANS VESTBERG, President and CEO, Ericsson

KEYNOTE

14.00-15.00 PUBLIC PITCH

Content 360 SuperSession: “Connecting to Tomorrow’s Audiences”

Featuring KEVIN SLAVIN,

Co-Founder, Starling 13.15-14.15 PUBLIC PITCH

Category 4: Smart Phone App for Youth Engagement In partnership with

5541_MIPTV_2011_Preview_230x300_06.indd 1-2

Featuring leading regional content and programmes and producers from: Japan, China, Korea, Malaysia, India.

BRANDED ENTERTAINMENT MENT SUMMIT

ENTERTAINMENT’S DIGITAL DIMENSIONS

Branding the Future

From Monday 4 to Thursday 7 April

MIPTV takes co-production to the next level in this spotlight on the latest and most talked about drama coproductions and how they get from idea to final delivery.

Organised in Association with BCMA. Sponsored by Ogilvy.

A global co-production showcase featuring an interview series with international commissioning editors and coproduction heads.

Content 360 Awards and Connected Party

ASIAN ANIMATION

Tuesday 5 and Wednesday 6 April

CASE STUDY

From 19.30

MILES YOUNG, Chief Executive Officer, Ogilvy & Mather Worldwide

Co-Production for Success

Global Co-Production Strategies

EVENT

Category 2: Online & Social Games

Monday 4 and Tuesday 5 April

11.00-11.50 360 Branded Content Case Studies with

11.45-13.00

DAVID FRANK, Chief Executive Officer, Zodiak Media Group

ON 4 APRIL With Joseph Fiennes and Eva Green, presented by GK-tv in association with Starz.

NORDIC FICTION

Bringing Co-Production into Focus

TUESDAY 5 APRIL

FEATURING THE INTERNATIONAL DEBUT OF “CAMELOT”

REGIONAL SCREENINGS

PRODUCER’S FORUM

MONDAY 4 APRIL

MIPTV WORLD PREMIERE TV SCREENINGS

Featuring: Ben Donald, Executive producer international drama, BBC Worldwide / Peter Engel, Producer, Zentropa / Michael Murphy, CEO, Windmill Lane Entertainment / Michael Prupas, President, Muse Distribution International / Klaus Zimmermann, CEO, Atlantique Production / Suzanne Mueller, Head of Co-Productions, ZDF Enterprises / Phyllis Platt, Director of Television, Arts and Entertainment, CBC / Orion Ross, VP Original Series, Disney Channels EMEA.

Regional Workshops Workshops with a focus on emerging markets in Asia and Latin America.

Matchmaking Join leading players in Asia and Latin America to connect with potential new production partners and develop projects with the world’s fastest growing regions.

CO-PRODUCTION LOUNGE This all-new business lounge is a dedicated space for producers, associations and film commissions to meet with the leaders of today’s most exciting co-production ventures in a personal setting.

Brand of the Year Award. New! Reed MIDEM will award the first ever MIPTV Brand Award.

From 3DTV to dual-screen viewing experiences, digital conference sessions will discuss the new media strategies of today: Transmedia storytelling: how to achieve creative excellence. Digital distribution: monetising content on new platforms. Multiplatform Engagement Through Apps The acquisition and management of digital rights.

Branded Entertainment Sessions Branded content solutions case studies. The legal roadmap: Cliff Fluet, Business Affairs Manager, Lewis Silkin LLP / Adam Hillyer, Global Marketing Services Director, Bacardi Global Brands. Branded content in the USA: Doug Scott, President, Ogilvy Entertainment. Branded Content: Data is the fuel.

Screenings and Events The Best Branded Content in the World: screenings. The first ever MIPTV Branded Entertainment Cocktail will be held on Tuesday evening at the Majestic.

OGILVY BRANDED ENTERTAINMENT LAB

3D Spotlight 3D hit the screens in 2010 and things have moved fast since then. Today there are many more films, new channels and platforms around the world and 3D is now not just sport and cinema. Major players from the 3D industry will be in Cannes for a full afternoon of conference sessions that will look in depth at the producers, channels, platforms and hardware players that are leading the charge.

Tuesday 5 April “Elevator Pitches with the Worlds Greatest Bra Brands” and “The Art of the Deal”.

21/02/11 16:13


3.15

4.15 4.30

5.30 6.00

7.30 7.30

2.15 - 3.15 GLOBAL CO-PRODUCTION STRATEGIES Act 1 Auditorium A

2.00 - 3.00 ONLINE & SOCIAL GAMES PITCH Esterel

3.15 - 4.15 GLOBAL CO-PRODUCTION STRATEGIES Act 2 Auditorium A

3.15 - 4.15 DIGITAL DISTRIBUTION Esterel

4.30 - 5.30 KEYNOTES David Frank, Zodiak Media Group & Rodolphe Belmer, Canal+ Grand Auditorium 6.00 - 7.30 MIPTV WORLD PREMIERE TV SCREENING Featuring the International Debut of “Camelot” Grand Auditorium

SCREENINGS

KEYNOTE

EXPERIENCE HUB SESSIONS

11.45 - 1.00 PM CONTENT 360 SUPERSESSION Esterel

1.00 - 2.00 LUNCH BREAK 2.00 2.30

1.15 - 2.15 SMARTPHONE APPS FOR YOUTH ENGAGEMENT PITCH Auditorium A

2.30 - 3.45 WORKING WITH ASIA Workshop Auditorium A

2.00 - 3.30 BRANDED CONTENT SOLUTIONS Case studies Esterel

4.00 - 6.00 MATCHMAKING Co-production lounge

3.45 - 5.00 THE BEST BRANDED CONTENT IN THE WORLD Screenings Esterel

6.00 5.00

6.00

7.15

5.00 - 6.00 BRANDED ENTERTAINMENT KEYNOTE Miles Young, Ogilvy & Mather Grand Auditorium 6.15 - 7.15 CONNECTED CREATIVITY KEYNOTE Hans Vestberg, Ericsson Grand Auditorium

12.00 - 1.00 PM BRANDED CONTENT Who pays in the us? Esterel PM 1.00 1.00 - 2.30 LUNCH BREAK 2.30

2.30 - 3.00 3D SPOTLIGHT KEYNOTE Auditorium A 3.10 - 3.50 3D SPOTLIGHT New technology and applications demos Auditorium A 4.00 - 4.50 3D SPOTLIGHT Distribution and Channels Auditorium A

6.00 6.15 7.15 8.00

5.00 - 5.50 3D SPOTLIGHT Production Overview Auditorium A

10.15 - 11.15 PROTECTING DIGITAL CONTENT IN A CONNECTED ENVIRONMENT Auditorium A 11.15 11.30

11.30 - 12.30 CREATIVE COMMONS WORKSHOP Auditorium A

12.30 PM 1.00 1.00 - 2.30 LUNCH BREAK

9.00 - 10.00 MEET THE BLOGGERS AT CONNECTED CAFE

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.00

9.30 - 12.00 HOT STARTUPS PRESENTATIONS

11.00 - 11.50 BRANDED CONTENT Case studies Esterel

EXPERIENCE HUB

EXPERIENCE HUB

10.00 - 12.00 CONTENT 360 SESSIONS / CONSUMER LAB GUIDED TOURS

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.00 - 12.00 ASIAN ANIMATION SCREENING Auditorium K

10.00 - 10.50 BRANDED CONTENT Data is fuel Esterel

8.00 - 9.00 BREAKFAST SESSION

12.00 - 2.00 PM MEET CONTENT 360 FESTIVAL WINNERS

12.30 PM 1.00

10.15 - 11.15 RICH MEDIA TABLET & 11.15 - 12.45 SOCIAL TV APPS OGILVY LAB PITCH The Art of the Deal Esterel Audi A

9.00 - 9.50 BRANDED CONTENT ROADMAP Audi A

9.00

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

11.45

9.00 - 10.00 MULTIPLATFORM ENGAGEMENT THROUGH APPS Auditorium A

9.00 - 11.00 OGILVY LAB Elevator Pitches with the World’s Greatest Brands (PRIVATE) Audi J

THURSDAY 7 APRIL AM 8.00

8.00 - 9.00 BREAKFAST SESSION

EXPERIENCE HUB

10.00 - 12.00 TIPS FOR FIRST-TIMERS / CONSUMER LAB GUIDED TOURS

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.45 - 12.45 MATCHMAKING Co-production lounge

6.15 7.30 ONWARDS MIPTV OPENING COCKTAIL Carlton Hotel

CO-PRODUCTION

2.00 - 5.00 5.00 - 6.00 SEE MULTI-SCREEN EXPERIENCES IN ACTION / MEET THE HACKERS IMMERSE IN CONNECTED LIVING ROOM

3.15

1.00 - 2.00 FRESH TV AROUND THE WORLD Grand Auditorium

9.00

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

2.00 2.15

11.30 - 12.45 INTERACTIVE & CROSS-MEDIA DIGITAL ENTERTAINMENT FORMAT PITCH Esterel

9.30 - 10.30 WORKING WITH LATIN AMERICA Workshop Co-production lounge

10.00 - 12.00 TIPS FOR FIRST-TIMERS / CONSUMER LAB GUIDED TOURS

11.00 - 12.45 CO-PRODUCTION FOR SUCCESS: CASE STUDIES Auditorium A

10.00 - 11.15 TRANSMEDIA STORYTELLING How to achieve creative excellence? Esterel

BRANDED ENTERTAINMENT

9.00

EXPERIENCE HUB

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

11.00 - 11.45 EXPERT ROUNDTABLES Meet the tutors Co-production lounge

8.00 - 9.00 BREAKFAST SESSION

9.00

INTERACTIVE WORKSHOPS

WEDNESDAY 6 APRIL AM 8.00

2.00 - 6.00 DISCOVER CUTTING-EDGE TECHNOLOGY & COOL SERVICES / GET SOCIAL ON CONNECTED STREET / ESPRESSO WITH VIPS

Co-production lounge

9.30 - 10.45 ENTERTAINMENT MASTERCLASS We love to mip you Auditorium A

PM 1.00

8.30 - 9.30 NORDIC FICTION SCREENINGS Audi K

2.00 - 6.00 MEET NEW PARTNERS FOR CONTENT & MARKETING / DISCOVER CONSUMER LABS

9.15

8.00 - 9.15 THE PITCH DOCTOR’S GUIDE TO MAKING IT AT MIP

AM 8.00

CONTENT 360

2.30 2.30 2.30 - 4.00 MIPTV WRAP-UP SESSION Auditorium A 4.00

2.00 - 6.00 NETWORK AT CONNECTED CAFE

TUESDAY 5 APRIL

MONDAY 4 APRIL AM 8.00

DIGITAL MEDIA

6.00

6.15 - 7.15 CONNECTED CREATIVITY & ENTERTAINMENT KEYNOTE Grand Auditorium 8.00 ONWARDS CONNECTED PARTY By Invitation Only Majestic Hotel

Programme as of 17 February. Subject to change Partners:

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Sponsors:

21/02/11 16:13


3.15

4.15 4.30

5.30 6.00

7.30 7.30

2.15 - 3.15 GLOBAL CO-PRODUCTION STRATEGIES Act 1 Auditorium A

2.00 - 3.00 ONLINE & SOCIAL GAMES PITCH Esterel

3.15 - 4.15 GLOBAL CO-PRODUCTION STRATEGIES Act 2 Auditorium A

3.15 - 4.15 DIGITAL DISTRIBUTION Esterel

4.30 - 5.30 KEYNOTES David Frank, Zodiak Media Group & Rodolphe Belmer, Canal+ Grand Auditorium 6.00 - 7.30 MIPTV WORLD PREMIERE TV SCREENING Featuring the International Debut of “Camelot” Grand Auditorium

SCREENINGS

KEYNOTE

EXPERIENCE HUB SESSIONS

11.45 - 1.00 PM CONTENT 360 SUPERSESSION Esterel

1.00 - 2.00 LUNCH BREAK 2.00 2.30

1.15 - 2.15 SMARTPHONE APPS FOR YOUTH ENGAGEMENT PITCH Auditorium A

2.30 - 3.45 WORKING WITH ASIA Workshop Auditorium A

2.00 - 3.30 BRANDED CONTENT SOLUTIONS Case studies Esterel

4.00 - 6.00 MATCHMAKING Co-production lounge

3.45 - 5.00 THE BEST BRANDED CONTENT IN THE WORLD Screenings Esterel

6.00 5.00

6.00

7.15

5.00 - 6.00 BRANDED ENTERTAINMENT KEYNOTE Miles Young, Ogilvy & Mather Grand Auditorium 6.15 - 7.15 CONNECTED CREATIVITY KEYNOTE Hans Vestberg, Ericsson Grand Auditorium

12.00 - 1.00 PM BRANDED CONTENT Who pays in the us? Esterel PM 1.00 1.00 - 2.30 LUNCH BREAK 2.30

2.30 - 3.00 3D SPOTLIGHT KEYNOTE Auditorium A 3.10 - 3.50 3D SPOTLIGHT New technology and applications demos Auditorium A 4.00 - 4.50 3D SPOTLIGHT Distribution and Channels Auditorium A

6.00 6.15 7.15 8.00

5.00 - 5.50 3D SPOTLIGHT Production Overview Auditorium A

10.15 - 11.15 PROTECTING DIGITAL CONTENT IN A CONNECTED ENVIRONMENT Auditorium A 11.15 11.30

11.30 - 12.30 CREATIVE COMMONS WORKSHOP Auditorium A

12.30 PM 1.00 1.00 - 2.30 LUNCH BREAK

9.00 - 10.00 MEET THE BLOGGERS AT CONNECTED CAFE

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.00

9.30 - 12.00 HOT STARTUPS PRESENTATIONS

11.00 - 11.50 BRANDED CONTENT Case studies Esterel

EXPERIENCE HUB

EXPERIENCE HUB

10.00 - 12.00 CONTENT 360 SESSIONS / CONSUMER LAB GUIDED TOURS

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.00 - 12.00 ASIAN ANIMATION SCREENING Auditorium K

10.00 - 10.50 BRANDED CONTENT Data is fuel Esterel

8.00 - 9.00 BREAKFAST SESSION

12.00 - 2.00 PM MEET CONTENT 360 FESTIVAL WINNERS

12.30 PM 1.00

10.15 - 11.15 RICH MEDIA TABLET & 11.15 - 12.45 SOCIAL TV APPS OGILVY LAB PITCH The Art of the Deal Esterel Audi A

9.00 - 9.50 BRANDED CONTENT ROADMAP Audi A

9.00

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

11.45

9.00 - 10.00 MULTIPLATFORM ENGAGEMENT THROUGH APPS Auditorium A

9.00 - 11.00 OGILVY LAB Elevator Pitches with the World’s Greatest Brands (PRIVATE) Audi J

THURSDAY 7 APRIL AM 8.00

8.00 - 9.00 BREAKFAST SESSION

EXPERIENCE HUB

10.00 - 12.00 TIPS FOR FIRST-TIMERS / CONSUMER LAB GUIDED TOURS

9.00 - 10.00 NETWORK AT CONNECTED CAFE

10.45 - 12.45 MATCHMAKING Co-production lounge

6.15 7.30 ONWARDS MIPTV OPENING COCKTAIL Carlton Hotel

CO-PRODUCTION

2.00 - 5.00 5.00 - 6.00 SEE MULTI-SCREEN EXPERIENCES IN ACTION / MEET THE HACKERS IMMERSE IN CONNECTED LIVING ROOM

3.15

1.00 - 2.00 FRESH TV AROUND THE WORLD Grand Auditorium

9.00

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

2.00 2.15

11.30 - 12.45 INTERACTIVE & CROSS-MEDIA DIGITAL ENTERTAINMENT FORMAT PITCH Esterel

9.30 - 10.30 WORKING WITH LATIN AMERICA Workshop Co-production lounge

10.00 - 12.00 TIPS FOR FIRST-TIMERS / CONSUMER LAB GUIDED TOURS

11.00 - 12.45 CO-PRODUCTION FOR SUCCESS: CASE STUDIES Auditorium A

10.00 - 11.15 TRANSMEDIA STORYTELLING How to achieve creative excellence? Esterel

BRANDED ENTERTAINMENT

9.00

EXPERIENCE HUB

12.00 - 2.00 PM NETWORK AT CONNECTED CAFE

11.00 - 11.45 EXPERT ROUNDTABLES Meet the tutors Co-production lounge

8.00 - 9.00 BREAKFAST SESSION

9.00

INTERACTIVE WORKSHOPS

WEDNESDAY 6 APRIL AM 8.00

2.00 - 6.00 DISCOVER CUTTING-EDGE TECHNOLOGY & COOL SERVICES / GET SOCIAL ON CONNECTED STREET / ESPRESSO WITH VIPS

Co-production lounge

9.30 - 10.45 ENTERTAINMENT MASTERCLASS We love to mip you Auditorium A

PM 1.00

8.30 - 9.30 NORDIC FICTION SCREENINGS Audi K

2.00 - 6.00 MEET NEW PARTNERS FOR CONTENT & MARKETING / DISCOVER CONSUMER LABS

9.15

8.00 - 9.15 THE PITCH DOCTOR’S GUIDE TO MAKING IT AT MIP

AM 8.00

CONTENT 360

2.30 2.30 2.30 - 4.00 MIPTV WRAP-UP SESSION Auditorium A 4.00

2.00 - 6.00 NETWORK AT CONNECTED CAFE

TUESDAY 5 APRIL

MONDAY 4 APRIL AM 8.00

DIGITAL MEDIA

6.00

6.15 - 7.15 CONNECTED CREATIVITY & ENTERTAINMENT KEYNOTE Grand Auditorium 8.00 ONWARDS CONNECTED PARTY By Invitation Only Majestic Hotel

Programme as of 17 February. Subject to change Partners:

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Sponsors:

21/02/11 16:13


2011 CONFERENCES & EVENTS The future of content is at MIPTV

MIPTV 2011 KEYNOTES TRANSFORMING AUDIENCE ENGAGEMENT MIPTV and Connected Creativity delegates are invited to capture the latest innovations and concepts for next generation content, audience participation and interactivity through the 6th annual Content 360 competition. This year’s competition has focused on finding the best examples of Tablet & Social TV Apps, online & social games as well as the most innovative ideas for digital formats and smart phone Apps.

CONTENT 360 FESTIVAL PITCHING SESSIONS & EVENTS

RODOLPHE BELMER, Executive Vice President, Content, Canal+ Group, COO Canal+

WEDNESDAY 6 APRIL

11.30-12.45

10.15-11.15

10.00-12.00

PUBLIC PITCH

PUBLIC PITCH

SHOWCASE

Category 1: Interactive and Cross Media Digital Entertainment Formats

Category 3: Rich Media Tablet and Social TV Apps

Content 360 International Showcases

In n partnership with &

Take a peek at the best new, indy-fiction series from Finland, Denmark, Norway and Sweden. HANS VESTBERG, President and CEO, Ericsson

KEYNOTE

14.00-15.00 PUBLIC PITCH

Content 360 SuperSession: “Connecting to Tomorrow’s Audiences”

Featuring KEVIN SLAVIN,

Co-Founder, Starling 13.15-14.15 PUBLIC PITCH

Category 4: Smart Phone App for Youth Engagement In partnership with

5541_MIPTV_2011_Preview_230x300_06.indd 1-2

Featuring leading regional content and programmes and producers from: Japan, China, Korea, Malaysia, India.

BRANDED ENTERTAINMENT MENT SUMMIT

ENTERTAINMENT’S DIGITAL DIMENSIONS

Branding the Future

From Monday 4 to Thursday 7 April

MIPTV takes co-production to the next level in this spotlight on the latest and most talked about drama coproductions and how they get from idea to final delivery.

Organised in Association with BCMA. Sponsored by Ogilvy.

A global co-production showcase featuring an interview series with international commissioning editors and coproduction heads.

Content 360 Awards and Connected Party

ASIAN ANIMATION

Tuesday 5 and Wednesday 6 April

CASE STUDY

From 19.30

MILES YOUNG, Chief Executive Officer, Ogilvy & Mather Worldwide

Co-Production for Success

Global Co-Production Strategies

EVENT

Category 2: Online & Social Games

Monday 4 and Tuesday 5 April

11.00-11.50 360 Branded Content Case Studies with

11.45-13.00

DAVID FRANK, Chief Executive Officer, Zodiak Media Group

ON 4 APRIL With Joseph Fiennes and Eva Green, presented by GK-tv in association with Starz.

NORDIC FICTION

Bringing Co-Production into Focus

TUESDAY 5 APRIL

FEATURING THE INTERNATIONAL DEBUT OF “CAMELOT”

REGIONAL SCREENINGS

PRODUCER’S FORUM

MONDAY 4 APRIL

MIPTV WORLD PREMIERE TV SCREENINGS

Featuring: Ben Donald, Executive producer international drama, BBC Worldwide / Peter Engel, Producer, Zentropa / Michael Murphy, CEO, Windmill Lane Entertainment / Michael Prupas, President, Muse Distribution International / Klaus Zimmermann, CEO, Atlantique Production / Suzanne Mueller, Head of Co-Productions, ZDF Enterprises / Phyllis Platt, Director of Television, Arts and Entertainment, CBC / Orion Ross, VP Original Series, Disney Channels EMEA.

Regional Workshops Workshops with a focus on emerging markets in Asia and Latin America.

Matchmaking Join leading players in Asia and Latin America to connect with potential new production partners and develop projects with the world’s fastest growing regions.

CO-PRODUCTION LOUNGE This all-new business lounge is a dedicated space for producers, associations and film commissions to meet with the leaders of today’s most exciting co-production ventures in a personal setting.

Brand of the Year Award. New! Reed MIDEM will award the first ever MIPTV Brand Award.

From 3DTV to dual-screen viewing experiences, digital conference sessions will discuss the new media strategies of today: Transmedia storytelling: how to achieve creative excellence. Digital distribution: monetising content on new platforms. Multiplatform Engagement Through Apps The acquisition and management of digital rights.

Branded Entertainment Sessions Branded content solutions case studies. The legal roadmap: Cliff Fluet, Business Affairs Manager, Lewis Silkin LLP / Adam Hillyer, Global Marketing Services Director, Bacardi Global Brands. Branded content in the USA: Doug Scott, President, Ogilvy Entertainment. Branded Content: Data is the fuel.

Screenings and Events The Best Branded Content in the World: screenings. The first ever MIPTV Branded Entertainment Cocktail will be held on Tuesday evening at the Majestic.

OGILVY BRANDED ENTERTAINMENT LAB

3D Spotlight 3D hit the screens in 2010 and things have moved fast since then. Today there are many more films, new channels and platforms around the world and 3D is now not just sport and cinema. Major players from the 3D industry will be in Cannes for a full afternoon of conference sessions that will look in depth at the producers, channels, platforms and hardware players that are leading the charge.

Tuesday 5 April “Elevator Pitches with the Worlds Greatest Bra Brands” and “The Art of the Deal”.

21/02/11 16:13


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CONNECTED ENTERTAINMENT

We’re creating a new breed of entertainment show. It is TV for the Twitter generation, where we take audiences directly to what’s happening on the street

Gary Morgan

that producers and distributors must prepare for both technological evolutions and revolutions. As The Alloy’s Desbarats says: “Producers have to figure out whom to partner with and control the [production and distribution] element of the partnership. There’s a tendency to give a company like Apple the monopoly. Yet, can you imagine MGM letting one cinema chain have the global distribution monopoly over its movies?”

© Crédits Photos D.R.

definition, begin with the scale an advertiser looks for, the smart brand folk have to ask: ‘Let me in on what you are experimenting with.’ It’s my favourite request to hear from a brand.” Additionally, connected media could enable producers to understand their audiences' likes and dislikes before going into production, suggests Jeremy Zag, co-founder of Paris-based multimedia company Univergroup, who is applying that strategy to a new kids’ network, Canal Zag. “Youngsters these days are very demanding. With Canal Zag, I can engage with and encourage them to help create what they want to watch.” Canal Zag will develop pilots which young viewers can vote on using interactive devices. “If some 500,000 youngsters give their vote of confidence, I will go into production,” Zag says. So, does multi-platform, multiscreen creativity spell the end of linear TV? Gerhard Zeiler, CEO of Europe’s biggest commercial broadcaster, RTL Group, is certain TV as we know it is here to stay. “There will be a certain shift from linear TV to the non-linear,” he told leading German business daily Handelsblatt. “But that doesn’t mean the broadcaster’s role is weakened. In the past 10 years, TV use in Europe has risen steadily to 222 minutes per person a day in 2009 (excluding viewing on new platforms).” But everyone agrees the connectedmedia sector is progressing so fast

NBC Universal Digital Entertainment’s Vivi Zigler: “Good, consistent and unique is more important, not less”

HOW MUCH TV? In the past 10 years, TV use in Europe has risen steadily to 222 minutes per person a day in 2009

MIPTV PREVIEW MAGAZINE 2011 /

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Happy families PA RT N E R S I N P R O D U C T I O N

Co-production has not only become an important means of production financing, it is also proving to be the driving force behind some striking storytelling from around the world. Marlene Edmunds surveys the ever-expanding scene

O

NCE a sideline in the financing world, co-production has become a major force, nowhere more so than in Europe. The region has produced compelling new stories and original content, alongside innovative ways of coming up with the money and ideas.

Lagardere Entertainment and its subsidiary Atlantique Productions, as well as Canal+ and Jan Mojto’s EOS Entertainment, the BBC, the UK’s Left Bank — a company 25% owned by BBC Worldwide — Sweden’s Yellow Bird (part of Zodiak Media Group), Tandem Communications

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in Germany, Italian private media outfit Mediaset and state broadcaster Rai are among the leaders. While finance is clearly a prime mover, a new generation of multilingual, pan-European and inter-continental players are engaging in moves designed to change the

face of the co-production industry. Most are familiar with EU funds, tax rebates and a host of local film and TV subsidies, and have an inspired confidence in their ability to tell Europe’s stories. Atlantique Productions, headed by managing director Klaus Zimmer-


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CO-PRODUCTION

Borgia, the largest TV series ever financed solely out of Europe distribution outside France

mann, signed American scriptwriter Tom Fontana to write the first two episodes and executive produce Borgia. At $34m, Borgia is the largest TV series ever financed solely out of Europe. Co-production partners include Canal+ and EOS Entertainment, with Germany’s Beta Film picking up worldwide distribution outside France. The Wire’s John Doman stars as Rodrigo Borgia, head of the powerful Spanish/Italian clan. Atlantique is also busy with Europol, a new European crime series crafted in collaboration with TF1; Transporter,

in partnership with Luc Besson’s Europacorp, and Death In Paradise, the first co-production initiated by France Televisions and the BBC. On the British side, Wallander, starring Kenneth Branagh as moody Swedish detective Kurt Wallander, was a co-production on a number of levels. The three 90-minute episodes were based on a series by one of the world’s best-selling authors, Sweden’s Henning Mankell. Partners were Yellow Bird (co-founded by Mankell), Left Bank, Branagh’s company TKBC, and BBC Scotland.

Wallander marks the first time the BBC has filmed “foreign” crime fiction in the English language in overseas territory. The series was shot in Ystad, southern Sweden, where the fictional stories are set. “Wallander opened the door,” says BBC Worldwide executive producer Ben Donald, who helped put together another police-based co-production, Zen. Rufus Sewell plays Italian cop Aurelio Zen in the series based on Michael Dibden’s novels. “BBC Worldwide has relationships with a lot of producers, and my job is to work with them from the very beginning on any project that I think is likely to need co-production,” he adds. Zen is a co-production between the BBC, Left Bank, BBC Worldwide and Mediaset. “When Left Bank approached the BBC, they were bringing something very specific and fresh to the crime genre. The character of Zen is that he’s not one of those great evangelists for justice, nor is he another one of the flawed or maverick detectives that are so popular these days. “He’s just a middle-ranking detective trying to get his job done, and he keeps getting put between a rock and a hard place. And Zen is about that as much as it is about the actual crime and the search for the culprit.” Death In Paradise, Donald’s latest co-production, centres on a fish out of water, a stuffy and fastidious British detective who is assigned to a Caribbean territory that has an Anglo-French history.

“France Televisions was attracted by the light-hearted approach and we began to think of how we could use the French Creole history of the Caribbean to create a more AngloFrench setting, with significant parts to be played in English by French actresses or actors,” Donald says. The production is a fully fledged partnership between UK independent Red Planet, the BBC, France Televisions, French producer Atlantique and BBC Worldwide, and qualifies to tap French co-production funds. Possibly the most daring venture on the European co-production circuit is Babylon, a Zentropa-led co-production with partners in place including ARTE, RTE, Eurovision, and MEDIA. The 12-episode series takes on the tangled web of the EU’s 27 members. “We’re looking at the tax breaks in different countries and setting up the right constructions for those, including the production partners involved in co-financing,” explains Zentropa producer Peter Engel. The $25m (€18m) project is being hailed as the first pan-European TV series, about the EU. Shooting will take place across different locations in Europe in early 2012. “Brussels, with its shiny new buildings and smiling politicians, presents one face but our script also touches on the underbelly of the EU, and its fragility,” Engel says. “It is a political body governing 27 countries, with a multilingual parliament whose members cannot even get the

We’re looking at the tax breaks in different countries and setting up the right constructions, including the production partners involved in cofinancing

Peter Engel

MIPTV PREVIEW MAGAZINE 2011 /

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CO-PRODUCTION

European population to vote for it.” The creator and scriptwriter is multiple award winner Anders Roennow Klarlund and director is Oliver Hirschbiegel. Engel adds: “There is a lot of scepticism about the survival of the EU, and our script touches on that as well, It is a first on many levels. “The plot will include the historical context. The Knights Templar, as an example, were the first to try to unite Europe as far back as the 12th and 13th centuries. The script that we have come up with reflects that: a Europe that is controlled by historic interests, clandestine organisations and beneath the surface of the dayto-day politics of Brussels, there is a lot of corruption and intrigue.” Tandem Communications is now into its 11th year in putting together major event television, including the award-winning Ken Follett bestseller Pillars Of The Earth, produced by Tandem and Muse Entertainment, in association with Ridley and Tony Scott’s Scott Free Films. Tandem’s latest slate of international productions includes the TV adaptation of World Without End, the eight-hour mini-series sequel to Pillars, with similar partners on board. Starz will be co-financing development, with an option for US broadcast. Rola Bauer, partner and managing director for Tandem, says her company’s approach to putting together productions is similar. “After we have locked down our key network partners, we then utilise soft monies such as tax credits where and when it makes sense creatively. Sometimes that is not enough, so we get a bank loan or defer our fees “When we believe in the project, we’re entrepreneurial and invest ourselves. It’s not rocket science, but without the trust of our network and home-entertainment partners worldwide, as well as our bank, we wouldn’t be able to continue to pro-

Pillars Of The Earth, produced by Tandem Communications and Muse Entertainment, with Ridley and Tony Scott’s Scott Free Films

duce high-end, event programmes.” “It’s no accident that the company gravitates toward stories based on bestsellers,” she adds, pointing to Pompeii. “It is a worldwide bestselling book and it’s about a natural disaster, which touches on our primal emotions. Only recently the world came to a grinding halt due to a massive volcano. The catastrophe genre remains very popular, but there aren’t many programmes being produced to fit this need.” Ridley Scott, for Scott Free, will coproduce with Judith Verno’s Peace Out production company. Shooting is expected to begin toward the end of this year. Helen Verno, executive producer, movies and mini-series for Sony Pictures Television (SPT), says the work they have done with Tandem before, on The Company, has made things easier. “We have a great shorthand for working out issues such as casting. We’ll have both European and American talent but, bottom line, we will be looking for the best talent.” The project came about when Robert Harris’s novel Pompeii, which had been optioned by Roman Polanski

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for a feature film, freed up. Verno says: “Our SPT-based production company, Peace Out, brought it to our attention and we partnered Peace Out with Scott Free. After speaking to Harris, who was in sync with our creative approach, we worked with our international division to put together the international partnerships.” Canada in the past few years has jumped on the co-production bandwagon with a raft of subsidies, tax incentives and location inducements to keep local productions at home and encourage the industry to come to Canada to shoot. Muse Entertainment is one of the partners on Pillars and a co-producer of more recent projects such as Ben Hur. The latter is a four-hour mini-series directed by Steve Shill (Rome/The Tudors) is financed and distributed worldwide by London and LA-based Alchemy Television group and co-produced by Drimtim Entertainment of Spain, Muse Entertainment in Canada, Zak Productions in Morocco, in association with Alchemy and Akkord Films in Germany. Broadcasters on board in-

clude Antena 3 in Spain, ProSieben in Germany, ABC Network in the US and CBC in Canada. The production was shot in Morocco. “Ben Hur represents the re-creation of one of the great epic movies of all time. The challenges in putting together the financing were equally epic,” says Michael Prupas, president and CEO of Muse Entertainment. Fremantle Corporation’s The Merchant Of Flowers is a 12-part mini-series co-produced with The DeAngelis Group (DAP) for Italy’s Mediaset. The collaboration is expected to pick up the best in financial backing available on both sides of the Atlantic. “As a Canadian company, the Fremantle Corpora-

We’ll have both European and American talent but, bottom line, we will be looking for the best talent Helen Verno


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CO-PRODUCTION

Haven, a co-production with UNI, Entertainment One, Syfy and Shaw Media

tion takes every advantage of what Canada has to offer,” says Irv Holender, the company’s principal director. “The Merchant Of Flowers is an example of how we actively tapped into Canada’s unique production resources. This includes government subsidies, higher licence fees from Canadian

broadcasters for quality original programming, a solid infrastructure for high-end production and a European sensibility that allows our production to travel worldwide. Fremantle at press time was mainly engaged in financing for co-production territories it is involved in. “We also guarantee the gap financing,”

Holender says. “Traditionally, that has been done by banks but in the last few years the banks have shied away a bit.” The crime thriller will begin shooting in Canada, Thailand and Italy as early as October. DAP president Guido De Angelis points out that there are no tax breaks as such in Italy, but his com-

pany is covering costs on the European side and looking into possible partnerships that could tap other funds. “This story is based on an Italian novel that was a very big success and seriously touched the hearts of many because of the subject matter, human trafficking.” Merchant Of Flowers is a first of sorts for DeAngelis and his group. “We’ve done a lot of co-productions but this is the first with Canada. Co-production has become a necessity, not a luxury, since the onset of the financial crisis. If we want to continue to make quality productions, I think everyone has realised that we have to put our resources together. This is the future. It’s just too expensive otherwise.” DAP and Fremantle are also in production on the $28m, 12-hour mini-series Titanic: The Untold Story Of How It All Began, for a 2011 shoot in Ireland. Future Films, Play Productions in France, the Irish Film Authority and Wilshire Films in the US are also on board for Titanic. Universal Networks International (UNI) launched Haven, a co-production with Canada’s Entertainment One, Syfy and Shaw Media in 2010, and is now producing season two. The co-production is a three-way partnership, from both the business and creative perspectives, says Martin Irusta, senior vice-president, global programming and acquisitions. “We are all working together on scripts and casting consultation with the producers and writers.

I think everyone has realised that we have to put our resources together. This is the future. It’s just too expensive otherwise Parallel Films’ Neverland, the first original full-length feature commission for Sky Movies HD

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Guido De Angelis


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CO-PRODUCTION

Volcano Devils, the latest collaboration between NHK and Boreales

“The Canadian participation not only brings funding and new voices to the co-production partnership but triggers the production's ability to maximise their tax credits with

the participation of a Canadian broadcaster and the extensive use of top-notch Canadian crews, actors and directors. Further, Haven benefits from a tax incentive provided

by shooting in Nova Scotia, a terrific stand-in for the state of Maine.” US studios began in recent years a serious migration to the UK. Warner Bros acquired Shed Media

but as much as two years before NBC Universal Television had picked up Carnival Films in 2008. Filming began in January on thriller Page Eight for BBC2. Written and directed by Oscar nominee David Hare (The Reader), the thriller is a co-production between Carnival Films (Downton Abbey, Any Human Heart), Heyday Films (Harry Potter series, The Boy In The Striped Pajamas) and Runaway Fridge (Harry Potter Series/ Possession). Michael Edelstein, president, international television production, NBC Universal Television, emphasises that the studio’s presence in the UK is aimed at putting its muscle behind local creativity, not coming in to tell the British how to do it better. “Our aim is to produce top-quality British content, and we are truly pleased to help fund David’s remarkable script.” NBC Universal has put in some 25% of the budget for the project.

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CO-PRODUCTION

Financially, 2010 was no picnic in Ireland, but it was a record year for the territory when it comes to coproduction. That success has not gone unnoticed by the Irish government, which in late January extended Ireland’s Section 481 to December of 2015. The scheme offers as much as 28% net benefit to film and television productions. Naoise Barry, film commissioner for the Irish Film Board, says the decision makes economic sense. “In 2010, the euro value of international co-produced television drama increased by 300% on 2009 levels, driven by shows including Neverland for Sky Movies, Treasure Island for Sky1, Camelot for Starz and Game Of Thrones for HBO.” One of the major attractions of Section 481 is that it also applies to post-production, a not inconsiderable matter. Canada and Europe are fiercely competitive on the subsidy and tax-rebate front, and one of

Canada’s major attractions when it comes to its film financing is the inclusion of post- production. Among companies seriously using the post-production cachet is Windmill Lane Entertainment, with its specialist post outfit, also named Windmill. Micheal Murphy, CEO of Windmill Lane Entertainment, explains: “If the Irish tax incentive finances 28% of everything you spend in Ireland on a co-production, when this includes CGI and visual effects it can be a meaningful financial contribution to any project.” Japanese public broadcaster NHK is one of the most prolific quality coproducers in the world but it mainly works internationally on the documentary front. France’s Boreales is also one of the most prestigious French co-producers of both documentary and drama. While docudrama is no new genre, the latest collaboration between NHK and Boreales, Volcano Devils, was deliv-

ered in February and is a portent of creative cross-genre work. Volcano Devils is about the disappearance of two of the world’s volcano specialists, Katia and Maurice Krafft. Lost in action on Mount Unzen in Japan in 1991, the two were pioneers in filming, photographing and recording volcanoes, often shooting within feet of a lava flow. Boreales worked with NHK on codevelopment, screenplay and line production for three years, says cofounder Frederic Fougea. Rights for the territories are split between NHK and Boreales, with the latter investing 30% of the budget, he adds. While the production has no fiction in it, there is an aspect of re-enactment in the documentary. Fougea says: “We based the screenplay on the existing archives. The re-enactment part was written in order to fill the gap between existing archives and the real story. There's no fiction, just re-enactment of true facts.”

BABYLON ZENTROPA-led co-production Babylon, whose partners include ARTE, RTE, Eurovision, and MEDIA, is about the tangled web of the EU’s 27 members. The $25m (€18m) project is being hailed as the first pan-European TV series, about the EU.

Co-production for Success Monday, April 4 — 11.00 - 12.45 Auditorium A, level 3

Full MIPTV Conference Programme Inside Global Co-production Strategies Saturday, April 2 — 14.15 - 16.15 Auditorium A, level 3

Full MIPTV Conference Programme Inside

What do

11,500 MIPTV DELEGATES do from

8:00 TO 9:00AM

?

MIPTV PREVIEW MAGAZINE 2011 /

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C HAIRMAN aand nd C EO, D igital CHAIRMAN CEO, Digital di gi M edia Group, Group, and and chief chief digiMedia ttal al oofficer fficer for for News Neews Miller, C orporation, JJonathan onathan Miller, Corporation, ggives ives tthe he C harting TThe he N ext Charting Next D igital D ecade kkeynote eynote ttoday oday Digital Decade iinn tthe he G rand AAuditorium uditorium aatt Grand 009.30 9.30

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KEYNOTES TIM Kring, creator and executive producer of Heroes, gives the Creator Keynote at 17.15 today in the Grand Auditorium. Later at the International Digital Emmy Awards he will receive the 2010 Pioneer Prize in recognition of the series’ multiplatform experience Heroes Evolutions. Kring is followed in the Grand Auditorium by Chris Albrecht, president and CEO of Starz, who gives the Media Mastermind Keynote at 17.50. Starz is focusing on products that have global appeal and bring “cinematic quality to the small screen”

BEN SILVERMAN FOLLOWING the launch of his new multiplatform venture, Electus, Ben Silverman presents his views on the future of television production today when he gives the Media Mastermind keynote in the Grand Auditorium at 17.30

IDRIS ELBA FOCUS ON SINGAPORE

BRITISH actor Idris Elba found international fame as the charismatic Baltimore drug baron Stringer Bell in The Wire. Today he’s in Cannes to promote Luther, a new BBC1 cop show of which he is associate producer, and in which he plays the lead See page 30

SINGAPORE’s Acting Minister for Information, Communications and the Arts, Lui Tuck Yew, will give the opening speech at the Focus On Singapore conference event in Auditorium A at 11.30 today. A panel on Co-producing With Singapore is followed by the panel From Singapore To The World. The Media Development Authority of Singapore will host a VIP Lunch after the two conference panels

M MIPTV IPTV N News ews #3

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TODAY’S TODAY’S KEYNOTE KEYNOTE SKY UK UK CEO CEO Jeremy Jeremy Darroch Darroch is is SKY giving the the Media Media Mastermind Mastermind giving he keynote ttoday oday aatt 009.30 9.30 iinn tthe keynote G rand Auditorium, Auditorium, focusing focusing on on Grand cchanges hanges iinn ttechnology echnology aand nd ccononssumer umer ddemand emand tthat ha t aare re eenhancing nhancing tthe he vvalue alue ooff ccontent, ontent, as well well as as external external forces forces which which as pose a threat

CHARLES DANCE AND TERRY PRATCHETT GOING POSTAL... BRITISH actor Charles Dance and best-selling British writer Sir Terry Pratchett were in Cannes to launch Going Postal, an HD special based on Pratchett’s novel from his Discworld series. The drama was produced by London’s The Mob Film Company and is distributed by All3Media. “Terry Pratchett is an extraordinary writer — quite Dickensian in scale and imagination. I was astonished by the richness of his characters, and the inventiveness of his world. It takes your breath away,” Dance said See page 33

See page 20

ON MIPTV.COM...

IEMMY AWARDS THE FIFTH International Digital Emmy Awards ceremony is hosted by Jason Priestley, who first came to prominence in Beverly Hills, 90210. Priestley is currently starring in black comedy series Call Me Fitz, which he also produces and directs. Other star presenters of the awards include: renowned British actor Charles Dance, soon to appear in Roland Joffe’s movie There Be Dragons and All3Media’s TV adaptation of Terry Pratchett’s Going Postal; Cesar Millan, best-selling author and presenter of worldwide hit Dog Whisperer; and Missy Peregrym and Gregory Smith, stars of E1’s drama series Rookie Blue

CONTENT 360 IS UNDER WAY THE ENTERTAINMENT Master Class: How To MIP Your Format yesterday featured Fox’s David Lyle talking about how to sell your ideas, entertainment lawyer Christoph Fey advising on how to protect ideas, and Tim Crescenti (pictured), president of Small World on how best to distribute See the session at www.miptv.com

See pages 28,34,42

COMES WITH “FOCUS ON KOREA” SUPPLEMENT

COMES WITH “GLOBAL 3D SPOTLIGHT” SUPPLEMENT

CONTENT 360, MIPTV’s CrossMedia Festival, started last night with the Next Generation Flash Pitch and the Creative Party at the Carlton. The event continues throughout today culminating with the Content 360 Zapping Show See page 8

Thursday

MIPTV MIPTV News News #2

13 April 2010

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OPENING C COCKTAIL OCKTAIL

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15 April 2010

www.miptvv..com

CONTENT CONTENT 360 360 Z ZAPPING APPING SSHOW HOW

MIPTV’s Cross-Media Festival, Content 360, finished with the popular Zapping Show last night. A number of the six winners left with cash prizes to develop their ideas See page 6

KEYNOTE SPEAKER KEVIN SLAVIN KEVIN Slavin, managing director and co-founder of New York-based Area/Code Entertainment, gives the Next Generation Audience Engagement keynote today at 09.45 in Auditorium A. Slavin will talk about the changes in the way in which audiences consume information in the digital age

THE STARS CAME OUT IN CANNES THE STARS came to Cannes. An array of star names from the worlds of stage and screen came to MIPTV to promote new shows. Pictured is actor Idris Elba, who shot to world fame in the series The Wire, and who came to Cannes to introduce his new BBC show Luther to international buyers See page 24

LOOK FOR OUR SPECIAL CONNECTED CREATIVITY REPORT

The ONLY official daily source of information during MIPTV

· The best of yesterday and the must of today · Delivered before 7am to 80 hotels, 20 distribution points throughout the Palais and in all the shuttles b every morning online at www.miptv.com · Viewable ov from an onsite team of 17 industry journalists and photographers · Live coverage For advertising enquiries please call Christine Mendes on: +33 (0) 1 41 90 49 89 or your local sales representative Email: advertising.mip@reedmidem.com

    


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KID’S PROGRAMMING

T H E YO U N G G O C R O S S - P L AT F O R M

Kids shows are moving in all directions… Will traditional tie-ins and a bit of nostalgia help kids’ producers take their content 360? Max Leonard asks the question

T

HESE days, children’s TV companies are as likely to be talking about leveraging brand equity as about cartoons. But the shiny corporate speak is symptomatic of a determination to build a solid financial base on the shifting sands underpinning the sector. But substitute ‘brand equity’ for ‘well-loved characters’ and the whole enterprise seems far more

Now, you have a hit or you have nothing Philippe Soutter

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traditional — only spread further, faster and across more media. It is perhaps this growing assurance about the possibilities of the changing media landscape that means many buyers and sellers are approaching MIPTV 2011 with a cautious sense of optimism. The classic goal, of course, is to create a TV show that will work in many territories — and this

model still holds. “Five or 10 years ago, you could have a medium-sized programme and make money. Now, we are in a trend where you have a hit or you have nothing,” says Philippe Soutter, CEO of French distributor PGS Entertainment. “Buyers are becoming more confident in knowing what works for them, and how to launch their shows.”

Minuscule (Futurikon)


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KID’S PROGRAMMING

PGS Entertainment’s The Little Prince made a splash on the global market, with deals in the bag that will take Antoine de Saint-Exupery’s wistful stargazer into around 100 territories when the animation series is delivered. The company is also offering another major international co-production in the form of a 3D-animated Charlie Chaplin. The 104 x 6 mins dialogue-free series marks the first time the character has been brought to life in cartoon form. Big names from ‘old media’ are top of many companies’ MIPTV slates, from Nelvana’s pre-school-oriented Babar And The Adventures Of Badou through the recently greenlit second series of the 3D animation Jungle Book (52 x 11 mins) to Cake Distribution’s Poppy Cat. “Having a property with a heritage and an existing fan base is hugely appealing to broadcasters,” says Michael Dee, director of content at Poppy Cat’s maker Coolabi. The new animated series Conni (26 x 11.5 mins), meanwhile, is brought to MIPTV by m4e/Telescreen. More than seven million books featuring the eponymous heroine

Bubble Guppies (Nickelodeon)

have been sold in Germany, and the new series is scheduled for delivery in autumn of this year. According to Geraint Marsh, Chorion’s senior vice-president of television sales, the London-based company is particularly committed to publishing as a source of content ideas and a means of building brand awareness — as its classic properties Peter Rabbit and Noddy In Toyland demonstrate. And The Jim Henson Company is planning a re-issue of its Dark Crystal and

Noddy (Chorion)

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Labyrinth films — now 25 and 30 years old respectively — along with a new animated TV series based on The Dark Crystal. Then, of course, there are the toy tieins, with licensing and manufacturing companies ever more prominent at the early stages of a TV series’ inception. MarVista Entertainment and Saban Entertainment’s Power Rangers Samurai, and Toei Animation and World Events Productions’ Voltron are just two examples from last year’s MIPCOM of revivals playing for the toy market that helped make the original series so popular. Hasbro’s recent move to sign writer and executive producer Jeff Kline to an exclusive series development and production deal suggests that there’s more to come. Kline is behind such shows as Hasbro’s own Transformers: Prime and GI Joe: Renegades, which screen on The Hub and are available internationally. And Zodiak Kids and Family, the Zodiak Media Group unit that develops, produces and distributes children’s and youth brands, has announced that Cartoon Network is taking its new property Redakai,

Conquer The Kairu for US broadcast. The 52 x 30 mins series, which features KY, a 15-year-old martialarts trainee who embarks on a quest to find an ancient alien energy, was developed with product manufacturer Spin Master. Notwithstanding the temptation to bank on a tried-and-trusted property or ready-made licensing opportunity, original animation is still a premium product. “We are open to any genre but are particularly interested in strong animated properties,” says Henrietta Hurford-Jones, director of BBC Worldwide’s CBeebies Investment. “We are now putting extra energy and focus into the pre-school children’s genre to fulfil our on-screen needs. The primary aim is to seek out excellent properties that work on screen for our channels but, for the investments, we will always also

We are particularly interested in strong animated properties Henrietta Hurford-Jones


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KID’S PROGRAMMING

© 2010 – LPPTV – Method Animation – LP Animation – Sony Pictures Home Entertainment (France) – La Fabrique d’images – DQ Entertainment Limited – ARD.

The Little Prince (PGS Entertainment)

try to look for properties in which we can be full co-production partners to utilise the strong talent within BBC Worldwide.” NHK, too, is looking for toons — as animation producer Keisuke Tsuchihashi, explains: “Although the animation slot on our satellite channels will decrease due to the consolidation of our satellite channels from three to two, the number of slots on our terrestrial channels will not change. We are always looking for new titles of strong content.” NHK affiliate NHK Educational Corporation has also recently announced a five-year co-production agreement with Al Jazeera Chil-

dren’s Channel to build on the success of their jointly made Discover Science. On the supply side, The Jim Henson Company is doing well with the second series of hit shows Sid The Science Kid and Dinosaur Train, while Toei will use MIPTV to present the eighth outing of its Pretty Cure heroines. Suite Pretty Cure sees junior high-school students Hibiki and Kanade again don the Pretty Cure alter ego to defend the world from evil forces. m4e/Telescreen is showcasing the unicorn fantasy Mia And Me (26 x 24 mins), the live-action/animation mix for six- to 10-year-olds that was the most requested programme at

Oops! I-Kooo! (EBS)

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last year’s MIPJunior. Among Nelvana’s offerings is Sidekick, aimed at six- to 11-year-olds, which follows the adventures of Eric, a sidekick-in-training whose superhero goes missing. From South Korea’s EBS, meanwhile, is Oops! IKooo! (52 x 10 mins), a safetyeducation show featuring a hapless young alien’s adventures on earth. Also from Kore a comes SAMG Animation’s Fish N Chips (52 x 13 mins), a 3Danimated comedy series for six- to 11year-olds in which a cat and fish are involved Poppy Cat in family feuds on (Coolabi) land and in water. MTV Network International’s senior vice-president of Nickelodeon and programme sales, Steve Grieder, points to the CG animation Planet Sheen from the creators of Jimmy Neutron Boy Genius and the US pre-school hit Bubble Guppies on his company’s slate. He also gives an idea of what Nick’s

buyers will be looking for in Cannes: “Jules Borkent [senior vice-president of global acquisitions and international programming] will be at the market with his team. They are always keen to see fantastic 50:50 gender-neutral split series, lots of strong character, humour and great comedy, such as the kind you find in shows like Big Time Rush or iCarly, which appeal to children around the world. They’ll also be looking for strong liveaction adventure for boys — and animation is high on the agenda”

Monetising web content is still a challenge Peter Schube


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In partnership with

SPECIAL SUPPLEMENT Connected Creativity at MIPTV, in partnership with GSMA, the worldwide mobile communications industry association, is the new global forum uniting content producers, broadcasters, service providers, device manufacturers and startups to reach beyond traditional business models and form the new digital entertainment ecosystem.

www.connected-creativity.com

INSIDE News Connected Creativity Forum Experience Hub Content 360

TOPICS INCLUDE Global Networking Smart Phone Markets Gamification of Entertainment Monetising the Passionate Fan How to Achieve Global Success in the OverCrowded App Store? Expanding Platforms: The Connected & Augmented City

SPEAKERS

CHRISTIAN H. GALLARDO, Head of International Business Development, Facebook

HANS VESTBERG, Vestberg, President and CEO of Ericsson, will present the inaugural Connected Creativity keynote at MIPTV 2011 on Tuesday 5 April, in the Grand Auditorium.

CLAIRE TAVERNIER, Senior Executive Vice President, FremantleMedia


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CONNECTED CREATIVITY

CHALLENGE IS TO ‘HARNESS DISRUPTION’

Forrester’s Nick Thomas

NICK Thomas, analyst, consumer product strategy at Connected Creativity partner Forrester Research, is one of the speakers at the Connected Creativity Forum in the Majestic hotel. Thomas said that in relation to the changing ways in which consumers are receiving, experiencing and using content in the digital world: “The revolution is already well under way, led by consumers who are finding new ways of interacting with content across devices and platforms.” He added: “The challenge for media companies is to harness this disruption and adapt their strategies to reflect the new realities.” Connected Creativity is designed to focus on the business models required in this context. “The ongoing digital content revolution threatens many existing media business models,” Thomas said. “There are ways companies can successfully adapt and engage consumers, but companies overreliant on traditional distribution platforms and licensing models will struggle more than those who embrace the changes we see.”

Vivendi reveals zaOza to the world in Cannes FOLLOWING the launch of the zaOza service in Germany, Vivendi Mobile Entertainment CEO Cedric Ponsot is looking to MIPTV’s Connected Creativity event to show the rest of the world what Vivendi ME is doing. ZaOza gives mobile subscribers unlimited access to exclusive music, video, and games. “Over the next two years we are looking at an extensive rollout of zaOza around Europe and clearly Connected Creativity is an ideal place to show a global audience how well executed and secure our platform is,” he said. “Plus on the content side, all the big producers are there and we look forward to meeting them with the aim of bringing them on board.” In the case of a connected system like zaOza, which enables

users to watch entertainment across multiple devices, one might assume that rights are the most complex area. But, in fact, it is the underlying technology that has been the most time-consuming: “Of course getting the rights agreements in place is a major challenge, but producers are very keen that se- Vivendi’s Cedric Ponsot: “A huge amount of work” cure systems like ours should watch content on any device work, and they want to try it without problems demanded a out,” Ponsot said. “But working huge amount of work. But we with a cloud-based system, and did it and we’re very proud of making sure that our users can what we have achieved.”

Orange demos 3D and transmedia AS A Gold Partner of the inaugural Connected Creativity Hub, Orange is presenting a selection of new content services in Cannes, including its 3DTV and transmedia projects. The 3DTV project has been in development for three years. “We believe that 3D is revolutionising the world of television, much like the transition from black and white to colour did, and that it is here to stay,” an Orange spokesperson said. “Our broad aim is to promote this

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new experience both to the general public, and to existing customers of Orange TV. We want everyone to discover all of the emotion that can be conveyed by 3D images.” The company will also be demonstrating its transmedia principle which involves telling a story across various media including TV, the internet, and mobile, with each episode playing to the strengths of the different platforms. Orange believes such projects can be an

effective channel for designers and producers, enabling them to get the best out of a world where multi-tasking, social networking, gaming and sharing are the norm. The company is developing other new services, for example Social TV, that links the viewing experience to social networks, and a service that will aggregate feeds from a number of social media sites with breaking news from traditional media.


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CONNECTED CREATIVITY

Racana looks after business so producers can get creative ISRAELI company Racana will be in Cannes to demonstrate its content distribution and management platform at the Connected Creativity Experience Hub. “We started four years ago working with music companies, and now that consumption of video is clearly

growing, we think it’s time to introduce our system to TV producers,” Amit Sternberg, CEO of Racana, said. According to Sternberg Racana’s USP lies in its ability to do the things that many producers do not need to be involved with. “Our attitude is

Racana’s Amit Sternberg: ”Content producers should be left to do what they do best”

that content producers should be left to do what they do best, while we get on with the business of distribution and accounting,” he said. “Our platform is relevant to a large section of the production community because we are a highly efficient and completely neutral enabler providing a cloud-based service that does not engage in any form of re-selling.” Sternberg believes that the majority of TV producers could benefit from Racana’s service. “I can understand why a very big company would want to have its own platform, but I’m confident that there are plenty of large and medium-sized companies who would benefit from what we offer,” he said.

Rovi makes partners a priority in Cannes AFTER winning the contract to power Samsung’s next generation of connected TVs, and the acquisition of digital distribution company Sonic Solutions, A lot of our focus will be on meeting as many people as possible and showing them what we’ll be doing as a result of these new deals,” Sean Besser, vicepresident, business development, said. “For example with Samsung, our goal is to bring their apps up to a higher level in order to optimise programme search functions, and make them much broader — taking in both VOD and sched-

uled programming — and at the same time much more efficient.” One of the reasons that Rovi is able to pursue such an idea is that software data company All Media Guide (AMG) is part of the company: “AMG’s meta data is a key to being able to do this,” Besser said. “And what we will be building is a form of programme search that is much more intuitive and where users can search in a stream-of-consciousness way, and then get intelligent, personalised results.” 2011 is shaping up to be a very important year in the evolution

of connected entertainment, Besser said. “There is now a critical mass of content available across all devices that will drive significant mainstream uptake this year,” he added.

Rovi’s Sean Besser: “Critical mass of content available across all devices”

MOBILE IS LEADER OF THE TECH GIANTS TOMI T Ahonen, author, consultant and analyst, former Nokia executive, Oxford University lecturer — and author of six best-selling books on mobile including The Insider’s Guide To Mobile — is speaking at the first Connected Creativity Forum in Cannes. Ahonen recently published statistics that showed that the mobile phone is the leader of the “four giants” in today’s connected world. “The fixed landline telephone is the first of the giants, and has a reach today still of 3.8bn people. Remember, this is a misleading number, in reality it is far smaller because many of those landline phone connections are no longer used for the landline phone, but rather used for the family internet access,” Ahonen said. Then come radio and TV, both tied with total audience sizes of 4.2 bn people. With radio almost all of that is free overthe-air radio, but with TV, 63% of the television audience is in households that offer payTV in the form of satellite or cable TV. Last and definitely not least, is the biggest, mobile telecoms, which now has an active reach of 4.4 bn people.

Tomi T Ahonen

C O N N E C T E D C R E AT I V I T Y S E C T I O N 2 0 1 1 /

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CONNECTED CREATIVITY

Keynote looks at how new-tech shapes the mind of the future PROFESSOR Susan Greenfield, scientist, writer, broadcaster and member of the UK’s House of Lords, gives a keynote address on April 7 as part of The Future Of Social Media series of Connected Creativity panels. Professor of Pharmacology at Lincoln College, Oxford University, Professor Greenfield is known for her insight into the effects of technological advancements on the human race and a concept she refers to as ‘The Mind Of The Future’. “Since the 21st Century is delivering a vast range of new technologies that are transforming our environment in unprecedented ways, it follows

that the human brain, and thus our minds, could also be undergoing unprecedented changes,” she said. “Screen technologies create an environment of fast-paced visual and auditory inputs, which in turn cause high arousal, in turn activating brain systems underlying addiction and reward, resulting in the attraction of yet further screen-based activity.” The Professor added: “We shall see how, as a consequence, the consumers of the future may have a higher IQ, a shorter attention span, a bias for sensation, less empathy, be less risk-averse, and have a less stable sense of identity.”

Professor Susan Greenfield: industry leaders “need to be constructive with risk”

Industry leaders, meanwhile, “will need to be constructive with risk, reverse the current transition from 'meaning' to

‘here and now experience’, and above all promote recognition of the individual — ideally through optimising creativity.”

We are all pirates, says Matt Mason MATT Mason, author of The Pirate’s Dilemma — How Youth Culture Re-invented Capitalism, will give a Connected Creativity keynote address under the head-

Matt Mason: “cultural shifts”

ing The Path To InnovationPiracy? Speaking on the message of his book, Mason said that the media is at a “very specific intersection between technological shifts and these very cultural shifts that are going on”. He added: “And it’s not just affecting media, it’s affecting all of us, how we operate and how we do business, and it’s affecting how we use all kinds of information.” On the subject of piracy, Mason estimates that the money an individual would owe in a single day if sued every time he or she

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violated copyright law, would be $12.45m. “I’m not talking about intentionally buying pirated music, I’m talking about making a photocopy of a book or singing Happy Birthday in public, or sending an e-mail with another e-mail attached to it that you didn’t have the copyright to.” Nobody is going to get sued for this, but you could be sued for this. “This is really crazy,” he said. “Why are our laws so out of touch with the way we actually use information?” Mason makes the case that it is possible to beat pirates by offer-

ing products for free, and that when pirates are adding value to society in some way, society will get behind them, at which point the only way companies can beat them is by competing with them in the marketplace. “Information used to flow in one direction. Whoever owned the means of production called the tune. But that’s not really the case any more. In the case of the internet, this has become a two-way street.” The Pirate’s Dilemma is available for download at thepiratesdilemma.com and the price you pay for it is up to you.


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CONNECTED CREATIVITY

Rights holders must focus Connected Creativity competition will reward on the connected world digital innovation

Ewan MacLeod

Reed MIDEM’s Anne de Kerckhove: “Unique access to media corporate investors and venture capitalists”

THE WORLD’S most innovative start-ups in connected entertainment will gather for the inaugural CC Ventures competition, taking place in Cannes on April 5-7. A part of the new Connected Creativity Forum at MIPTV, CC Ventures is a unique opportunity to pitch and to engage with leading venture capital investors, media funds and entertainment executives looking for opportunities in the digital and mobile space. CC Ventures contestants were drawn from companies operating in the mobile apps, as well as industry and consumer digital services sectors. Finalists are announced in March, in advance of the start of MIPTV, and will present their projects to the CC Ventures jury and Con-

nected Creativity Forum participants on April 6 in Cannes. Winners will be announced at the CC Ventures Awards ceremony on the following day. “Connected Creativity is the first event of its kind to bring together the entertainment, technology and mobile media sectors,” said Reed MIDEM’s entertainment division director Anne de Kerckhove. “In the digital entertainment arena, there is a vast array of dynamic young companies that are introducing new mobile content, apps and technological solutions to meet consumer demands. These companies need clients, but they also need financing. CC Ventures will provide these companies with unique access to media corporate investors and venture capitalists.”

EWAN MacLeod, editor of the Mobile Industry Review, is a partner with MIPTV in its new Connected Creativity event. MacLeod said that there has been “some kind of mobile entertainment market for the past decade”, but that for much of that time “entertainment meant ringtones, some text games and some java games — and that was it”. But the arrival of the iPhone changed all that, “so much so that I think it’s also fair to say that the global mobile entertainment marketplace has exploded in recent years”. But MacLeod said that its not all about the iPhone. “The iPhone offers some phenomenal stuff but it’s a bigger world out there.

Think about Samsung, Nokia and LF for example. All the big mobile companies are bringing everything together, so your mobile connects to your other media players, you can view pictures from your handset on your connected TV, you can download a film to your TV and instantly it’s also there on your iPad. There’s some fantastic stuff happening.” But McLeod warned that it can “get a bit messy” when rights holders come into the picture. “As a consumer I want to buy a movie, but I want it everywhere. And if I can’t find it on iTunes and don’t want to buy a DVD at that particular moment, well I’m not getting what I want. And if I’m a teenager and I can’t find it where I want it, I might go and copy it illegally.” He added: “In this context some rights holders are looking at the connected world in the wrong way. They need to focus more on what they can sell rather than what they need to protect.”

C O N N E C T E D C R E AT I V I T Y S E C T I O N 2 0 1 1 /




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CONNECTED CREATIVITY FORUM Running in parallel with MIPTV and held at the Majestic Hotel on 5-7 April, the Connected Creativity Forum is designed to reveal and create significant opportunities in connected entertainment. These three days of high-level conferences and exclusive networking sessions will bring together the people who matter most in technology, mobile media and entertainment for visionary keynotes, fast-paced stimulus presentations, intimate roundtables, working lunches, deal-making workshops and peer-to-peer sessions.

SPECIAL RATE FOR MIPTV DELEGATES 600 € (EXCL. VAT) For more information, contact: karim.bassiri@reedmidem.com Tel +33 141 904 847

Speakers include: Hans Vestberg (President & CEO Ericsson), Christian Hernandez Gallardo (Facebook), Tomi Ahonen (The Insider’s Guide To Mobile), Susan Greenfield (Tomorrow’s People: How 21st Century Technology is Changing the Way we Think and Feel), Nick Thomas (Forrester Research), Claire Tavernier (FremantleMedia), Matt Mason (The Pirate’s Dilemma), Kevin Slavin (Starling), Robert Tercek (Founder, Collaborative Creativity), Luke Bradley-Jones (MD BBC.com and Global iPlayer, BBC), Ned Sherman (CEO & Publisher Digital Media Wire) and more.

CHRISTIAN HERNANDEZ GALLARDO Facebook

CLAIRE TAVERNIER FreemantleMedia

TOMI AHONEN The Insider’s Guide To Mobile

NICK THOMAS Forrester Research

KEVIN SLAVIN Starling

To encourage innovation in the connected entertainment ecosystem, the Connected Creativity Forum introduces the CC Ventures startup competition and networking event. Leading startups will compete in front of media corporate investors, venture capitalists and the entertainment community. Jury members include: Jean Bourcereau (Partner, Ventech), Megumi Ikeda (Executive Director, Comcast Interactive Capital), Dharmash Mistry (Partner, Balderton Capital), Karen Noel (Partner, Morgan Lewis), Peter M. Read (Angel Investor & Advisor)...

THE EXPERIENCE HUB

Picture: Massimo Boldrin for reactable.com

A custom-built curated space for MIPTV and Connected Creativity participants to experience the latest connected entertainment devices, interfaces, applications and platforms that are being adopted by consumers across the world. From cutting-edge prototypes to launch-ready products, a new paradigm of connectivity will take form before your eyes and in your hands. Walk the Connected Street in augmented reality, have fun with location-based games in the Connected Playroom, relax with social TV platforms in the Connected Living Room or have a drink at Connected Café. You can also discover new ideas, concepts and works-in-progress being presented in the Presentation Theatre that puts innovators on stage in front of peers, media and potential partners.


As of February 15. Subject to change.

coffee break

NEGOTIATING & MANAGING MULTIPLATFORM LICENSES DELEGATES SHARE

WORKSHOP

STARTUPS INVESTOR PITCH SESSION

15.30 - 18.00

CC VENTURES

MEET the Hackers

17.00 -18.00

*** IMMERSE in Connected Living Room

Demos & Presentations

SEE MultiScreen Experiences in Action

14.00 -17.00

NETWORK at Connected Cafe

12.00 -14.00

CONTENT 360 SESSIONS *** Consumer Lab Guided Tours

10.00 -12.00

NETWORK at Connected Cafe Open all Day

9.00 -10.00

HUB

CONNECTED PARTY & CONTENT 360 AWARDS By Invitation Only - Salon Croisette

20.00 Onwards

JOINT MIPTV/CONNECTED CREATIVITY KEYNOTES Grand Auditorium

18.15 -19.15

Virtual Money Gets Real in Social Networks M-Commerce Made Easy!

17.00 -18.00

CONNECTED VIP SUMMIT

T-COMMERCE / MULTICHANNEL MONETISATION

CASE STUDIES / SUMMIT

BREAK-OUT GROUPS : MEET-LEARN-DEAL

15.30 - 16.30

CC VENTURES OPENING INVESTOR CHAT

14.30 - 15.15

3 THEMED NETWORKING LUNCHES

13.00 - 14.15

Gamification of Entertainment Monetising the Passionate Fan From Print to 2.0 : The Rise of New Publishing Industry How to Achieve Global Success in the Over-Crowded App Store?

coffee break

MODULE 2 : CONNECTED CONTENT Monetising Multichannel Content Show and Tell : Connected Interfaces Entertainment / Operator Debate Cross Platform Video Monetisation

9.00 -13.00

TRANSACT

CONNECT EXPERIENCE

WEDNESDAY 6 APRIL

TUESDAY 5 APRIL

12.45 -13.30

START-UPS MEET GLOBAL PARTNERS

WORKSHOP

APP PLATFORMS PITCH TO PUBLISHERS

WORKSHOP

MATCHMAKING MATCHMAKING

NETWORK at Connected Cafe

14.00 -18.00

MEET Content 360 Festival Winners Presentations

12.00 - 14.00

Hot STARTUPS Presentations

9.30 - 12.00

MEET the Bloggers at Connected Cafe

9.00 -10.00

HUB

EXPERIENCE

www.connected-creativity.com

In partnership with

STARTUP AWARDS, CHAT WITH BLOGGERS CLOSING PERFORMANCE Majestic

TECHNOLOGY & CONTENT COLLABORATION ROUNDTABLES

MATCHMAKING

BREAK-OUT GROUPS: MEET-LEARN-DEAL

11.50 - 12.45

coffee break

MODULE 3 : CONNECTED FUTURE Joint Opportunities for Content & Technology Connected Future Keynote Expanding Platforms: The Connected & Augmented City Beyond Facebook: Future of Social Media Exploding Consumer Data! : A New Avenue to Revenues?

9.00 -11.30

INSPIRE

THURSDAY 7 APRIL

5-7 April 2011 | Majestic Hotel, Cannes

poste5bis_PV_TV__ 11/03/11 12:47 Page7


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TRANSFORMING AUDIENCE ENGAGEMENT MIPTV and Connected Creativity delegates are invited to capture the latest innovations and concepts for next generation content, audience participation and interactivity through the 6th annual Content 360 competition. This year’s competition has focused on finding the best examples of Tablet & Social TV Apps, online & social games as well as the most innovative ideas for digital formats and smart phone Apps.

CONTENT 360 FESTIVAL PITCHING SESSIONS & EVENTS MONDAY 4 APRIL

TUESDAY 5 APRIL

WEDNESDAY 6 APRIL

11.30-12.45

10.15-11.15

10.00-12.00

PUBLIC PITCH

PUBLIC PITCH

SHOWCASE

Category 1: Interactive and Cross Media Digital Entertainment Formats

Category 3: Rich Media Tablet and Social TV Apps

Content 360 International Showcases 11.00-11.50

In partnership with

CASE STUDY

&

360 Branded Content Case Studies with

11.45-13.00 KEYNOTE

14.00-15.00 PUBLIC PITCH

Content 360 SuperSession: “Connecting to Tomorrow’s Audiences”

From 19.30 EVENT

Category 2: Online & Social Games

Content 360 Awards and Connected Party Featuring KEVIN SLAVIN,

Co-Founder, Starling 13.15-14.15 PUBLIC PITCH

Category 4: Smart Phone App for Youth Engagement In partnership with

Partners:


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KID’S PROGRAMMING

While TV remains the centrepiece of a property’s appeal, Peter Schube, president and CEO at The Jim Henson Company, observes: “Kids now are so screen agnostic that a show has to be able to travel from the TV to the computer to their iPhone — or to their mum or dad’s iPhone in the case of young kids — to their iPad. There is an assumption that every programme will have a 360degree outlook.” Many companies are relying on strong, familiar characters to help make the transition — characters with more than a little nostalgia for today’s generation of parents reared on classic children’s television. It is, perhaps, important to have crossgenerational appeal because, while the evidence shows that parents have little control over the TV remote, they have a tighter grip on their kids’ computer, iPad and smartphone access. Chorion has launched Mr Men apps and, while they doubtless attracted a new generation of fans, it was not the kids whose credit-card purchases propelled Coolabi’s Bagpuss, Ivor The Engine and The Clangers into the iTunes chart’s top five last year. One show that is parlaying crossmedia success into TV sales is

Dinosaur Train (The Jim Henson Company)

Minuscule from Paris’ Futurikon. The property features cute animated insects on live backgrounds. “We call it docu-cartoon,” says the show’s producer, Philippe Delarue. “Minuscule is very humorous and its style appeals to parents too. And we all know that kids love bugs.” It is this broad appeal that saw the first series of Minuscule notch up tens of millions of YouTube views, air in primetime on Disney US and

crack the DVD market. Delarue reports that the second series is being launched at MIPTV in HD and Dolby 5.1 — sound being an important feature of the show. On offer will be 2 x 30 mins specials, a 71 x 5 mins series and 26 x 2 mins interstitials to capitalise on the YouTube audience. Henson’s Wilson & Ditch Digging America, featuring two comic itinerant explorers, was a US-only

PBSkids.org web show. Now, however, the property is being developed for the international market. “Monetising web content is still a challenge,” Schube says. “Five years ago, it was 10 years away; two years ago, it was five years away — now it’s around the corner. And when it spawns a possible TV property, that of course will be a win.” Asian Animation Screening Wednesday, April 6 — 10.00 - 12.00 Auditorium K, level 4

Full Conference Programme Inside

MONETISING THE WEB “Five years ago, it was 10 years away; two years ago, it was five years away — now it’s around the corner.” Peter Schube

Mia And Me (m4e/Telescreen)

MIPTV PREVIEW MAGAZINE 2011 /

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DRAMA

C A M E R A S, A C T I O N !

Dramatic secrets revealed MIPTV is traditionally a place where big dramas have made a big noise — and this year even more so, as MIPTV, and its sister market MIPCOM, become increasingly established as the places where great TV dramas get the red-carpet treatment. Bob Jenkins looks at some of the dramas that can be found on the MIPTV exhibition floors, and asks some of Europe’s biggest drama commissioners what slots are available, what they are looking for and how best to pitch to them

W

E TRADITIONALLY expect great filmed drama to come out of Hollywood — where the art of telling a great story on a big scale and for a big or small screen, was born, refined, and turned into a business that has made legends on

and off camera, as well a great deal of money. And arguably Hollywood — by which we mean the US —remains the place that does it best. But Europe and elsewhere has learned from the masters and MIPTV 2011 will see high-profile

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works from both new and established European studios and groupings that have Hollywood-Europe stamped all over them. With talent more mobile, and business models more creative in the face of tight economic constraints affect-

ing all markets, engaging — and exportable — works of TV fiction are coming from what the industry might once have considered the most unlikely of places. France, for example. General director of new French company 100%


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DRAMA

Lip Service (BBC/Kudos)

Distribution, Diana Bartha, believes that breaking the mould is important when positioning a company to compete globally in this field. 100% Distribution brings together French companies Tetra Media and MakingProd and is headed up by founders Matthieu Viala and JeanFrancois Boyer, along with Bartha — who says that new business models and new talent are at the core of the company’s strategy. “French fiction has in the past suffered from two things. Obviously like everyone in Europe France has suffered from an influx of very good, high-quality content from America which has been produced by the studios,” Bartha says. “This is relevant for

everybody in Europe. “But second is that in France, there is an old business model which is that they have always tried to produce for the wide audience that would be shows on the general channels — that is safe and risk-averse. And this has worked very well for the domestic market, this kind of introspection.” But it has not worked so well when it comes to trying to sell this material in the international marketplace, according to Bartha. What she calls the “French cultural revolution” happened organically in the sense that an explosion of channels in France (viewers have access to 140) meant that commissioners started to commission more innovate work.

This has enabled a whole new generation of writers and programme makers to emerge. Bartha cites Frederick Krivine — creator of hit French political thriller series P.J. — as a leading figure in this movement, and a key component at 100% Distribution as creator of the 36 x 52 mins World War II series The Line (Un Village Francais) which, along with the 12 x 52 mins series Odyssey, set ten years after the Trojan War, will be central to 100% Distribution’s activities at MIPTV this year. “It’s important that we gain trust from the buyers, that they understand that French fiction is good, it’s safe, and that we are doing the work for them,” Bartha says.

In France there are two major opportunities on the main commercial channel, TF1. Both are in primetime at 20.45, one on Mondays and the other on Thursdays. The Monday slot, says Nathalie Laurent, head of artistic direction, “is given over to comedy, and the Thursday slot to police procedurals”. Although unwilling to be drawn on budgets, Laurent says: “We would love to make some saga series like we used to. Big series for the summer time like Dolmen, (a 2005 romantic thriller) or Zodiaque (a 2004 thriller) — big events with prestigious actors.” Although, across Europe, it is increasingly rare for broadcasters to venture into movies when considering drama, Germany is one market where this still happens, and both RTL and ProsiebenSat1 are definitely in the movie business. Joachim Kosack, senior vice-president, German fiction, at ProSieben, is “always looking for good German feature- film plots for our successful primetime slot on Thursdays. He adds, though: “Due to the success of our two new series, Danni Lowinski and Der Letzie Bulle, we only have one series slot open, for Monday primetime.” SevenOne International’s Danni Lowinski — about a hairdresser turned unorthodox lawyer — is a good example of how the source of TV drama available to the international market is widening. Danni Lowinski is the first German series

I would love to get some laughs back in the schedule. Romance is another genre that has been absent for a while Sally Haynes

MIPTV PREVIEW MAGAZINE 2011 /

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DRAMA

to be locally adapted in the US and CBS Television Studios is currently producing the pilot for The CW Television Network. The series’ first season premiered on German channel SAT.1 in the spring of 2010. And another adaptation of a Europeoriginated series has found its way to the US: Zodiak Rights is at MIPTV with drama series Being Human. The original UK series, produced by Touchpaper Television, has sold to more than 40 territories. The North American 13 x 60 mins adaptation is produced by Muse Entertainment and is set in Boston. Over at RTL, head of fiction, German production, Barbara Thielen says the broadcaster “alternates Hollywood blockbusters with RTL-produced movies in primetime on Sundays”. Although US imports have a significant role in RTL’s drama line-up, popular locally produced series include action vehicle Alarm Fur Cobra 11, crime series Countdown and award-winning, light romantic comedy Doctor’s Diary. RTL, Thielen says, “is always on the lookout for strong characters and unique stories that will fit our existing programming in these slots, such as crime and action series for the Thursday slot, similar to Cobra 11, and lighter, more humorous material such as medical, family and sitcoms for Tuesday, Wednesday and Friday”. ProSieben is also not looking to change much from the formula that has worked so well for it. Kosack insists: “We do not want to change our strategy. It is a simple, clear and suc-

We want viewers to think, ‘Hey, I know what I get from ProSieben, but I haven’t seen it done like this before!’ Joachim Kosack

Lynda La Plante’s Above Suspicion

cessful way to reach our female viewers in the key 14-49 demographic.” For all that, both Thielen and Kosack stress that there are opportunities for original ideas at both broadcasters, with Thielen saying: “If we come across an extraordinarily good script, we are always flexible enough to shoot a pilot without necessarily having a slot in mind.” Kosack adds: “The bottom line is that, regardless of genre, we want to surprise our viewers every time. We want them to think, ‘Hey, I know what I get from ProSieben, but I haven’t seen it done like this before!’” But, while neither is prepared to discuss budgets, Thielen only commenting that “we adapt our budgets to the requirement of each production”, there are differences in how the two broadcasters want to be approached. At RTL, Thielen likes to, “discuss our needs with producers, and then together we brainstorm the ideas”. She

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adds: “We are very open to receiving unsolicited ideas from producers. Either way, we then decide internally whether we believe in the project enough to commission a pilot for a series or develop a script for a movie. If we do, and we like the end result, we put it into production. But I want to make very clear that the consultation with producers is important to us, because we have to discuss our current needs in order to develop content properly targeted at our viewers.” At ProSieben on the other hand, Kosack suggests: “It really helps if the producers have a clear idea of the slot they want to fill, and if they know what is currently playing there and the market share it is achieving. In the first instance, we like to get a short synopsis; if we think there might be an interest we will invite the producer in to explain our strategy, at this point we might ask for a revised version. After that we will decide whether or not to proceed


miptv_cc_2_. 22/02/11 14:26 Page1

5 - 7 April 2011 | Majestic Hotel, Cannes

Special rate for MIPTV delegates 600 â&#x201A;Ź (excl. VAT)

The exclusive new conference and networking event bringing together key leaders and innovators in entertainment, technology and mobile media www.connected-entertainment.com

In partnership with

Upgrade now for business opportunities in connected entertainment The new global forum for entertainment, mobile media and technology


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DRAMA

with development.” One of Europe’s most prolific consumers of drama is the UK’s ITV. Controller of drama commissioning Sally Haynes says: “The bulk of the slots we currently are looking to fill are one-hour slots at 21.00 weekdays, although we do have some two-hour slots on a Sunday, where we have traditionally played series such as Marple and Poirot, and there are some limited hour slots Saturday early evening, the sort currently occupied by Primeval (a co-production from Impossible Pictures, ITV, and ProSeiben). Series that have played successfully in the weekday 21.00 slot include Lynda La Plante’s Above Suspicion,

Consultation with producers is important, because we have to discuss our current needs in order to develop content properly targeted at our viewers Barbara Thielen

a gritty police procedural, and sumptuous period drama Downton Abbey, written by Julian Fellowes. Although Haynes warns: “The other slots are earlier, and so that limits a little what we could consider there.” Accepting that, “ITV has always done a lot of crime drama”, she adds: “I don’t think we are looking for a new police series.” What she is looking for is comedy drama. “There has been very little of this on ITV lately, and I would love to get some laughs back in the schedule. Romance is another genre that has been absent from the channel for a while, and I would welcome good romantic ideas.” Alongside Haynes, commissioning responsibilities are divided between director of drama Laura Mackie and commissioning editor Victoria Fea. Haynes says: “Anybody can pitch us anything at any time, and in any way they wish. Budgets run from a low of around £250,000 per hour for the early-evening Saturday slot to a maximum of about £800,000 for the Sunday two-hour slot, with the weekdays 21.00 slot being commissioned at between £550,000 and £750,000 per hour.”

The Line (100% Distribution)

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The same ease of approach exists at the BBC. Here drama commissioning is split into two separate units, one for in-house and another for independents. Independent commissioning is the responsibility of Polly Hill and Anne Mensah. Both report to the controller, drama commissioning, Ben Stephenson, who says: “An idea can come to us in any form, and we always fully fund the development of ideas that we like. So I would say to producers that the best way to pitch to us is in whatever way you think is best for your project.” Drama commissions for 2011 are all set at the BBC, but Stephenson insists: “From January 2012, we have opportunities across all four channels. For BBC1 we will be looking for series, and singles and serials to play at 21.00, and the same will be true for BBC2. For BBC3 we will really only be looking for series, and for BBC4 really only single dramas, or at the most very short runs.” Recent examples of dramas that occupied such slots on BBC1 are Sherlock, the adventures of Holmes and Watson in 21st century London, and Single Father, a heart-rending

TF1’s Nathalie Laurent: “We would love to make some saga series like we used to”

ITV’s Sally Haynes: “The bulk of the slots we currently are looking to fill are one-hour slots”

RTL’s Barbara Thielen: “Alternates Hollywood blockbusters with RTLproduced movies”


008_GERMAN FILM_PV_TV__ 16/02/11 09:001 Page1 BF_MIP_230x300_1101 14.02.11 16:02 Seite

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DRAMA

Sherlock (BBC Worldwide)

domestic drama. Other examples include BBC2’s Eric And Ernie, a biog of one of Britain’s most popular comedy duos and, from BBC3, the sci-fi thriller Being Human, and Lip Service, described as sex, lies and true love among a group of twentysomething lesbians in Glasgow. From BBC4, Stephenson points to The Road To Coronation Street, the making of Britain’s iconic soap — even if it is on ITV! The BBC audience is becoming used to being tantalised by short-run dramas — notably the highly successful

Sherlock and the recently-screened Zen: Vendetta, in which British actor Rufus Sewell (The Pillars Of The Earth, The Eleventh Hour) stars as the fictional Italian detective Aurelio Zen in three films for which aired on BBC1 in the UK, in January of this year. Italian actress Caterina Murino (Casino Royale) stars as Zen's love interest, Tania Moretti, alongside an international cast. Based on the best-selling novels by the late British author Michael Dibdin, the series features many of the combined attractions of Italy and

the Dibdin novels — including beautiful scenery, beautiful people, and humour. Add a rich musical score and theme tune — a mix which Andy Harris (executive producer for Left Bank Pictures which made the series) said evokes Sixties and Seventies period pieces The Persuaders and The Saint, and the kind of atmosphere created by legendary television and film music composer John Barry. The series' lead Rufus Sewell said: "It looks beautiful. The stories are fantastic because they're based on

really great novels by Michael Dibdin. I think, potentially, it should be like nothing people have seen before. There's nothing really like Zen. In fact, the closest thing to it hasn't been made for a very, very long time. There's a kind of bounce to it that reminds me of stuff from the Sixties.” Left Bank Pictures produced the three films for the BBC in association with Mediaset Group, Masterpiece on PBS, and Germany's ZDF, with additional funding from BBC Worldwide. BBC Worldwide brokered the international partnership deals and is distributing the three films internationally on all platforms, including theatrically. A truly European production, successfully evoking the sultry glamour of a number of sixties series. But the BBC’s Stephenson cautions against studying past form too closely. “We are always looking for something new. It is important that BBC offers a very broad range of drama to suit all tastes, and so we consider anything; there is no limit by subject – only by imagination! We want ambitious, risky and unusual ideas.” Producers with such ideas should expect to work with budgets of £500,000-£900,000 per hour for BBC1 and BBC2, and “up to a maximum of £500,000 per hour for BBC3 and BBC4.”

DRAMATIC FIGURES At the UK’s ITV, drama budgets run from around £250,000 per hour for the earlyevening Saturday slot to £800,000 for the Sunday twohour slot, with the weekdays 21.00 slot being commissioned at between £550,000 and £750,000 per hour. Primeval (a co-production from Impossible Pictures, ITV, and Pro Seiben)

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054_RM ONLINE_PV_TV__ 21/02/11 18:53 Page1

www.onlinescreenings.com The world’s largest online library of new children’s, youth, documentary and factual programmes


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BRANDED ENTERTAINMENT

The Irish version of The Apprentice: “We couldn’t do it unless we had sponsors”

Branding debate heats up Branded entertainment and product placement continue to grow in popularity with producers and broadcasters. But is it yet a frontline source of production revenue? Gary Smith investigates

A

VMS, the latest European legislation governing the rights and wrongs of branded entertainment, has made product placement easier while retaining clauses guarding against undue influence or prominence, inappropriate promo-

tion and the obligation to inform viewers of the presence of placed product. These safeguards reflect deeply ingrained European attitudes to the mixing of editorial and commercial content. On the other side of the planet,

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China’s State Administration of Industry and Commerce (SAIC) recently proposed that the Advertising Law drafted in 1994, which is in the process of being reviewed and amended, should contain some article to regulate product placement.

Behind this move lies recent research claiming that 90% of Chinese TV dramas include smoking footage, and that 30% of teenagers would probably imitate smoking from these dramas. “The relevant regulations do include restrictions


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BRANDED ENTERTAINMENT

Frantic Branded Content + Commercials’ Jeff Peeler: “In the US, things are fairly clear-cut”

on the appearance of smoking images, unless the story requires it,” Li Jingsheng, director of SARFT’s TV drama department, said. “But censorship on smoking footage will be stricter in the future.” Rowan Simons, partner, CMM Intelligence, sees stricter regulations as the inevitable consequence of the rapidity of commercial development in China: "As suggested in our latest report, Now You See It - Content Sponsorship & Product Placement in China, the explosion in product placement in 2010 is now leading to increased pressure for new regulation. The State Administration of Industry and Commerce has proposed legislation on product placement as part of its review of the 1994 Advertising Law, and we expect more details to emerge in 2011." Last year was a bumper one for sponsors in China, and the success of Ugly Betty and other brandfunded drama productions is encouraging ever more innovation. “But most local players lack sophistication and there is a real danger of 'in-your-face' and contrived product placement defeating the original objectives,” Simons says. "Relation-

ships between advertisers and producers are highly developed, and brands have always influenced creative development. This includes, almost without exception, the success of reality TV formats in China." One of the most interesting announcements at MIPCOM 2010 was the news that FremantleMedia Enterprises (FME) had acquired a 60% stake in @radicalmedia. The deal was a logical outcome to a relationship that had started in 2008 when FremantleMedia initiated a first-look deal for TV content. “@radicalmedia remains an autonomous company, but there are no firewalls any more and there is full disclosure,” says David Ellender, global CEO, FremantleMedia Enterprises. “Our goal is to create a new kind of transmedia operation that is as much focused on non-TV entertainment as it is on classic broadcast content. It’s part of FME’s wheel of value to look at the possibilities of multiple revenue streams, including live events.” As a recent example of the transmedia approach Ellender cites the Hard Bat Classic campaign, a collaboration between FME,

@radicalmedia and The Mark Gordon Company: “Hardbat Classic is a retro table tennis competition using the old-style bats which we did for Bud Light,” he says. “The first stage was to install 4,500 table tennis table tops which fitted on pool tables in bars around the US. This was followed by three weeks of competition, which produced 450 heat winners who got to spend a week in Las Vegas where the eventual winner walked away with $100,000. Alongside Bud, we had several other partners in the form of the Venetian Hotel in Las Vegas, where the finals took place, K-Swiss trainers, KFC and Killer Spin, plus ESPN aired a two-hour special based on the finals in Las Vegas.” The event was a success and Hardbat 2 is already in the planning stages. “In the summer of this year the second series will take place, but in a different venue and with some different sponsors,” Ellender says. “Alongside that, at this moment there are currently around 40 projects being developed between FME and @radicalmedia, which is a lot but it did not spring out of nowhere. It’s the cumulative result of the fact

Banijay’s Hugo Jagueneau: “At least brands can invest more freely in France now”

The key ..... to success is to ensure that the content is what people really want, that it is quality and that there is no manipulation Hugo Jagueneau The Hard Bat Classic campaign, a collaboration between FME, @radicalmedia and The Mark Gordon Company

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that we’ve been collaborating for over two years already.” In terms of new opportunities, Ellender is looking to the highest-spending sectors. “We are now seeing advertising coming back after the crisis and we are currently looking at the financial services, pharmaceuticals and food sectors for potential clients. But a lot of what we do with clients is about the brand essence, where a brand is going and how it is developing, which determines whether there is the possibility of a creative relationship.” According to Jeff Peeler, president and executive producer of Canada’s Frantic Branded Content + Commercials, the question of how to make branded entertainment that works within the framework of Canadian legislation is in a state of flux. “In the US, things are fairly clear-cut with the broadcaster often financing the majority of a series’ production,” he says. “Whereas in Canada what usually happens is that a broadcaster contributes only a

portion of the budget and the producer is responsible for raising the rest. When a producer leverages additional financing through brand participation, the producer begins to impose upon existing relationships the broadcaster already has with many of the same or competing brands. It can put the relationships with broadcasters that we rely on at risk.” An example of a series that has caused problems in Canada is My Rona Home, where the sponsor, Rona, is a DIY company. It was claimed that the show, which featured couples building their own homes, had strayed too far into being advertising, an indication of how murky the situation is when dealing with branded content on broadcast TV. “Frantic is currently focusing more on non-broadcast channels,” Peeler says. “The internet has lots of eyeballs already, and when you’re reaching people on a computer, it’s more personal. In 2010, Frantic made the Wheels

One of the bicycles provided by Cadbury's Wheels Of Change campaign

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Of Change documentary (45 mins) for Cadbury Canada, part of a campaign to build bicycles which would enable African children in rural communities get to distant schools more easily. “Cadbury products carried a UPC code which enabled consumers to contribute to the building of 5,000 bikes,” Peeler says. “The documentary was aired on broadcast TV in Canada, and has been entered into numerous film festivals. Cadbury also sponsored We Day, a day of action for school kids where 40,000 copies of the documentary were given away.” One aspect of the AVMS legislation is that it is up to each individual country to decide what is permissible. “France was always among the stricter countries in terms of product placement, and after AVMS there are differences between what you can do, with the UK and southern Europe notably more liberal,” Hugo Jagueneau, content manager at Banijay, says. “But at least brands can invest more freely in France now.” Spanish producer Cuarzo Productions, part of the Banijay Group, teamed up with yoghurt brand Activia to make a series of 10-minute mini-documentaries called Liberate (Free Yourself), based on women who seek help with real-life situations such as a business makeover, phobias or stopping smoking. “The segments, which use the same colour scheme as Activia, were broadcast on the daytime chat show El Programa de Ana Rosa on Tele 5, followed by the person featured being interviewed,” Jagueneau says. “The key to the success of anything like Liberate is to ensure that the content is what people really want, that it is quality and that there is no manipulation. In this case the idea of liberating women is at the heart of the Activia brand message.” Banijay’s German arm, Brainpool, also recently teamed up with members

IndieMoviesOnline’s James Rowley-Ashwood: “My aim is to build more long-term relationships with advertisers”

FremantleMedia Enterprises’ David Ellender: “A lot of what we do with clients is about the brand essence”

Our goal is to ..... create a new kind of transmedia operation that is as much focused on non-TV entertainment as it is on classic broadcast content David Ellender


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of the cast of the sitcom Stromberg for a Microsoft Windows 7 campaign which featured clips of the cast discussing the new software in 90-second clips run at the end of broadcast episodes of the show.

Most local players lack sophistication and there is a real danger of 'in-yourface' and contrived product placement defeating the original objectives Rowan Simons

Blackberry’s Torch phone was at the centre of the Live & Lost campaign, a fully interactive music tour for Blackberry and T4 which brought Universal artists The Wanted, Professor Green and Example face to face with their fans. “Using social networking sites such as Twitter and Facebook, fans were able to talk to and prompt artists as to the best way to get to a venue,” Thomas Benski, managing director of Pulse, says. “Alongside the tens of thousands of new followers it generated for the artists, the campaign also got a huge amount of press coverage. The clients were delighted and we are currently discussing how to keep the campaign going in some way, although sustaining such things is very difficult.” James Rowley-Ashwood, CEO at IndieMoviesOnline, sees product placement as having a lot of potential for streaming services like his own. “My aim is to build more longterm relationships with advertisers to increase their exposure,” he says. “Using programming like our own film-review magazines to carry brand messages is a possibility because the display-advert market is in bad shape. And when over-the-top

services like Apple TV and Google TV become more accepted, there is potential for really creative and engaging branded entertainment in that multimedia delivery space.” Ex-chairman of representative organisation Screen Producers Ireland Larry Bass has been lobbying for liberalisation of product placement regulations for several years. “There are two very important aspects to bear in mind in all this,” Bass says. “TV used to sell advertising based on eyeballs, but now people either flick between channels in ad breaks, or watch time-shifted TV with the ads cut out, so branded content and product placement are the way forward. Unpaid product placement is now allowed here and paid-for placement will soon be ratified as well.” Bass, who sits on the Broadcasting Authority of Ireland committee, believes that regulations are necessary. “Placement in Ireland will be limited to drama and entertainment shows, with chat shows excluded due to an unfortunate incident where a channel dressed a currentaffairs show up as a chat show and included placed products.” Bass’s production company, Screentime ShinAwiL, is making the fourth

series of the Irish version of The Apprentice. “We couldn’t do it like the BBC unless we had sponsors, and we eventually covered 75% of the costs through creating multiple levels of sponsors, which meant that we had 27 brands involved,” he says. “And because of that, the tasks on the show involved real challenges, as opposed to symbolic ones, with real products. Cadbury’s asked contestants to formulate and package a chocolate that represented Irishness. The result was so successful they could have put the product on sale.” Screentime ShinAwiL is also producing boxing reality show Hit Me - I’m A Celebrity, Dragon’s Den and the talent show Rising Stars. Olivier Gers, CEO, Endemol Worldwide Brands, oversees Endemol’s operations around the world and consequently sees the big picture: “Countries like Spain and Holland are among the most forward-thinking and creative in their use of branded entertainment, whereas a country like France, despite having loosened its regulations, still needs to find a new way to split investment across multiple platforms. Generally, the TV industry needs to work on a new business model which

Screentime ShinAwiL’s Hit Me - I’m A Celebrity

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takes into account the fact that disintermediation means that it is inevitable that most series will eventually have some sort of relationship with brands.” Gers points to the documentary Bleus, about the French national football team, as a good example of the ideal relationship between brand and content. “Adidas sponsored the team for four years, and the 52minute programme was a way of recapitulating the brand’s involvement with the national side. It features searingly honest interviews with players and fans, and was broadcast on Canal+ and Canal Sport, and is now on the web. Brands need an audience, and producers need brands but for both sides there remains much to learn.”

HEALTH WARNING! Around 90% of Chinese TV dramas include smoking footage, and 30% of teenagers would probably imitate smoking from these dramas.


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Up to 30% discount for MIPTV visitors and exhibitors. (Sixt – official car rental supplier of MIPTV)

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A NEW DIMENSION

They’re all talking about 3D

KCA’s Tears Of The Antarctic, a 3D look at the past, present and future of climate change

It was the talking point of 2010. Now words are becoming action with a flow of 3D titles and platforms. But is this the format of the future? Marlene Edmunds reports

F

UELLED by a post-Avatar high, 3D went into overdrive in 2010 as major software and hardware players scrambled to announce how they would be part of the new ecosphere. Flash forward 2011, and what do we have? There are many more films in 3D — some, such as Disney’s Tron: Legacy, with the impact of a major event — and a franchise that crisscrosses entertainment platforms. There are 3D TVs around the globe and a handful of 3D channels to go with them. There’s also a cautious

line-up of quality 3D titles. And there’s a flotilla of content claiming to be stereoscopic 3D that has the industry knitting its collective eyebrows over issues of quality. In the UK, BSkyB, as promised, launched its Sky3D channel mainly to sports clubs and pubs at first, but later in 2010 to subscribers to its premium channel. ESPN launched its event driven ESPN 3D channel at the opening of the FIFA World Cup 2010 and has moved on to 24-hour programming, although outside of events it is replay.

On January 1 last year, Korea’s Skylife launched the test phase of the world’s first satellite 3D channel, also called Sky 3D, and began covering sports events in May, with full 3D channels planned. In another world first last May, Korea began trials of terrestrial 3DHD television. 3Net, the joint 3D venture of Sony, IMAX and Discovery Communications, launched in January, with natural history programme Wildebeest Migration and space drama Hubble 3D in the inaugural lineup. 3Net is putting together what it

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believes will be one of the world’s largest original stereoscopic 3D libraries in the world. Among other titles in the inaugural line-up are Bullproof, produced by Wild Eyes Productions and Digital Revolution Studios, a series that brings to life

“We need the best quality programming. If we try to skimp, we'll never get the adoption of 3D sets necessary to build a global industry” Andy Kaplan

the daredevil world of bull riding. Open Season, the first full-length animated 3D film from Sony Pictures Animation, about the happily domesticated grizzly bear Boog and fast-talking wild mule deer Elliot, is also in the initial offer, as is Natural History New Zealand’s (NHNZ)

one-hour documentary China. But there is no question that the 3D momentum is still being driven largely by film and games. Sony’s new film titles in 3D will include Green Hornet, Men In Black 3, Spider-Man 4, The Smurfs, Priest and Arthur Christmas, they and others all likely to migrate to 3DTV. Disney plans to release 15 of its films for 3DTV viewing this year, among them Tron: Legacy, The Lion King and Beauty And The Beast. Lori MacPherson, executive vice- president and general manager, Walt Disney Studios Home Entertainment, promises that the Disney library of 3D content will grow as original artists and film-makers “meticulously dimensionalise” their work for release on the Blu-ray 3D format. Other titles Disney has announced for home viewing in 2011 are Bolt, Meet The Robinsons, Tim Burton’s The Nightmare Before Christmas, G-Force and Chicken Little. In Poland, Platform ‘n’ announced the launch the country’s first regu-

Flying Monsters 3D (Atlantic Productions)

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lar 3D TV service, to be called nShow 3D for December of last year. Pay-TV service Platform ‘n’ was launched October 12, 2006 and is owned by ITI Neovision, a subsidiary of TVN Group, one of Poland’s leading media and entertainment groups. The new 3D service debuted on Saturday, December 4, with live coverage of the highly-anticipated European Boxing Union’s (EBU) heavyweight showdown between Poland’s Albert 'The Dragon' Sosnowski and defending champion Alexander Dimitrenko. While there had been a number of limited 3D specials offered in the marketplace earlier in the year, including 2010’s Football Champions League final on Platform ‘n’, the nShow 3D service line-up will feature a regular mix of 3D programming available to all Platform ‘n’ subscribers directly via their set-top boxes, and without an additional fee, until the end of 2011. With 3D-enabled TV sets and glasses, all Platform ‘n’ subscribers will have access to 3D concerts,

movies, documentaries and key sporting events including Football Champions League. Following the match between Dimitrenko and Sosnowski, nShow 3D aired two additional boxing matches during December, as well as a concert featuring the musician Jean Michelle Jarre — as well as several transmissions of the live Champions League matches in 3D. There is no question that the industry is making a major commitment to rolling out highquality stereoscopic 3D content, and with good reason. Andy Kaplan, president of networks for Sony Pictures Television, explains: “More and more 3D content will be produced in the near term. More and more outlets are coming forward, and for us the issue is quality. As an industry, we need the best quality programming to be produced. If we try to skimp, we'll never get the adoption of 3D sets necessary to build a global industry.” Kaplan is touching on the numberone fear of major players: that the


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Natural History New Zealand’s (NHNZ ) one-hour documentary China

market will be flooded with lowquality, badly produced 3D that will turn off consumers. That is also worrying industry leaders in Asia. Korea Communications Agency (KCA) director Ryu Young-Joon says the Korean government and the production community are in the midst of a major acceleration of the 3D content business but he adds: “Quality content in stereoscopic 3D is an absolute must if viewer interest is to be maintained.” The UK’s Sky3D clearly has some serious plans to become a poster channel for quality 3DTV in Europe, if some of its early commissions are any indication. Take Atlantic Productions, with its Flying Monsters 3D, a pioneering feature documentary about the prehistoric world. Also now being filmed by Atlantic for Sky3D is the theatrical-release documentary Penguins 3D. How do two major projects like this come together? Atlantic had for some time been looking at the possibilities for 3DTV, says Anthony Geffen, the company’s CEO. He believes that for great entertainment it is hard to beat 40-foot creatures

flying around and brought back from another era. “First of all, we had superb subject matter, then we had David Attenborough’s strong storytelling and thirdly we had a computer graphic special-effects company, Zoo, that is state of the art. That means we can trust them to produce the kind of quality 3D that is needed for a bluechip production such as this.” National Geographic was another strong addition to the mix. “National Geographic picked Flying Monsters 3D for cinema distribution. The major funding for the TV version came first from Sky3D — Attenborough was pretty special for them — but Sky3D got a double hit by also being branded in the cinema and on other television stations all over the world.” Atlantic had been shooting Penguin 3D for some four months by January, working with an international team of scientists and other experts on the south Atlantic island of South Georgia, home to some 50,000 King Penguins. Geffen says 3D doesn’t change anything as far as storytelling is concerned. “It’s always going to be

about stories, but in Penguins 3D you are inside the story. That’s the key. Not only is this a good story but also it takes you there in a way that can’t be done without stereoscopic 3D. It adds a new dimension.” Korea is one of the leading-edge territories in Asia and the amount of energy being put into 3D there is an indication of how serious the government is about being on that edge. Plans for supercharging the Korean 3D drive include building a 3D studio set to open in 2012, as part of its Digital Broadcasting Contents Centre. KCA’s Ryu says the government’s 3D strategy is aimed at producing highquality titles that will appeal not only to Korean viewers but also to the international content industry as well. At MIPTV, Korea will launch a line-up of stereoscopic 3D with many of the latest 3D titles being showcased. About 10 original 3D titles have been produced or are currently in production. “Some,” Ryu says, “especially the environmental titles, are clearly aimed at export.” Tears Of The Antarctic, a 3D look at the past, present and future of climate

change in the region, is one. “We expect this title to arouse a great deal of interest not only in Korea but around the globe.” Other titles already produced or in production include drama Kimchi King, and animations Harmony and Wonders Of The Universe. Cultural programmes aimed at the international market are also in production, including Sparkling Korean Festivals, a look at the Andong International Mask Dance Festival and the Jinju Namagang Lantern Festival. Singapore was the first territory to begin waving the flag for the potential of 3D, with its festival devoted to the format in 2008 attended by some of the major global industry executives behind native 3D. In June 2010, Singapore began a year-long trial of 3DTV, one that has now finished its technical phase and moved to the content stage. Media Development Authority director of broadcast and music Yeo Chun Cheng says: “For the moment, 3D is being driven by games and film, but there has to be enough content from a broadcast point of view to offer to consumers.” The MDA is waiting to move Sin-

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gapore broadcasters into the consumer phase of the trial. “The scope of that trial has not yet been devel-

We’re happy to be out front with our partners on the changing technical and creative landscape that 3D is creating Tapaas Chakravarti

oped but it is likely to be very similar to what the HD trial was five years ago. In that trial, they offered Discovery HD and a number of movies on demand for a period of about four months. At the end of the phase, they announced a few consumer channels.” “I’m working with them and hoping for a similar thing to happen. Initially, we’d probably focus on video on demand and sport in the same way we did with the HD trial.” The Singapore government has set aside $3.57m to nurture local 3D

content. “We’ve always been supporting content development, so this is really a supplemental fund.” Among those supported is Jewels Of The World, a co-production between Singapore’s Beach House Pictures and NHNZ in partnership with the MDA. That 3D TV series of 10 one-hour episodes will be among the line-up of programming being broadcast on 3Net. Yeo continues to believe that 3DTV needs to lose the eyeglasses. “My belief is that it is too early to go mass market and that 3DTV needs to be glass-less in order to really work mass market. “I also feel that not everything should in 3D. Some games are good in 3D, but not all. Some movies are good in 3D, but not all. The challenge we have is that the expertise is still not sufficient or sufficiently available, so what we are seeing is a lot of 3D that is not really good, and that is dangerous for the development of 3D as a whole.” The quality issue worries many in the industry. “Everyone is jumping on the bandwagon trying to convert 2D to 3D, but they are not

Lassie (DQE)

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helping the industry as a whole with this, because the lack of quality will turn consumers off,” Yeo warns. “The MDA is very much behind 3D, but it will take time to get it right, and it’s better to do it right and to do it well.” Atlantic’s Geffen agrees: “Proper 3D is expensive. It is special and it should be something that wows, but in order to do that, you need very deep pockets. The equipment is very new and on some levels, still experimental. Obviously, with the launch of Sky3D and soon to launch 3Net, things are improving. But halfway through 2010 everyone thought it was as easy as upgrading from 2D to 3D. It wasn’t. “The equipment is evolving to make things more flexible, but it still costs to actually get the technical side right. It doesn’t work if you cobble things together. You need lots of time for planning, for the shoot itself and for more time in post to get 3D right.” Japanese public broadcaster NHK, experimental on many fronts but cautious when it comes to the technology it tries out on its viewers, is

taking wary steps toward the broadcast of 3D. Kenji Nagai, general managing director and executive director-general of engineering for NHK, says that the public broadcaster has no immediate plans for 3D broadcast. “That does not mean that we are not doing anything about 3D. NHK’s science and technology research laboratories are currently working on R&D of glass-less 3D system, which has lower impact for the eyes, with 2025 as the target year for practical use. Our affiliate companies, such as NHK Enterprises (NEP) and NHK Media Technology, are producing content that requires glasses, for the purposes of demonstrations and public viewing. NEP has indicated it is interested in 3D titles for international distribution.” China meanwhile is in the early stages when it comes to 3D but the film Don Quixote is being hailed as one of the first movies in the format to come out of Asia. Director Ah Gan says he chose the novel by Spanish author Miguel de Cervantes out of nostalgia. “When I was young


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The New Adventures Of Peter Pan (DQE)

it was the only western novel I could understand, so it has always been my dream to make a film for China about it.” There are no windmills in the production but there are plenty of martial-arts stunts, and a classic muttering Sancho Panza to accompany Don Quixote. The production was targeted at filmgoers but Gan says he knows that eventually, when 3DTV in China is more pervasive, many more people will eventually see it. China’s post-production community is gearing up to handle not only Chinese 3D productions but also outside work. Post-production outfit Daysview was involved in bringing most aspects of Don Quixote to 3D fulfilment from the technical side. President Huang Jianming says all of his studio projects at the moment are native 3D ones, with customers both in China and the US. “The 2D-to-3D transition is achieving decent results, but it is still being tested here so for now we’re only doing 3D.”

Bollywood is determined not to miss the move to 3D, although the number of 3D screens in India is still small. Indian players are getting in on the technology with international partnerships. Reliance MediaWorks teamed with In-Three in the US in early 2010 to convert 15-25 titles a year from 2D to 3D. In-Three’s expertise in this area came to light with the release in October 2009 of the Walt Disney film G-Force, a title that grossed over $200m worldwide. Among players to have been churning out stereoscopic 3D productions for some time is DQ Entertainment (DQE). Currently in production at DQE is a solid slate of 3D stereoscopic projects such as The Jungle Book TV Movie, Little Prince, Lassie, The New Adventures Of Peter Pan and Charlie Chaplin. Some are DQE’s own IP but others include partnerships with blue-chip players such as ZDF and France Televisions. DQE will also launch an original 3D film, Prodigies, being produced for

Onyx and Fidelite Films and distributed by worldwide by Warner Bros. DQE chairman and CEO Tapaas Chakravarti says: “We’re happy to be out front with our partners on the changing technical and creative landscape that 3D is creating.” While major content players are gearing up for 3D content delivery, there are some who feel that the internet is poised to become a key delivery mechanism for 3D film, games and TV content. How that might happen is still up for speculation but there are some industry trends that point the way. One hint is the number of games and platforms developed around Tron: Legacy, including video, mobile, and tablets, A number of players, among them Sony and Google, have already moved in the direction of connected TV. The issue that keeps everyone from jumping to 3D warp speed is bandwidth: a lot more bandwidth is needed to stream 3D than for HD. Samsung announced in August that

it would start streaming 3D movie trailers over the internet, adding that it believed 3D streaming would be ubiquitous in the next few years. Initially Samsung will provide access to 3D movie trailers through its online applications store and has been talking of deals with film studios for trailers. But it is clearly not ruling out full-length movies when bandwidth issues are resolved.

THE PRICE OF CHANGE The Singapore government has set aside $3.57m to nurture local 3D content.

Exploring the 3D Experience! Wednesday, April 6 — 14.30 - 18.00 Auditorium A, level 3

Full MIPTV Conference Programme Inside

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Fresh content. New deals.

USEFUL TIPS The information is divided into 7 sections:

The entire MIPTV team is committed to helping you make the most of your time and optimise your return on investment. Here are a few tips to help you fully prepare for your market experience.

1 • PREPARING THE MARKET STAY CONNECTED ON YOUR MOBILE: DOWNLOAD THE FREE APP Prepare your MIPTV schedule, consult conference and event information and learn more about speakers & keynotes by reading their biographies. Find out who will be attending and connect with them. Receive daily updates during the show, browse photos and watch videos, a whole world of useful information in the palm of your hand. Download the free application at www.miptv.com USE THE MIPTV ONLINE COMMUNITY TO IDENTIFY BUSINESS PARTNERS who match your business objectives. Search by company, participant, sector, professional activity, product, primary activity, country, continent or keyword. Complement your search by viewing full details on each company’s activities, products, special projects and individuals. Join the Online Community at www.miptv.com WHERE TO HOLD APPOINTMENTS IF YOU DON’T HAVE A STAND The Participants’ Club can be used by participants attending MIPTV without a stand. Features include a meeting area, free coffee service and free Wi-Fi service. To ensure that all participants are able to

benefit from this business lounge, we kindly ask participants to keep their meetings to a maximum length of one hour. JOIN THE FIRST-TIMERS’ COCKTAIL AND DISCOVERY TOUR If you are attending MIPTV for the first time or would like to meet the MIPTV team, please join us for a welcome drink and tour of the Palais des Festivals. Take advantage of this unique opportunity to receive market tips, as well as one-onone assistance and advice on how to achieve your business goals. First-timers’ meeting and discovery tour: Sunday, April 3, 17.00. Meeting point: Main entrance, Palais des Festivals DON’T MISS MIPTV CONFERENCES AND EVENTS Consult the conference and event programme in the Preview Magazine for information on official MIPTV sessions or visit www.miptv.com. MIPTV conferences and events are open to all participants free of charge on presentation of their badge, depending on venue capacity. Don’t miss the Opening Cocktail, Monday, April 4, 19.30 at the Carlton Hotel. ORGANISE AN EVENT If you wish to organise an event during MIPTV (cocktail party, screening, press conference, etc.), inside or outside the Palais des Festivals, contact the Events Department for advice and assistance. Tel: +33 (0)1 41 90 44 96 E-mail: info.events@reedmidem.com

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1 2 3 4 5 6 7

Preparing the market Transport Packing essentials Accessing MIPTV Exhibition halls and clubs MIPTV services Keeping in contact during the market

BOOK YOUR ACCOMMODATION The Hotel Reservations Service is available to help you with your booking and accommodation requirements. For further information, please contact hotel.miptv@reedmidem.com

2 • TRANSPORT BOOK YOUR FLIGHT TO NICE Travel agencies MIPTV has two official travel agency partners to help you find the best airfares: • Silver Voyages (France and Southern Europe): Tel: +33 (0)1 45 61 90 59 E-mail: silvervoyages@wanadoo.fr • Dovetail Foks (UK and Northern Europe) Tel: +44 (0)20 7025 1515 E-mail: exhibition@dovetailfoks.com Airline and travel discounts Book your flight with MIPTV partner Air France and KLM Global Meetings to receive up to 10% off international flights and 47% off flights within France. To benefit from these special offers, access www.airfranceklm-globalmeetings.com and use event ID code: 11866AF. These rates are valid from 02/04/11 to 07/04/11. For more information about the terms and conditions of these special fares, check online at ww.miptv.com

Airport The Nice Cote 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. Tel: +33 (0)820 423 333 Website: www.nice.aeroport.fr AIRPORT TRANSFERS Car rental Rent a car through MIPTV partner Sixt for special rates reserved for MIPTV participants. Sixt has agency locations at Nice airport and in Cannes. Use promotion code: 9963828 when booking your rental. 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. Helicopter Azur Helicoptere makes six-minute flights regularly between Nice Airport and Cannes. A oneway ticket costs €114, per person. A free shuttle service is available in Cannes for transfers between the heliport and your final destination downtown. A minimum of two persons is required for each flight. Tel: +33 (0)4 93 90 40 70 E-mail: info@azurhelico.com Limousines MC Limousine specialises in every aspect of limousine services, including airport transfers and the provision of cars for all occasions.


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One-way service from Nice Airport for one to three people costs approximately €100. Tel: +33(0)4 92 18 80 80 E-mail: reedmidem@mclimousine.com Bus Bus 210 (Xpress Cannes) is an express line from Nice Airport to the Cannes town hall. Buses run every half an hour, with trips taking about 50 minutes. Ticket desks are located in Terminal 1 and Terminal 2 at the Nice Airport. One-way/return tickets cost €15.60/€25.50. Visit www.rca.tm.fr for further information. Taxis Taxis are 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. Night rates apply 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 9.00 18.00). 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 MIPTV shuttle bus service

MIPTV’s free shuttle bus service is available to all delegates, running between hotels located outside Cannes and the Palais des Festivals throughout the exhibition dates. Schedules are available in hotels and at the Accommodation and Shuttle Bus Information Desk.

Cannes local buses 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 Palais des Festivals. MIPTV strongly advises you to book well ahead of the market.

• Equiptech: Chambre de Commerce et d’Industrie, Gare Maritime E-mail: equiptech@cote-azur.cci.fr • Uniparc Cannes SNC Tel: +33 (0)4 93 68 79 02 / 13 E-mail: mgaufillet@interparking.com / jjolly@interparking.com

3 • PACKING ESSENTIALS YOUR BADGE You will need your badge to enter the show. Participants registered before January 31 will receive their badge via post, and therefore do not need to collect it from Registration. YOUR INVOICE Foreign participants are eligible for a refund on French Value Added Tax (VAT) under certain conditions. TEVEA International 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.

4 • ACCESSING MIPTV PALAIS DES FESTIVALS The Palais des Festivals is situated on the beachfront along the famous Croisette, clearly signposted throughout Cannes. Palais des Festivals Esplanade Georges Pompidou 06400 Cannes. COLLECTING YOUR BADGE ➤ NEW this year The new badge is shaped as a credit card and made of biodegradable plastic. A personal photo is no longer printed on the badge (but is visible on a PDA at each security check). This year, e-tickets will be sent out a few days before MIPTV by e-mail with a barcode and will replace the ID card. To collect your badge at the registration area, print your e-ticket and scan the barcode of the e-ticket at a self-service delivery point to print your badge easily. If you have already received your badge via post, you may proceed directly to the show entrances. Please remember to wear your badge at all times during the market. After the event, the badge becomes a CannesPlus card, which allows the holder to take advantage of city benefits in Cannes outside of the show period.

• Registration hours Saturday, April 2: Sunday, April 3: Monday, April 4: Tuesday, April 5 – Wednesday, April 6: Thursday, April 7: • Opening hours Monday, April 4 – Wednesday, April 6: Thursday, April 7:

14.00-19.00 9.00-19.00 8.00-19.30 8.30-19.30 8.30-16.00

8.30-19.30 8.30-18.00

Exhibitors can access the exhibition area 30 minutes before opening hours. They will have access to their stands prior to the market opening. Please wear appropriate protective clothing and safety shoes in the Palais des Festivals during the building phase. Journalists, reporters and photographers must proceed to the press registration desk at Protocol (Organiser’s office on the Esplanade of the Palais) to collect their badge. Remember you must be registered to the event prior to your arrival in Cannes.

5 • EXHIBITION HALLS AND CLUBS

VIP Club This exclusive club allows VIP delegates to relax or discuss business in more private surroundings. Features include Wi-Fi access, refreshments and an attentive staff. Media Centre MIPTV’s International Press Service is in constant contact with the international trade and general press. Representatives are on hand to help you increase your visibility at the market. The Online Media Centre allows you to post your show-related press releases and press kits, free of charge, in a dedicated zone on the MIPTV website, which can be accessed by hundreds of media professionals covering the market. Once registered for MIPTV, send your press release or press kit to files@vpoinc.com. After the show, you will receive a report on which media and journalists have read your press release. For technical assistance, please contact Online Media Centre partners VPO by email at media@virtualpressoffice.com, or by phone at +1 973 783 77 87.

6 • MIPTV SERVICES

EXHIBITION HALLS The Palais des Festivals is composed of two buildings, accessible from the Croisette or beachfront. Exhibition halls are located in each building: • Principal building (Level 01, 0, 1, 3, 4, 5): direct access from the Croisette • Riviera, Riviera Seaview and Lerins Halls: direct access from the beachfront An additional exhibition hall is located in a special marquee on the seafront: • Riviera Beach Hall Maps are available throughout the market to help you find exhibitors, or ask a hostess for assistance. CLUBS Participants’ Club The Participants’ Club can be used by participants attending MIPTV without a stand. Features include a meeting area, free coffee service and free Wi-Fi service. Buyers’ Club This club is reserved for programme purchasing executives. Features include a lounge area, complimentary bar, electronic message board organised by hostesses and free Wi-Fi service.

We offer an extensive range of services to ensure your stay in Cannes runs as smoothly as possible. Many of these services are complimentary. Blue Lounge This fully-equipped press conference facility is capable of hosting 60 journalists and 3-4 camera crews. Features include plasma screens to showcase programmes, a sound and video technician and a trilingual (French / English / Spanish) moderator who can host conferences and act as a ‘friendly’ interviewer. For more information please contact the Events Department. Business Centre The Business Centre provides a complete range of secretarial and administrative services for all participants. Professional photocopying, typing, fax, print and postal services are available at competitive prices. Cloakroom Free cloakrooms are available for coats and small bags on Level 1 (close to the lift) of the Palais des Festivals and inside Riviera to the right of the main entrance. Concierge Service The Concierge provides a complete range of services, including restaurant & taxi bookings, flight, helicopter, shuttle and

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Level 3 VIP CLUB CO-PRODUCTION LOUNGE CONTENT 360 LOUNGE

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spa reservations. Our concierge will welcome you and ensure your stay in Cannes is as enjoyable as possible. Customer Service Help Desk The Customer Service Help Desk is available all year long to field inquiries and provide one-on-one assistance with MIPTV. Please do not hesitate to contact them for advice or assistance, no matter what your request may be. Tel: +33(0)1 41 90 44 41 / 42 E-mail: customerhelpdesk@reedmidem.com Green – Selective collection At Reed MIDEM, we believe in making every effort, large and small, to help protect our planet. Your support in helping us be more respectful of the environment by recycling is very much appreciated. Please look for paper collection bins throughout the Palais. Hotel hotline The Hotel Reservation Service offers a 24-hour hotline to help you with issues regarding hotel check-in and check-out. The hotline can also be used for accommodation queries. Tel: +33 (0)6 85 54 30 53 Internet Zone The Internet Zone offers e-mail stations and a plug-and-play area. Free Wi-Fi is also available at: • The Participants' Club • The Buyers' Club • The VIP Club • The Media Centre • Lerins Hall

Left luggage and overnight safety deposit A left luggage service is available if you wish to go directly to MIPTV from the airport. An overnight security room is also available for valuables (laptops, cameras, etc.) on Level 0. Member Desk The Member Service Desk is dedicated to Customer Recognition Programme members and provides personalised services, including transport and restaurant reservations as well as any other requests for assistance members may have during the show. Available to members only ➤ The News Don’t hesitate to contact our News Team during MIPTV with details of your breaking news and deals. Screening rooms Reserve a screening room or video centre for your business presentations, open 10.00-19.00. Please contact the Events Department for more information. Technical Department Solve technical queries at your stand with the help of the Technical Department. Their expertise covers electricity supply, stand telephone lines, contractual furniture and more. This desk is located on Level 01 of the Palais des Festivals to the right of the main stairs. Before the market, the Technical Department is available at +33 (0)1 41 90 44 43 / 49 74 for information.

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7 • KEEPING IN CONTACT DURING THE MARKET INTERNET ZONE The Internet Zone offers e-mail stations and a plug-and-play area. Free Wi-Fi is also available in the clubs and Lerins Hall. Wi-Fi CONNECTIONS Viapass provides Wi-Fi connections in the Palais des Festivals. Purchase your session on-site once you are connected to the Palaisdesfestivals network. Please contact their hotline at +33 (0)4 97 06 37 65. MOBILE PHONES AND 3G DATA CARDS RENTAL CellHire, MIPTV’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. E-mail CellHire for further information France: paris@cellhire.com UK: york@cellhire.com USA: newyork@cellhire.com

PAYPHONES Telephones are located near the central staircase of the Palais des Festivals. Telephone cards are available at the Business Centre and in any post office or tobacconist. YOUR PHONE ON THE STAND (if applicable) • To call within the Palais des Festivals, please dial your correspondent’s internal four-digit number. • To make an outside call, dial 0, then 00, followed by the country code (for international calls) and number. • To receive a call, correspondents can call +33 (0)4 92 99, followed by your four-digit extension. Alternatively, they can call the Palais des Festivals switchboard, +33 (0)4 93 39 01 01, and ask for your four-digit extension. POSTAL ADDRESS The following address should be used for all postal communications: Company name – Stand number MIPTV 2011 Palais des Festivals Esplanade Georges Pompidou 06400 Cannes, France


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