miptv nEWs ®
Thursday 6 April 2017
Four industry luminaries were honoured with the MIPTV Medaille d’Honneur last night
8 x 52’ | SOLVING CRIMES ONE TOUCH AT A TIME
Viveport’s Rikard Steiber brought VR to life during his Media Mastermind Keynote
VR was the hot topic at yesterday’s Immersive Content Leadership Summit
Vice’s Eddy Moretti said he’s not going to talk about digital, he’s going to talk about TV
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6 MIPTV day four Medailles d’Honneur gala ceremony; International Emmy Kids winners; Keynotes and conferences; Digital Fronts; MIPTV deals; and more...
The official MIPTV daily newspaper Thursday 6 April 2017
The MIPTV Newsroom is located in the Gare Maritime
Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Neil Crossley, Nigel Willmott Reporters Stuart Braun, Ben Cooper, Andy Fry, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designers Véronique Duthille, Yovana Filipovic, Carole Peres Head of Photographers Yann Coatsaliou / 360 Media Photographers Christian Alminana, Patrick Frega, Phyrass Haidar, Olivier Houeix, Michel Johner Editorial Management Boutique Editions PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Printer Riccobono Imprimeurs, Le Muy (France). ADVERTISING CONTACT IN CANNES Silvia Ferreira: +33 7 78 35 43 99 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2017, Reed MIDEM Market Publications. Publication registered 2nd quarter 2017. ISSN 1967-5178. Printed on PEFC Certified Paper.
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International Emmy Kids Awards of the fifth nternational mm Kids wards were announced at a ceremon on uesda ni ht. he seven awards were shared between four countries the UK ustralia enmark and he etherlands. othin is more vital on television than the pro rammin kids watch ever da and the cadem is proud that the mm is the pre eminent awards platform for kids pro rammin said ruce L aisner president of the nternational cadem of elevision rts ciences. he event was attended b over 250 e ecutives and awards were presented b celebrities includin ou ube star enn c llister erman pre school character ie aus and iss upranational 201 rinidhi hett .
anine oon (left) and ue offe pick up the reschool mm for e u ee ( tudio K UK)
he producers of haun he heep celebrate winnin the nimation mm ( ardman nimations UK)
he Kids eries mm was won b Kasper n e Kersten elen ( asper nd he hristmas n els L ilm vrotros he etherlands)
he anish show Ultras orte Ka eshow ( akin n he ark from the anish roadcas tin orporation) won on cripted ntertain ment. homas kov and onas Kr er ansen accepted the mm
eter end based on the novel eter an b arrie won for Kids ovie or ini series. tewart ackinnon and hristian aute accepted on behalf of eadline ictures and uliette ilms (UK)
orrible istories won the actual cate or . om iller (left) and ichard radle of Lion elevision UK accepted the mm
en amin au (left) and ale earson the directors for oodles accept the Kids i ital award (Ludo tudio ustralia creen ustralia creen ueensland ustralia)
Take Your Place in the Kingdom of Content
MIPCOM 16-19 October 2017 MIPJunior 14-15 October 2017 Cannes, France
The Worldâ€™s Entertainment Content Market
Amazon Studios’ Roy Price, CTC Media’s Viacheslav Murugov, Huace Group’s Zhao Yifang and ZDF Enterprises’ Alexander Coridass received the MIPTV Medaille d’Honneur from Reed MIDEM’s Paul Zilk at a gala dinner last night. Industry luminaries celebrated with the honourees at a gala dinner at the Carlton hotel
Amazon Studios’ Roy Price
CTC’s Viacheslav Murugov, Huace Group’s Zhao Yifang and ZDFE’s Alexander Coridass
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Alexander Coridass (left) of ZDF Enterprises, ZDF’s Nicole Keeb and Arne Lohmann of ZDF Enterprises
Vlad Ryashin (left) of Star Media; Sreda’s Alexander Tsekalo; and Anton Malyshev of the Russian Cinema Fund
arcel ene (left) of ene HTV’s Ahmer Khan
Maimunda Jimada (left) of the Nigerian National Broadcasting Commission (NBC); Olusegun Adeyemi of the Ministry of Information and Culture; Minister of Information and Culture Lai Mohammed; Modibbo Kawu, NBC; and Williams Adeleye of the Ministry of Information and Culture
ohail n um of c i
Tareq Zuaiter (left) of Tareq Zuaiter Distributions with Global Agency’s Izzet Pinto
Rola Bauer (left) of Studiocanal with producer Steven Bawol
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NEWS VR ‘a completely new platform, the next mass-market medium’
IKARD Steiber, president of Viveport at HTC Vive, almost did the impossible during his Media Mastermind Keynote in the Grand Auditorium yesterday. Through a combination of personal enthusiasm and carefully curated video clips, he just about managed to bring the promise of virtual reality to life for a real-world audience. is hard to e plain to people who haven t e perienced it he said but it s a completel new platform. It will be the next mass market medium, allowing people to explore new kinds of worlds and e periences. teiber said now is ear one in terms of VR’s development, with the emphasis still very much on gaming and entertainment experiences. He discussed examples of VR content where it’s possible to climb Mount Everest, create your own animation show or visit
space. ut in the future it will o further than that. You’ll be able to choose your car, plan your vacation or see whether your furniture will fit in our room usin . He sees education as key to unlocking the potential of the sector f we can show the value of VR to education, we will get teachers on board, using VR in classrooms. Museums and libraries will also pla a ke role. HTC Vive’s involvement in the sector is through Viveport, a VR app store and content-delivery platform. The service has just introduced a subscription model for VR content and is also distributing it through VR arcades and amusement centres — a fastgrowing VR outlet. Asked if players in the traditional TV business would be able to adapt to the demands of VR storytellin he said lot won t make it because we’re talking about a non-linear storytelling where the
Mouseler spotlights drama’s darker side
THE WIT CEO Virginia Mouseler kicked off her talk about drama trends in Fresh TV Fiction by talking about the Chinese drama Eternal Love. Based on an online novel, the timetravel romance has achieved 37 billion views on the online platform Youku. ther hi h profile titles sin led out by Mouseler for praise were German drama Charite (distributed by Global Screen) and US drama Taken, an NBC Universal show that is a prequel to the Liam Neeson movie franchise. Mouseler said novels continue to provide the inspiration for series around the world. In terms of trends, she singled out the spread
of noir around the world – showcasing The Frozen Dead (French noir), I Know Who You Are
user chooses the path. The future might belong to a new breed of young talent that understands
great storytelling and also the potential of the technolo . Steiber believes next year will be a big year for VR, with the launch of Steven Spielberg’s new blockbuster movie Ready Player One, based on Ernest Cline’s cult novel set in the VR-immersed world of 20 .
Viveport’s Rikard Steiber: now is “year one” for VR
(Spanish noir) and Stuck (Dutch noir). There was even Nordic noir on show in the form of TV4 Sweden’s Rebecka Martinsson. he also identified trans as a big theme, referencing Queer Amsterdam, and Louis(e) — both shows with a transgender theme. She also used the word
trans to encompass French drama Transfer, about a man whose mind is transferred into another person’s body after his death. Cops and terror continue to be staple fare in drama. Italy’s The Bastards Of Pizzofalcone, Canada’s Victor Lessard and Turkey’s The Oath all explore these areas. Mouseler also identified an interestin new trend in Turkish drama with the launch of Kanal s ossessed. t 10 50 minutes with horror as the subject, this is a new development. Among the most powerful shows picked out by Mouseler was Habeas Corpus, a Mexican drama about a forensic team trying to identify people whose remains are found in mass graves. Also showcased was Hulu’s adaptation of Margaret Atwood’s acclaimed novel The Handmaid’s Tale.
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ProSieben’s Studio71 targets Gen Z with online ecosystem
TUDIO71 made a strong play for the media mainstream at its Grand Auditorium Digital Fronts session. While its broadcast partners were concentrating on TV and catchup, the ProSieben-owned MCN focused on YouTube, Facebook and emerging online platforms, building big followings in the millennial and Gen Z demographics that were switching off traditional TV. “If you’re not on these platforms you’re not as relevant to certain sections of the population,’” CEO Reza Izad said, “So we work very hard to promote these artists and make ProSieben more relevant in these environments.” He pointed to the high number of views per channel (6.5 billion over some 1,200 channels) as evidence of the quality of programming and how his stars used their social-media impact elsewhere to bring people in. It was, he said, a “highly engaged ecosystem that makes sense
for advertising.” What’s more, in a clear reference to the content issues currently afflicting YouTube, it was “brand safe”.
Izad said that the Studio71 model had improved the revenues per thousand views for some ProSieben properties by over 300%, and
Studio71’s Reza Izad: “marrying the best of short-form digital with the best of TV”
How CTV turned 4K into a Vatican hit
POPE Francis is a fan of 4K UHD, MIPTV attendees learned at the session called Italy Is Busy With Ultra HD. Speaker Benito Mari, head of media business, professional solutions, Sony Europe, said the Pontiff showed his appreciation of the 4K system last year after Centro Televisivo Vaticano (CTV), the Vatican City State’s channel, and Sony Corporation shot the documentary The Holy Year Of Mercy: Behind The Scenes in 4K. “We met the Pope after this and stayed with him talking technology. He was unbelievably very open in his views,” Mari said. “He told us, ‘I believe [4K’s] details and colours
that typically Studio 71’s content was now contributing 5-6% of a show’s total income, compared with around 3% a year ago. “So often companies come and talk about obliterating TV, but we think differently. ‘How do the two work side by side?’,” he said. “By marrying the best of shortform digital with the best of TV we can elevate both.”
will encourage people to keep watching and become more involved in what they see.’” The making of The Holy Year Of Mercy: Behind The Scenes, which covers a key papal ceremony and is scheduled to debut in June, follows the success of CTV’s Closing Of The Holy Door, another 4K-transmitted papal event, in 2016. “The Vatican is at the forefront of UHD development in Italy,” Mari added. He pointed out Italian broadcasters, especially public broadcaster RAI and commercial rival Mediaset Group, are making great strides experimenting with 4K enhanced by HDR (high dynamic range) imaging.
Sony Europe’s Benito Mari
Last year, RAI tested the tech with a series of UEFA Champions League football games in digital terrestrial and satellite homes. However, he suggested that, since most Italian TV homes are not ready for full 4K HDR transmission, an interim solution could be to air HD HDR prog ra m mes on st a nd a rd HDTV sets. This view was supported by copanelist Marco Pellegrinato, director of R&D & innovation at RTI-Mediaset Group, who indicated Italy might implement HD HDR temporarily between 2018 and 2022 for digital terrestrial TV before adopting full Ultra HD HDR.
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NEWS PlayStation is best-placed for migration to VR, says Benson
HE SONY PlayStation video-games brand is best-placed to help linear video-content creators migrate to Virtual Reality entertain ent, sai imon Benson, director, immersive technology group at Sony Interactive Entertainment Europe. Sony PlayStation, which is targeted at the family and comes with a home-entertainment console designed for the living room, is big business for Sony Corporation. The launch of PlayStation VR last year has consequently given Sony the expertise to help TV and film producers enhance their entertainment contentmaking skills for the VR space, Benson added. “VR is more like the theatre than the movies,” Benson said. “The performance is there for an audience of one. So the content creator is able to make eye contact
and address the audience directly, making the experience much more immersive for them.”
The PlayStation VR headset, which Benson said will soon reach one million units in
sales, also enables users to interact with the VR content and step into a new world, like a theme park based on your favourite game.” Although more than 53 million units of the PlayStation 4 have sold to date, there is still room for significant growth for the PlayStation VR, he said.
Sony Interactive Entertainment Europe’s Simon Benson
Moretti talks TV as Vice makes moves into scripted content
“I’M NOT going to talk about
digital,” said Eddy Moretti, introducing his third annual MIPTV update for MIP Digital Fronts. “I’m not going to use the words aggregate or platform or ecosystem. I’m going to talk about TV, the newest part of Vice.” His major emphasis was Vice’s push into scripted content. His audience was treated to clips from the company’s first two scripted drama products. Nirvanna The Band The Show follows two Canadians as they try to promote their band — the USP being that only the two leads are acting. What Would Diplo Do?, meanwhile, sees James Van Der Beek pretend to be the globetrotting DJ, again in front of an unsuspecting audience and a real-life backdrop. These would premiere on Viceland, the com-
pany’s TV network, but Moretti ro ise signi cant ra a announcements for other channels. lso re ie e ere t ree l s, inclu ing a orl rst ee at t e Jonas Akerlund-directed Lords Of Chaos, about the infamous Norwegian church-burning black metal band of the 1990s. The other two were The Bad Batch, “a dystopian cannibal love story” from the Iranian director Ana Lily Amirpour, which won a Golden Lion at the Venice Film Festival; and Colossal from Nacho Vigalondo, featuring Anne Hathaway in a surreal, Spike on e es ue onster l i e on e, it as recently con r e , is now co-CCO of Vice Media with Moretti.) Moretti also talked about the spread of Viceland, which is now — with the launch of Vice-
Vice Media’s Eddy Moretti
land in France in partnership with Canal+ — present in eight markets and due to launch imminently in nine others, including the Middle East and India.
The goal in 12 to 18 months was to be present in 200 million households, and the schedule of new territory launches would achieve that, Moretti said.
NEWS Mixed Reality promises a new way of seeing for storytellers
I RT UA L Re a l it y (VR) and Augmented Reality (AR) might be changing the way consumers see the world, but it is Mixed Reality (MR) that could be the most important storytelling technology in 2017, said speakers during the session entitled How Mixed Reality May Bring AR Mainstream... And Why It Matters. MR is normally described as a hybrid of immersive VR and AR, which is a digitally enhanced version of your physical surroundings. The launch of Apple’s iPhone 8 smartphone later this year is expected to trigger the advent of mass-market MR, said Ranj Bath, senior vice-president of consumer marketing at UK-based AR app developer Blippar. “Brands want to know how consumers engage with products,” Bath said. “Coca-Cola has all the information about where a
HoloLens evangelist Michel Rousseau
Why kids buyers want creative input
WHILE The Kids Buyers And Commissioners: What Do They Want? session showcased a wide
variety of live action and animated programmes, the execs from Nickelodeon, BBC World-
wide and Discovery Kids Latin America had a common message: come to us with strong i eas, an a e t e s eci c to our organisations’ vision. “Think of us as a partner, not a boss,” Nina Hahn of Nickelodeon, said, stressing that her company preferred to take ideas on at an early stage and help shape them creatively. Hunter Street was an example where that worked creatively and commercially: it was coproduced with Amsterdam’s Blooming Media. Local (Benelux) and international versions were shot on the same set, with the same script, but with different actors. It fitted Nick’s “content made once, used everywhere” philosophy. Henrietta Hurford-Jones said
Nickelodeon’s Nina Hahn
product is made, packaged and distributed, but not where it is consumed. With MR, we can see where people are consuming products. iPhone 8 is said to have an element of MR [tech].” The HoloLens, Microsoft’s MR headset, is currently designed for use by professionals to demonstrate concepts to clients or in t e of ce But Michel Rousseau, Microsoft France’s HoloLens UX/UI evangelist, predicted sales would reach critical mass by 2020. “We’re focusing on offering it as a tool to business professionals,” Rousseau said. “For the mass market, we need to make it an experience.” The way brands invest in storytelling technology will continue with MR, noted Luke Ritchie, head of interactive arts at UKbased creative agency Nexus Studios. “I think VR, AR and MR will all have their place,” he said. “I don’t think VR will kill the cinema or TV. And we’re two to three years off from anything that will reach a lot of people. But the day we get everyone wearing the hardware, we shall see some exciting areas.”
that BBC Worldwide would conance an ac uire, not only for CBeebies but also for global distribution, but also that she liked to get involved early. One such show, Hey Duggee, this week won the International Emmy Kids Award for best pre-school programme. “We loved it from the word go. We put together a business plan and looked to become a full partner. We share all rights and have a full strategy,” she said. Hurford-Jones agreed with Hahn that comedy was important for an international hit, but said the BBC looked for some kind of learning or take-out. This was also crucial for Discovery Kids Latin America, said Flavio Madeiros. “We look for an element of curiosity or exploration,” he said. He also highlighted how parents would co-watch, adding: “Caregivers see us as a safe haven for their kids.”
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NEWS VR no longer a passing fad as viewers go beyond “wow era”
en Smith, CEO of VR content producer Laduma, gave a rallying cry for the fast-developing VR industry during a compelling introduction to the Immersive Content Leadership Summit at MIPTV, held at The Majestic yesterday. “Now we know that VR is not a passing fad — a revolution has begun,” said Smith, who added that there was a pressing need for the industry to move forward. “VR can shape the world to come. It has the ability to bring people together, improve people’s lives and to do good,” Smith said. “But we are now over the “wow era’ of virtual reality — it’s our responsibility to get past the buzz words and experiment with new ways of thinking and develop new technology and new techniques. Storytelling techniques have to become more compelling.” Introducing a panel of VR experts at the event, Smith said that the marketplace has seen some huge challenges in the last six months as content producers, manufacturers and advertisers experimented with new forms of VR production. HTC Vive’s Herve Fontaine said that the mobile company has been busy investing in innovative VR content for its Vive headset such as
View from the experts: StoryTech CEO Brian Seth Hurst (left); Okio-Studios’ Antoine Cayrol; Littlestar’s Tony Mugavero; TF1’s Guillaume Esmiol; HTC Vive’s Herve Fontaine; and Sky VR Studios’ Richard Nockles
Engage, a free education platform. “The core strategy at HTC is to make the market grow as fast as possible for content producers,” said Fontaine Sky VR Studio creative director Richard Nockles said that 2017 was still going to be all about experimentation at the UK broadcaster, which has invested heavily in VR technology and content development. Brian Seth Hurst, CEO and chief storyteller at StoryTech, said that the VR industry showed that there were a huge number of potentially promising areas for VR
content, from live sport to gaming, education, travel medicine and architecture. He pointed to research from Greenlight Insights that showed that there were 20 million VR headsets in the marketplace dominated by four leading players: Samsung Gear, PlayStation VR, HTC Vive and Oculus. Greenlight predicts that the VR content market will be worth an estimated $22bn (€20.6) by 2012. Part of the challenge that faces this nascent industry is the development of compelling VR
Laduma’s Ben Smith
HTC Vive’s Herve Fontaine
Sky VR Studio’s Richard Nockles
experiences, which will drive audiences with most development happening on a wide range of different devices using different VR technologies. Nockles argued that 2017 felt as if it was likely to be a “crazy year” where different platforms would continue to “smash together”. “Hopefully in 2018 the dust will settle; from a Sky perspective, we are watching developments carefully.” “At a moment there is a lot of head-scratching in response to the pace of the VR industry. It’s moving so fast. That’s the challenge of VR really – nobody really knows even what the living room will look like in two year’s time.” Nockles predicted that games engines would be “100% the future of the industry” because these devices can offer quality VR experiences. “That’s the biggest challenge for me — where do we go with interactivity in VR?” He added: “It’s my job to bring back the focus — it’s really all about bringing as many people with us as possible. My job at Sky is to make sure that the content is amazingly high quality and shot with the right cameras, so that it looks good. But if the content can make people feel something, that’s much more important.” Littlestar founder Tony Mugavero, who is building a VR business model as a content aggregator, said that the industry was still very diverse, with lots of players offering different models based around variations of advertising or subscription similar to Hulu or Spotify. Mugavero added that one of the most valuable VR assets is the data associated with VR. “It’s a gold mine. There’s money associated with that data. We capture what people are looking at and how long they stay there and try to work out how can we create a better experience.” TF1s head of digital business development, Guillaume Esmiol, said that he was starting to see co nancing of content bet een TV and VR development teams. “We have TV channels that are looking to invest in VR in order to appeal to younger audiences,” he said.
NEWS Fuji’s bespoke TV model pays off with China’s Give Me Five
T is celebrating the airing of the first s o to be ro uce ia a ne business o el t at allo s it to ro i e bes o e content irect to broa casters. T e rogra e, i e e i e, as broa cast last ee on Chinese satellite TV station Zhejiang TV, which ordered the show after the new initiati e as announce at last year The new model means Fuji TV can res on to broa casters reuire ents an ro i e bes o e ser ices inclu ing assistance it for at rules, creati e conce ts, set esigns an o erall consultation. So Fujinuma, director of Fuji TV’s worldwide production and sales international department, sai e a e alrea y recei e or ers fro arious countries, including the US, France and South East Asia since this was launc e
Fuji TV’s So Fujinuma
Legal options for protecting formats THIS week saw the launch of
the latest report from FRAPA – the Format Recognition and Protection Association — into the status of format protection under international law. The FRAPA Legal Report 2017, compiled with international law r a er c en ie, ro i es a practical, user-friendly guide to the legal options that are now a ailable to for ats creators T ere s a strong belief in our industry that formats are not protecte by la , sai il urin, FRAPA co-chair and president of unscri te an alternati e at lobal T is re ort s o s t is is an out ate o inion FRAPA co-chair Jan Salling, of issing in e ia, added: “It’s a new dawn and will e nitely el t e in ustry
s successful for ats beco e ore aluable, t ey also beco e ore ulnerable to t eft
as as been ig lig te by the recent spate of infringement cases. The report aims to
FRAPA’s Phil Gurin
ro i e t e global for at co munity with the tools they need to rotect t eir ost aluable business assets t e a ines o er re orte judgements in 30 major TV territories, presenting an analysis of t e rotection a ailable under the laws of copyright, unfair co etition, assing off, breac of con ence an tra e ar t also i enti es t e ey co onents of a tele ision for at creati e conce t, ro uction no o , na e, isual features, catc rases, bran ing — and lists the ways in which t ese can be rotecte any legal cases are centre on co yrig t la but, increasingly, for at creators a e loo e beyon t is an successfully pursued claims for passing off, unfair co etition an breac of con ence T e ne re ort also examines these cases in detail.
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THE NEW FRONTIERS OF STORYTELLING
THURSDAY 6 APRIL
OFFICIAL CONFERENCES & SCREENINGS
4K ULTRA HD
TRENDS MIPTV: WHAT DID YOU MISS? 10.00-10.30 | Agora Speakers: ■■
Andy Fry, International Film & Television journalist to MIP Publications, UK Julian Newby, Editor-in-chief, MIPTV publications, Editorial Director, Boutique Editions Ltd, MIP Publications, UK
UHD: THE LATEST DEVELOPMENTS 10.00-11.00 | Sony 4K Ultra HD Theatre Speaker: ■■
PRODUCERS PROGRAMME: WHAT TO DO NEXT? KEYS TO A SUCCESSFUL POST-MARKET 11.00-12.00 | Agora
Peter Sykes, Strategic Technology Development Manager, Sony Professionals Solutions Europe, UK
THE VERY BEST IN ULTRA HD 11.15-12.00 | Sony 4K Ultra HD Theatre
Justine Bannister, Founder & Creative Facilitator, Just B, France Sarah Baynes, CEO, The Creative Garden, UK
MIPTV TRENDING TOPICS: THE MOST BUZZ-WORTHY TRENDS OF THE MARKET 14.00-15.00 | Agora Speakers: ■■
Dr. Anke Beining-Wellhausen, Managing CEO/ Founder, UTO MEDIA, Switzerland
Guy Bisson, Research Director, Ampere Analysis, UK
James Martin, Head of Social Media, MIP markets, France
Anne Santa Maria, Freelance short form and long form series, online content, France
NEWS Hotwheels acquisition strengthens subscription potential for WowKidz
OSMOS-MAYA, a leading Asian animation studio based in Singapore and Mumbai, has strengthened its YouTube platform, WowKidz, with global acquisitions and strategic partnerships. Acquisitions include Hotwheels Battleforce 5 from producer Nelvana, which combines action and adventure in a Bollywood-like package, and which is slated to launch on WowKidz this summer. Within 18 months of its launch, the WowKidz platform boasts almost 900 million views, adding over 3.5 million views on a daily basis, and is inching closer to the coveted one
Dragon Ball Super gets global roll-out in “big year” for Toei
million-subscriber mark. “From USA and UK to Australia, Middle East and Asia, WowKidz has been the platform of choice when it comes to Indian animation content,” said Anish JS Mehta, CEO, Cosmos-Maya. “Our endeavour is to bring in the best of kids’ content at one destination in the Indian languages through this platform.” WowKidz has been delivering phenomenal numbers in such a short time on the back of the popularity of Cosmos-Maya’s successful intellectual properties, headlined by its flagship show, Motu Patlu, which has recently become the number-one cartoon series in India.
017 is going to be a “big year for Toei Animation” as plans to bring hit Dragon Ball Super format to new audiences around the world unfold, the company’s European president has said. Speaking to MIPTV News as the company prepares for debuts throughout Europe, Asia and the Americas, Toei Animation Europe president Ryuji Kochi said that “Dragon Ball Super is coming back all over the world”. Dragon Ball Super has already made debuts in Italy, Spain, Portugal and France, starting in December 2016. Since then, it has reached an average of 1.32 million viewers across the four countries. The show first appeared in France in January and in Spain the following month. It is based on the classic manga cartoon Dragon Ball, created by renowned Japanese artist Akira Toriyama. In 2015 the brand was revised and refreshed for TV under the Dragon Ball Super title. Kochi said: “It’s going to be a big year for Toei. Dragon Ball Super has been a great success
Motu Patlu (Cosmos-Maya)
Toei Animation Europe’s Ryuji Kochi
and it shows that we can be successful on TV. It’s a really interesting format that is educational as well. There is lots of interest around the world and we are very excited about taking it to new countries.” Toei Animation Europe is overseeing distribution of the format, which has been revived for TV after a period of only appearing in movie format. The company is also understood to be considering releasing future featurelengt ragon all u er l s while continuing with international TV roll-outs.
The Kitchen’s growing studio group bolsters language offer
FOLLOWING the recent introduction of The Kitchen-EMEA, helmed by industry pro, Yoram Chertok, the Emmy Awardwinning language translation, dubbing and subtitling studio has extended its operation reach into the burgeoning EMEA markets. Another recent expansion was The Kitchen-Russia (Moscow and St Petersburg), which has now been online for the past month. “Located in Kishinev, Moldova, The Kitchen-Moldova is a young, experienced studio, with a great deal of enthusiasm,” said Chertok. “They bring a tremendous amount of skill and energy to our EMEA servicing, in terms of dubbing into Russian,
Romanian, Kazakh, Tartar and Ukranian, as well as voice-over and subtitling. The plan is to roll out at least eight more EMEA locations before the end of the year.” The Kitchen EMEA also has ofces in on on, an retains its headquarters in Miami, Florida, with 18 dubbing suites working to and from US English, Neutral Spanish, Brazilian Portuguese and Parisian French. “Our globalisation drive is the thing that makes The Kitchen special,” Chertok added. “We don’t outsource and our pricing is transarent, lus it bene ts fro local price differences, which we can take advantage of and then pass on t e bene ts to our clients
Team Kitchen: Yoram Chertok (left), Alexis Cardenas, Deeny Kaplan and Eugene Sirbu, with Ken Lorber standing behind
Nippon TV whets Asian buyers’ appetites for fun Gochi format
BIG INTEREST FOR NEWCOMER TAC’S AFRICAN CONTENT
IPPON TV is giving a fresh push to its hit factual series, Gochi: Dinner Is On You Tonight, which combines hungry celebrity contestants, world-renowned chefs and top class restaurants in a gameshow format. A primetime hit in Japan for over a decade, Gochi sees six contestants attend an elegant dinner prepared b a five star chef. mid behind-the-scenes culinary action, the diners must then guess the cost of each course. Whoever is widest of the mark has to pay the entire bill. With Gochi’s senior director, Hitoshi Miyashita, at MIPTV to promote the series, said that negotiations to sell the format in Asian markets are already under way. Gochi offers a unique twist on both the cooking- and gameshow formats, said Miyashita. “The golden rule of game shows is to watch who wins. But the funny part of our format is to see who loses, and who pays.” While shot primarily in Tokyo, episodes have also been filmed globally in cities from Milan to Hong Kong. Jackie Chan was a celebrity guest in Hong Kong, said Miyashita. “And Jackie Chan paid!”
The Africa Channel’s Narendra Reddy: “contemporary narrative” Gochi’s senior director, Hitoshi Miyashita
The busy Nippon TV stand at MIPTV
Lifestyle deal beckons for Okuhle
VUYOKAZI MATU, CEO of South African production house Okuhle Media is expecting to announce a deal with a leading lifestyle network by the conclusion of MIPTV. The company is one of the biggest independents in South Africa and already has an excellent track record of selling its shows internationally. Best-selling series include The Private Chef, a co-production with Zodiak. Presented by Neill Anthony, a chef who has worked for a number of A-List celebrities
including Madonna, the show has been sold to over 60 territories. Sarah Graham’s Food Safari has also performed well internationally and Okuhle also makes The Fabulous Food Company for The Food Network. “We have been able to raise our game thanks to what we learn at MIPTV,” Matu said. “We won the contract for a daily magazine show called Hectic Nine-9 that runs on SABC 2 thanks to some social-media inte ration that we first saw here in Cannes.”
Okuhle Media’s Vuyokazi Matu
TAC STUDIOS is making its debut at MIPTV this year. The company, a division of The Africa Channel, is bringing more than 300 hours of finished series and documentaries to the market including Africa On A Plate, Minjiba Entertains and World Wide Nate. In addition, TAC Studios is offering a slate of new development including Demon Hunters and Shadows Unexplained, and its first foray into the scripted-comedy space with The Samaritans. “We are thrilled at the reception and traction that TAC studios has had from the market, with significant interest for our content from broadcasters and distributors around the world,” Narendra Reddy, executive vice-president and general manager of The Africa Channel, said. “Our content seems to have struck a chord with many delegates who are thrilled to see our active role in presenting a contemporary narrative about Africa to global audiences.”
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NEWS JAMBO TV SEEKS CONTENT AHEAD OF LAUNCH DATE
Special Treats hits the right note with Nick Cave documentary Special Treats’ Andrew Winter (left), Louise Brooks and Colin Burrows
Jambo TV’s Georges Williams
JAMBO TV launches next month and is at MIPTV for the first time looking for content to add to its in-house productions. The channel has been co-founded by Sweden-based Georges Williams, and it is aimed at Africans — living in and out of Africa — and also anyone else who is interested in African culture. Its own programming includes Top 5, a series in which famous music stars pick their top tracks and Who Is Who?, a short-form factual programme giving the lowdown on famous figures such as Einstein, or Albert Camus. “We want to be a synthesis between two cultures, and also between generations,” Williams said, adding that he had been impressed by the array of digital content trends at MIPTV. Jambo TV will be primarily in English and French, and available on satellite platforms, online and an app.
K COMPANY Special Treats Distribution this week signed a licensin deal on a number of music films with Harold Gronenthal at AMC/ SundanceTV Global. Heading the package is One More Time With Feeling, the raw and emotional documentary about Nick Cave and the Bad Seeds recording their 2016 album, The Skeleton Tree, in the aftermath of the death of Cave’s 15-year-old son Arthur. Special Treats also licensed documentaries about 10CC, UB40, Fairport Convention, XTC, The Stone Roses and Pulp to SundanceTV Global, as well as dance specials Young Men and English National Ballet En Paris. “It is fantastic to be working with Sundance international channels for our high-end music film documentar and arts catalo ue which includes films from our own pecial reats Productions,” Andrew Winter, managing director of Special Treats Distribution, said. One More Time With Feeling — which pre-
miered on Amazon US in 2016 — was also licensed to HBO Central Europe, Sky New Zealand, Fox Australia and Channel 8 Israel. Special Treats’ catalogue includes over 100 hours of music and arts films and performances from artists including Led Zeppelin, Eric Clapton and Fleetwood Mac, as well as theatrical films he an rom o a (with James Lavelle and DJ Shadow), and Shane Meadows’ Made Of Stone, about The Stone Roses.
Nick Cave at work in the studio
Ninja concept drives Japanese cultural slate NINJAS embody the spirit of Japan. One part folklore to two parts superhero, the secret warriors have long fascinated the world with their mastery of the dark arts of stealth and disguise. That fascination has been evident this week at the Aruji stand, where director (and part-time ninja) Takashi Haruguchi has been showcasing a new concept, The Ministry Of Ninja, with the aim of attracting international partners to help develop and finance the project. “The Ministry Of Ninja will bring the ancient ninja tradition into the 21st century,” said aru uchi who is at for the first time. “Japan has the Olympic Games in 2020,
so it’s a good time to promote our culture, traditions and way of thinking to the world.” Haruguchi said there had been interest in The Ministry Of Ninja from several territories, including China, Russia and Switzerland. He added: “We have made a lot of good contacts, and have also had some useful feedback about possible international business models.” Aruji’s MIPTV slate also includes another title that has “echoes of the ninja culture of disguise” in a present-day context. The feature film Unsun ero is set in the world of ‘suit actors’ or ‘tokusatsu’, who are Japanese special-effects artists who perform dangerous stunts in costumes that obscure their identity.
Aruji’s Takashi Haruguchi: bringing “the ancient ninja tradition into the 21st century”
Also throwing the spotlight on Japan’s culture is Osaraninottenai-Jikan, which tells the story of the many Japanese chefs who live and work in Paris.
Budding Oz producer impresses market with busy social media
HE FOUNDER of a ed lin ustralian production house and one of the company’s producers have been nominated as MIPTV Ambassadors in their first visit to the show. Screen Culture Australia founder Wade Boyes and assistant producer rooke Lee won the competition which rewards dele ates for being particularly active on social media durin the show. Lee who is also an actor and is known for her role in et i show ako ermaids said that the show was a fantastic opportunity” for young companies and producers to make a name in the international market. he said t s been a reat week
Screen Culture Australia’s Wade Boyes and Brooke Lee
meet companies from so many countries in one place. We love
we ve had a lot of interest. TV is such a great opportunity to
Media students get up close and personal with industry leaders MEDIA students from as far distant as ustralia have own to MIPTV this year to see the business at close quarters. Lecturer and producer Joe Carter brought 15 students from Queensland University of Technology, Australia, to the market, including 19-year-old undergraduate Brooke Seychell from risbane who is stud in for an entertainment industries degree. e chell said t first was daunted by the prospect of meeting such senior global TV execs, but everyone has been ver welcomin and enuinel interested to meet us. It has been a mind blowin e perience and already I’ve made some amazing connections.” Sue Perryman, senior lecturer in media production at University of Sunderland in northern England has brought over 12 students, including Adam Gilson who said that attendin the market was an ama in e pe-
of echnolo lecturer who has been bringing groups of 15 undergraduate students to MIPTV for the past three years. “Giving these students an international work trip is not onl part of their assessment towards their degree, it is providing a unique learning opportunity in one of the most significant global events for students of entertainment industries.” “MIPTV organiser Reed MIDEM has been keen to boost student numbers at the event because they represent the future of the industry. It’s an investment in the future of television,” he added.
rience with reat people and a chance to take our place in the industr we re set to lead . University of Sunderland media production student Sarah Hylton added: “I have had an incredible opportunity to meet the creators and industry leaders I hope to work with. lthou h m hi hlight may be meeting [Riviera star] Julia Stiles.” he students were iven the opportunity to meet executives from all3media, Endemol Shine, Vice Media, Aardman and Henson, among others. University of Sunderland media production students have also been workin on the visualisation of a brief from all3media to create a format at this year’s market through the university’s The Format Factory module. “It’s great experience for them,” Perryman said. “For many of them it has been a life-changing experience,” said Carter, Queensland University
how international the market is it’s been an incredible experience.” Screen Culture Australia is at MIPTV to meet potential investors and companies interested in co-productions. Boyes said the company is interested in producing content across all genres and formats, and is particularl keen to work with other producers on collaborative projects. It has produced a number of reallife shows includin ope which tells the true story of a London man with a tou h and troubled past who has found salvation in sports and at o ri htenin which challen es people who are overwei ht and unfit to become world class mi ed martial arts ( ) fi hters in the space of a year. Boyes said: “We are really at the be innin of our ourne co production is good for us, it’s a great learning experience.”
Brooke Seychell from the from Queensland University of Technology
International media students at MIPTV — pictured here with Sydney Gallonde of France’s Make it Happen Studio
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NEWS Banijay Zodiak in harmony ITV Studios deal boost for with Armoza for Final Four Maramedia’s nature shows
ated b the shin oor entertainment show this week in annes. he format is the first sin in realit show to be both developed and distributed b rmo a. The Final Four is positioned as a new take on sin in competition enre. t brin s all the most loved elements of music shows to the table and serves up the best of them in a way that has never been seen before rmo a said.
ARAMEDIA and tudios lobal Entertainment (ITVS GE) have si ned a first look deal for all the las ow based producer’s natural-history prorammin . Maramedia, which was founded in 2008 b i el ope and ackie aver is best known for the critically acclaimed BBC Scotland series ebrides slands n he d e and its se uel i hlands cotland s ild eart narrated b wan c re or. he latter is currentl airin on at eo ild U . ope said the new partnership with ITVS GE would allow Maramedia to “take forward a suite of new film pro ects that entertain and showcase the natural world s beaut while tellin important stories about our rela-
The Final Four: off to the Nordics
Photo: Laurie Campbell, Maramedia
ANIJAY Zodiak Nordic has acquired The Final Four for Norway and Denmark, a day after the first deal was si ned for the rmo a ormats sin in contest with French production company Satisfaction – The Television enc . Armoza Formats’ CEO Avi Armo a said the deal was a re ection of the si nificant bu ener-
Highlands: Scotland’s Wild Heart (Maramedia)
tionship with it . ITVS GE already handles Maramedia s international distribution. onan and s head of factual and entertainment ac uisitions said oth the ebrides and i hlands series have sold in more than 100 countries, so we already know that Maramedia s blue chip productions have trul lobal appeal.
GUIDE 2017 The Who’s Who of the global industry Pick up your copy at the registration area Gare Maritime
A year-round networking tool PUYG_MIPTV17_demi.indd 1
Iuzzolino wants more passion and pace in scripted TV drama
EADING programme buyers provided practical and valuable insights into the scripted TV market in yesterday’s panel session Drama Buyers And Commissioners: What Do They Want? Walter Iuzzolino, chief creative officer of on-demand platform Walter Presents, said his service was launched as a platform for global drama of comparable quality to US and UK series. “It was designed to be the opposite of curation by algorithm,” he said. “The emphasis is on passion and enthusiasm with everything personally selected. It is streamed in its original language with English subtitles.” The platform was launched in the UK first and achieved 18m streams in year one. It was recently launched in the DB_N_TV US with a 700_RM ONLINE
pool of 36 scripted series, added Iuzzolino, with three new titles added every month. Iuzzolino, who views hundreds of hours of global drama, gave the audience the following warning based on his experience: “Beware of repetitive formulas, be bolder and more imaginative.” He also noted “a problem with pacing in a lot of dramas. With many series you could eas-
ily cut off two episodes. Producers also need to be more aware of the importance of capturing viewers in the first 15 minutes of episode one.” RTE commissioning editor drama, Jane Gogan, and YLE head of drama, Jarmo Lampela, both presented insights into their own production and acquisition strategies. In both cases, it was notable that there has been increased re-
liance on co-production. Gogan highlighted shows including Rebellion, Resistance and Acceptable Risk, a co-production with Canada that has Acorn Media and DCD Rights on board as cofinanciers. Lampela talked about series like Invisible Heroes, a YLE/Chilevision co-production, and Paradise, an alliance with Mediapro in Spain. Good news for producers is that both RTE and YLE are expecting to spend more money on drama in the next few years. YLE has an additional €20m ($21m) to spend on drama between 2018 and 2021.
Walter Presents’ Walter Iuzzolino
RTE’s Jane Gogan
YLE’s Jarmo Lampela
NEWS BRAZIL’S DOOR TO BROADER MARKET
FMI deal gives African viewers access to extensive catalogue
F TV PinGuim’s Kiko Mistrorigo
A CO-PRODUCTION agreement between Brazil and the UK that has been in negotiation since 2012 was formalised this week by Brazilian president Michel Temer. The deal was formulated by Brazilian Content — BRAVI’s (Brazil Audiovisual Independente) export programme — in co-operation with the Brazilian Trade and Investment Promotion Agency (Apex-Brasil). Among the initiatives facilitated by the treaty is that members of the UK’s PACT (Producers Alliance for Cinema and Television) will engage in regular meetings with Brazilian producers at national and international TV events, including MIPTV and MIPCOM. There will also be a trade mission by Brazilian producers to the UK later this year to broaden the relationship between the two countries. “This deal is yet another very positive move for the Brazilian independent production sector, which will also give us a door into the broader European market,” said Kiko Mistrorigo, founder of TV PinGuim. “It will really help to grow the number of co-productions between us and the UK by providing and formalising a framework for co-financing, which will strengthen the independent sectors in both countries.”
R E M A N T L E M E DI A I N T E R NAT IONA L (FMI) has signed a deal with Econet Media’s payTV broadcasting network Kwese TV that will give its viewers across Africa access to more than 300 hours of factual, scripted and entertainment content from FMI’s extensive catalogue. Anahita Kheder, FremantleMedia International senior vicepresident Middle East, Africa and South Eastern Europe, said: “This deal highlights the scale of our library, and our ability to deliver a wide-ranging slate of shows to a diverse audience. We are very excited to be partnering with Econet to satisfy viewers’ demands for quality, premium programmes.” FremantleMedia International entertainment titles destined for Kwese include: Project Runway: Fashion Startup (8 x 60 mins),
Match Game (FremantleMedia International)
which sees aspiring fashion and beaut entrepreneurs fi ht for the chance to secure funds to grow their budding ventures; The Lie Detective (10 x 60 mins), which brings couples, exes, and hopeful singletons together to learn the
truth about their relationships; Jo Frost: Nanny On Tour, starring the parenting expert Jo Frost; season one of the US game show Match Game (10 x 60 mins); and season 14 of the US version of Family Feud (180 x 30 mins).
SODEC seeks to replicate MIPTV success fifth consecutive ear the Quebecois organisation SODEC (Societe de Developpement des Entreprises Culturelles) brings companies from its territory to MIPTV. This year the Quebec pavilion is home to 30 TV and digital enterprises, who are hoping to replicate the success of MIPTV 2016, which saw over 30 deals signed by companies at the pavilion, representing a total value of $170m (€159m). France remains the biggest consumer of Quebec’s productions with broadcasters in the UK, Germany and Benelux also being important clients. “MIPTV is an unmissable event for us because every year the companies that we bring to annes si n a si nificant amount of important deals for co-productions, drama, documentaries and kids’ content,” said SODEC president Monique Simard. “And
The SODEC stand: “MIPTV is an unmissable event”
on top of that, being there generates a lot of visibility for our TV and digital talent.” The SODEC initiative is organised with the Association Quebecoise de la Production Mediatique (AQPM). “We are very happy to
be working with SODEC once again,” AQPM president Helene Messier said. “And the growth in the number of co-productions across all genres proves that interest in producers from Quebec is growing internationally.”
French hit show Call My Agent! chalks up sales for season two
EASON two of Call My Agent!, the hit French comedy-drama set in a cut-throat Parisian talent agency, was launched internationally at MIPTV by francetv distribution. The series has already been sold to Swiss broadcaster RTS and Proximus in Belgium, with a number of other deals in progress. Produced by Mon Voisin Productions and Mother Production, the second season will again feature stellar talent, including Isabelle Adjani, Juliette Binoche and Liliane Rovere (Round Midnight). “I was keen on confronting something new,” Binoche said after signing on to the comedy exploring the inner world of talent agents who are better at taking care of their stars than their own
Rescue Dog To Super Dog (Magnify media)
Call My Agent! stars Thibault de Montalembert, Liliane Rovere and Gregory Montel
lives. “It’s an exaggerated and invented reality that allows for comedic situations,” she added. Call My Agent! is a ratings winner at home, on France 2, while its international renown is growing after it competed in the comedy category at the 2016 Interna-
tional Emmy Awards. “Call My Agent!’s new season is a great example of how francetv distribution’s offering is growing to include hi h ualit iconic fictions suited to the international market,’’ Laetitia Recayte, CEO of francetv distribution, said.
Hong Junsung (left), Ahn Youseob, Lee Eric, Jung Yongki of GIMC, with Pierre Sissmann and Raphaelle Mathieu of Cyber Group Studios after inking a deal at MIPTV for the renewal of Cloud Bread 2
Fu fights for deals on comedy pilot THE MAKERS of an awardwi n n i ng d ra m- edy a re i n Cannes to meet potential partners for financin co production and distribution. Fu Entertainment is attending MIPfor the first time after scoopin an award at last year’s prestigious Cannes Screenplay Contest for a pilot of its show Maurice. Set in France, the comic drama tells the story of a young homeless man enthralled by the idea of a gangster lifestyle, pursuing his dreams of hi h mafioso status.
RTBF TAKES UP DOG FORMAT
Written by brothers Paul and Nicolas Bridot, and Michael Gregory Gong — the chief executive of Fu Entertainment – Maurice was awarded the TV Comedy Pilot award in Cannes last May. Fu Entertainment is at MIPTV with various members of the cast and production team, and a slate of content and projects from France, the US and the Asia-Pacific region, including an animated live-action series. he compan has offices in ew York, Paris and Hong Kong.
Brothers Nicolas (left) and Paul Bridot, writers of Maurice
MAGNIFY Media, the UK-based distribution and rights-management specialist, ha ol h fi o a lic nc o in i li oll o ction’s Rescue Dog To Super Dog to Belgian public-service broadcaster RTBF. h fini h how ha also been sold to Nippon TV Japan, Manoto TV Iran, ia o w alan , RAI Italy, TV2 Denmark and SAT.1 Gold Germany. li oll how a a on solid investigative journalism, bold human stories and uncompromising production al goo ol - a hion al ha n go o o style. Rescue Dog To Super Dog is no exception; you’d ha o a o on no o lo hi how, n a ac on, anaging i c o o agni ia, ai
CANADA ON SHOW wo , ana a multilingual media company, is at wi h a n wl a l ca alog o o i o o ana ian- a , c l all connected programming. The catalogue covers many genres, wi h a a ic la oc on li l series and documentary a “We are proud to have been h ca al o c a ing h unique top-quality programmes and to bring this catalogue to h in na ional a l o i lic , l la ino wo president, said. “Over the past 34 years l la ino wo ha o n i ica ion o howca ing and connecting communities wi h h a ion ha a h i c l ni
NEWS CANADIAN FORMAT RE-FASHIONED FOR EUROPEAN VIEWERS CANADIAN producer Beauty World Search has inked a string of deals for one of its fashion formats to be adapted for viewers in Spain, Belgium and Poland. The Montreal-based production company has agreed format-option deals for its show The Fashion Hero, hosted by Brooke Hogan, which gives participants the chance to feature as models in the marketing campaigns of famous designers. The deals will see the format adapted for domestic viewers by Polish producer Rochstar, which has previously brought shows including The Voice and Top Model to Poland; by Belgian company Butterfish Group, which counts a remake of Studio Glam’s The Decision format among its projects; and by Boxfish TV in Spain. The show is due to appear on La Tele Tuya in Venezuela following a signing with the broadcaster for the exclusive rights, and is being distribin h ia acific gion by Bomanbridge Media, based in Singapore.
The Fashion Hero (Beauty World Search)
Stars align as super-band format pilot series rocks up in Cannes
MERICAN Supergroup is at MIPTV seeking international distribution and production partners for its original music competition series designed to create a super band. Executive producers and co-creators of American Supergroup, Gary Wayne Bridges and Kevin Wayne Waldrop, have produced five episodes to develop the format and prove the concept. The programme aired on Pop, MTV Live and MTV Classic last year. Five bands were formed and are currently in discussion with record labels for representation. “We are thankful to Pop and Viacom for their support of the programme and we were blown away by the amazing talent we discovered in just a short time,” said Bridges. Judges for the pilot season included pop/soul artist Aloe Blacc, rock/blues artist Elle King, country superstar Jennifer Nettles, rock icon Chicago’s Jason Scheef, and iHeartMedia’s Dave Styles
The American Supergroup pilot season
was the show’s host. Mentors for the bands were guitarist James Burton, singer Noelle Scaggs, singer/songwriter Ed Roland, songwriters Jeffrey Steele and Marti Frederiksen, and producer Shannon Sanders. Waldrop added: “We are also pleased that American Supergroup sponsored the Interna-
tional Format Awards at MIPTV for another year, demonstrating our support for the format industry. We are at MIPTV looking for the best global distribution and production partners. Season two is now in development and will air in late 2017, with a broadcaster to be confirmed in the coming weeks.”
Global pic up for climate change film PBS INTERNATIONAL has licensed The Age Of Consequences — a documentary on the military and political implications of climate change — to Australian Broadcasting Corporation (ABC), Middle East Broadcasting Networks (Alhurra), DirecTV Latin America, Globosat (GNT), TVOntario (TVO), TVN24, Public Television Service Taiwan (PTS), Vlaamse Radio en Televisie (VRT) and Eesti Rahvusringhaaling (EER). he film has also been selected as a Realscreen MIPTV 2017 Pick. The Age Of Consequences investigates the impact of climate change on increased resource scarcity, human migration and con ict throu h the lens of U national security and global sta-
The Age Of Consequences (PBS International)
bility. Through case-study analysis, distinguished admirals, generals and veterans lay bare how climate change stresses interact with societal tensions. The documentary looks at how water and food shortages, ex-
treme weather and sea-level rise function as accelerants of instability and can be catalysts for con ict in volatile re ions of the world, leading to grave implications for peace and security in the 21st century.
Kids Content Rules in Cannes this October
MIPCOM 16-19 October 2017 MIPJunior 14-15 October 2017 Cannes, France
The Worldâ€™s Showcase for Kids Programming