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KIDS WORLD PREMIERE TV SCREENING COTTONWOOD MEDIA’S FIND ME IN PARIS

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CANNESERIES THE INTERNATIONAL SERIES FESTIVAL DEBUTS IN CANNES

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MEDIA MASTERMIND KEYNOTE ASTRO GROUP’S DATO’ ROHANA ROZHAN

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EDITO

WELCOME to this Preview magazine, which gives you an early look at what promises to be a memorable edition of MIPTV. We are really excited that in a few weeks, leading international executives will come together to do business, network and share insights as part of the MIPTV community. We believe that MIPTV will be further enhanced by the launch of CANNESERIES, the international festival devoted to the best in new series from around the world. We are thrilled to be able to bring together the unique business opportunities of MIPTV with the excitement and glamour of CANNESERIES. Together, MIPTV and CANNESERIES will host In Development, the first Cannes Drama Creative Forum designed to fast-track drama series production at an international level. Combined, MIPTV, CANNESERIES and In Development, preceded by MIPDoc, MIPFormats and the MIPDrama Buyers Summit, make for the biggest week in global TV. MIPTV is where every programme genre is brought to market. This year, we are introducing an even greater focus on kids programming, and particularly live action, as part of the expanded Junior@MIPTV. We’ll be celebrating the best of kids programming at the annual International Emmy Kids Awards, hosting the first Kids World Premiere TV Screening of live-action Find Me In Paris, and introducing the first Kids Live-Action Pitch. With over 1,000 acquisition executives in Cannes who buy kids programming (out of a total of over 3,800 buyers) there has never been a better opportunity to bring kids shows to the international market. The overarching theme of this MIPTV is Creators In Demand, featuring and highlighting new and established voices from around the world, along with trends for Gen-Z-focused content, developments in new technology and immersive storytelling including VR and AR, as well as the latest in short-form content. I want to thank you for your continued support and hope that this magazine serves as a welcome introduction to MIPTV 2018. Laurine GARAUDE Director of Reed MIDEM’s Television Division.

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COOKE MICHAEL

PA L I N

JOHNNY

F LY N N

TOM

B AT E M A N SURANNE

JONES

FRANCES

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CONTENTS

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NEWS

Introducing the inaugural CANNESERIES; In Development, the brand-new creative forum; The MIPDrama Buyers Summit; conferences at MIPTV; keynote speakers; Kids Emmys nominees, Kids Live-Action Pitch; 4K Ultra HD screenings, immersive content, and more...

FEATURES

58 Short-form gets serious

There are more outlets for shortform video than ever before

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67 They’ve all grown up

Today most multichannel networks have evolved into studios

78 Another giant leap for mankind

Is 2018 the year that AR goes mainstream?

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88 Kids’ TV gets real

New life for kids’ live-action television

Find Me In Paris, from Cottonwood Media, Be-Films, the Opera National de Paris and ZDF

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TIPS & SERVICES

PRODUCT NEWS

Multiplatform content from around the world on sale in Cannes

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CONFERENCES & EVENTS PROGRAMME


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Real people with real products‌ but will anyone want to buy them?

formats that innovate from talent that resonates

MIPTV Stand No: P3.C10 @all3media_int all3mediainternational.com


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news

‘The biggest week in global television’ The international television industry, press and public are preparing to come together for CANNESERIES, held in partnership with MIPTV for the first time, this year CANNESERIES: THE FESTIVAL • The CANNESERIES Official Competition takes place from April 7 to 11 in the Grand Auditorium of the Palais des Festivals • Screenings are open and free to MIPTV delegates, press and public • Three out-of-competition series will be premiered during evening events, in the presence of the series’ cast and crew • The CANNESERIES Gala Awards Ceremony on April 11 is broadcast live on Canal+ • CANNESERIES Addict, features screenings, the chance to meet showrunners, director and actors and other cultural events, all free and open to the public, from April 4 to 11 • CANNESERIES Digital, a competition dedicated to short formats, takes place on Wednesday, April 11

DELEGATES should prepare for “the biggest week in global television”, MIPTV organisers said, as the industry looks ahead to the first CANNESERIES, the Cannes International Series Festival that takes place alongside MIPTV. Its aim is to highlight drama series from all over the world, the event will operate in partnership with MIPTV, with the support of the city of Cannes. The first edition of CANNESERIES runs from April 4 to 11. Open to the public and organised by an independent association headed up by Fleur Pellerin, the festival’s aim is to “celebrate excellence”, to create “a stage on which the foremost creators in the world of TV series come together, where tomorrow’s talents are showcased and a prestigious international competition for a wide range of genres and for series of all shapes and forms is presented”. Laurine Garaude, director of Reed MIDEM’s television division, said the event would add “even more creativity, glamour and business” to MIPTV, as well as more content launches, with 10 exclusive screenings as part of the Canneseries international competition, culminating in a gala Awards ceremony, broadcast by Canal+. “These screenings, in the presence of talent from the shows, will be MIPTV PREVIEW •

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Benoit Louvet

Laurine Garaude

taking place in the Grand Auditorium Lumiere and are open to MIPTV participants – particularly acquisitions executives – as well as the public,” Garaude said, adding: “CANNESERIES is also of interest to both the trade and general press who are traditionally at MIPTV, but it is also attracting consumer press that has not been regularly participating up until now.” The screenings selection — at press time to be completed by March 13 — comprises “innovative series from around the world, in every format, every distribution form and with no selection quotas applied,” CANNESERIES managing director Benoit Louvet said. “Before this there was no worldclass Festival anywhere dedicated to series, which is strange when you consider the incredible success of the genre. Cannes is famous all over the world as a centre for the entertainment industry, so it’s right the place to launch this event — and MIPTV is its natural partner.” Louvet added: “CANNESERIES is working hand-in-hand with MIPTV for a seamless experience for its 10,500 attendees.”

A line-up of international talent, both from the CANNESERIES screenings and from the shows being launched at MIPTV, will take place on the evening of Monday, April 9, at the grand steps of the Palais des Festivals. “So more content, more talent, more visibilty and a real buzz for everyone,” Garaude said.

• March 2018

AN ENTERTAINMENT -BUSINESS HUB EXHIBITIONS, markets and festivals have been at the heart of the economic and touristic strategies of the city of Cannes for many years, and CANNESERIES is part of a broader project based on the development of the creative industries and, in particular, the audiovisual sector. “It marks the start of the creation of an area in the west of the city dedicated to audiovisual creation and production that will involve the University of Cannes and will offer high level diplomas and a business incubator in these areas,” mayor of Cannes, David Lisnard , said.


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THE ORDINARY AND THE EXTRAORDINARY

cineflixrights.com


news: IN DEVELOPMENT

Inaugural In Development forum puts creativity on the fast track

The inaugural In Development takes place in the Gare Maritime at the harbour next to the Palais

IN DEVELOPMENT is a twoday event dedicated to fast-tracking drama series productions at an international level. Co-organised by MIPTV and CANNESERIES, it takes place on April 10 and 11 in the Gare Maritime, by the Cannes harbour next to the Palais des Festivals.

Studiocanal TV’s Rola Bauer

A brand-new creative forum, In Development brings international drama creators and producers together with key decision-makers including commissioning editors, platforms, distributors, co-producers, funds and talent agencies, with the aim of taking projects from development to the

Screenwriter Claire Lemarechal

greenlight stage. “In Development heralds a new concept in discovering and harnessing fresh creative talent from around the world,” Laurine Garaude, director of television at Reed MIDEM said. “MIPTV and MIPCOM have supported early-stage projects for many

STV’s Stephen Mowbray

MIPTV PREVIEW • 10 • March 2018

years, organising the MIPTV International Drama Co-production Summit since 2011. This new event, in association with CANNESERIES, confirms our commitment to fast-tracking new drama productions in the international arena.” CANNESERIES’ managing director Benoit Louvet added: “The partnership between CANNESERIES and MIPTV to launch In Development reflects our joint desire to provide content creators with the opportunities and networks they require to bring their programmes to all screens and platforms.” The event includes pitching sessions for projects at two stages of development: Early-Stage Projects, from seasoned writers, curated through a selection of international writing residences and talent agencies; and Programmes In Development, selected through an international call for entries, launched in November 2017. The Official Selection of projects was made out of 344 projects by a jury of international drama experts from the In Development Advisory Board. “In Development comes as the industry is at a pivotal point,” Advisory Board member Stephen Mowbray of STV, Sweden, said. “As projects become more ambitious and budgets spiral ever higher, international sales are becoming key to the funding of new shows. This, combined with intense competition for the best

Deutschland 83/86 creator Anna Winger


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news: IN DEVELOPMENT content, requires broadcasters to find programming at a very early stage. I hope In Development will showcase the best International series at a point where producers can benefit from the potential of international finance and broadcasters can secure key rights early in the process. Screenwriter Claire Lemarechal, also on the Advisory Board, said she believes In Development “will offer writers a great opportunity to pitch their projects, create links with potential partners

from other countries, test their ideas in front of an international audience and share experience and points of view with all kinds of professionals from all over the world.” She added: “I hope In Development will build a bridge between creation and business.” “Today we are all challenged in finding young talent who have authored voices. In Development is a great opportunity to discover them,” Advisory Board member Rola Bauer, managing director at Studiocanal TV, said. “Same

goes for young producers, I find it exciting to meet young talented producers and I’m sure that In Development will give me that opportunity too.” Deutschland 83/86 creator Anna Winger, also on the Advisory Board, added: “As the world of television becomes more and more international, the opportunity to collaborate across borders is really exciting. But it isn’t easy to connect in person. In Development will be a great chance for creatives from around the

world to meet and share ideas face-to-face.” In Development will also feature top-level speakers, round-table matchmaking meetings, a lineup of panels and other facilitated networking and one-to-one matchmaking opportunities using dedicated online tools. Pre-registration to the forum is required for drama professionals participating in MIPTV.

PITCHING SESSION AIMS TO PROVE THAT SHORT IS BEAUTIFUL

Caracol Television’s Marcelo Liberini

THE DIGITAL Short-Form Series Pitch highlights the work of creators and producers of digital short-form drama series from around the world. Submitted projects are reviewed by an international jury of commissioners from digital platforms looking for original and innovative short-form series. This will be the second edition of the Short-Form Pitch, this year as part of the inuagural In Development forum. In the build-up to the Pitch, creators submitted three-tofive-minute trailers, pilots or episodes. The jury is looking for creativity, originality and innovation, strong storytelling, high production values, international appeal and the potential to return for multiple series.

VIMN’s Claire McArdle

Cobbstar Productions’ Brian Cobb

Brian Cobb, owner and executive producer at Australia’s Cobbstar Productions, entered short-form project Patricia Moore into last year’s pitch — which he said drew a lot of interest from companies around the world. “Millennials are hungry for high-level production values, great acting and well-developed stories,” Cobb said. “These factors have played a major role in the recent short-form digital-series explosion.” Jury member Claire McArdle, vice-president of multiplatform at Comedy Central International, part of Viacom International Media Networks (VIMN), said creators are “able to be more agile” with short-form drama. And, she added, “we can also

go90’s Ivana Kirkbride

see how an audience reacts to it almost immediately”. Also on the jury, Marcelo Liberini, Caracol Television’s vice-president of digital, said that the growth in UGC has created “a world of ‘prosumers’ — people who not only consume video content but also produce or actively participate in it” and this is “creating new challenges in the way projects are being made”. Jury member Aline Marrache-Tesseraud of Canal+ Group, Vivendi Content and Studio+, said short-form is growing because of “a weariness” with traditional formats. “Content that is snackable anytime, anywhere, is answering the demands of a new

MIPTV PREVIEW • 12 • March 2018

generation constantly on the move,” she said. The jury also includes Ivana Kirkbride, chief content officer at go90 where she oversees creator relations, content acquisition, partner management and business development. The Digital Short Form Series Pitch finalists will be presented on Tuesday, April 10 at the Gare Maritime as part of In Development, the newly created forum for projects in development. All finalists will get one-toone meetings with each jury member and visibility during MIPTV and In Development. • The Digital Short Form Series Pitch finalists can be found at www.miptv.com/in-development


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news: IN DEVELOPMENT

TWELVE projects have been selected for the In Development pitching sessions, to be presented on April 10 and 11. The Official Selection of projects looking for financial and development partners, was made by members of the In Development Advisory Board

IN DEVELOPMENT ADVISORY BOARD

PROGRAMMES IN DEVELOPMENT ANGELICA

• Rola Bauer, managing director, Studiocanal TV, Germany

Produced by Twothreefive, USA

• Ozge Bulut Marasli, CEO, Kanal D & Production Companies, Turkey

Produced by Screentime NZ, New Zealand

• Tara Cook, development producer, Carnival Films, UK • Jimmy Desmarais, co-managing director, Atlantique Productions, France • Ben Donald, executive producer, international drama, BBC Worldwide, UK

DEAD HEAD GR5

Produced by Zodiak Belgium, Belgium

LES MISERABLES

Produced by Elephant Story, France

STRANGE FISHING SUNDAYS Produced by Laniakea Capital, Spain

• Jane Gogan, head of drama, RTE, Ireland

THE MACHINERY

• Serge Hayat, financier, Cinemage & Capucines Investment Funds, France

THE SOURCES OF EVIL

• Marie Jacobson, executive vice-president, programming and production, networks, Sony Pictures Television Networks, US

Produced by Anagram Sverige, Sweden Produced by Wuste Film GmbH, Germany

WHATEVER, LINDA

Produced by The Donaldson Company, Canada

• Claire Lemarechal, screenwriter, A Very Secret Service, Desperate Parents, Sagan, France • Stephen Mowbray, head of SVT international (acquisitions and sales), Sveriges Television, Sweden • Erik Pack, head of international distribution & co-production, Platform One Media, US • Vanessa Shapiro, president, WW TV distribution & co-production, Gaumont Television, US • Philipp Steffens, head of fiction, RTL Television, Germany • Christian Wikander, director co-financing, Twelve Town, UK • Anna Winger, creator, Deutschland83/86, founder of Studio Airlift, Germany

EARLY-STAGE PROJECTS CLASS A

Written by Charley Packham, Oliver Deacon and Simon Schneider, United Kingdom

REVIVAL

Written by Joseph Kay, Canada

SELFIES

Written by Joanne Lau, United Kingdom

VIOLATOR

Written by Jon Atli Jonasson, Iceland

MIPTV PREVIEW • 14 • March 2018


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Daniel Sharman

Bradley James

Sarah Parish

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news: THE MIPDRAMA BUYERS SUMMIT

Buyers get exclusive first-look at drama from around the world THE MIPDRAMA Buyers Summit is the pre-MIPTV drama showcase for international buyers, focusing on trends and upcoming series in production. On Sunday, April 8 some 450

buyers and commissioners from around the world will get an exclusive first-look at six new high-end drama series, selected for the writing and production values, originality

and worldwide appeal. All six series are in the early stages of production and have never before been presented at a festival or market, or to buyers, prior to the Summit. The

series are 100% financed and in their first season. Buyers attending the Summit will see 15-minute previews of the following six upcoming series:

ARCTIC CIRCLE

BULLETS

Origin - Finland

Origin - Finland

Producers - Yellow Film & TV and Bavaria Fiction

Producer - Vertigo Production International Sales - Sky Vision

International Sales - Lagardere Studios Distribution

BULLETS tells the story of Mari Saari, an exceptionally gifted undercover cop who has infiltrated the inner circle of suicide bomber recruiter Madina Taburova, nicknamed the Black Widow. Mari unwittingly forms a kinship with Madina and soon finds her duties as a cop and her drive to protect Madina in conflict with each other.

ARCTIC CIRCLE is set in the icy polar region of Finnish Lapland. Finnish policewoman, Nina Kautsalo, finds a prostitute, lying close to death in an old cabin in the wilderness. The criminal investigation takes a surprise twist when a deadly virus is discovered in the woman’s blood sample. A German virologist, Thomas Lorenz, travels to Lapland to investigate and Nina and Thomas soon find themselves in the middle of an unusual criminal investigation that ends up forcing them to act outside the law.

CLEANING UP Origin - United Kingdom Producer - Sister Pictures International Sales – ITV Studios Global Entertainment CLEANING UP follows the story of office cleaner Sam, who struggles to maintain her life as a devoted mother after becoming addicted to online gambling. In danger of losing custody of her two daughters, she needs to get her life back on track and realises that through her work she has access to lucrative stock market information, which, if used correctly, could be the answer to all of her prayers.

Sheridan Smith is Sam in Clean Break

BEIJING-based Capital Radio & TV Program Producers Association (BBPA) is partnering with MIPTV to host the MIPDrama Buyers Summit Cocktail. The association is made up of representatives of the leading film and TV production companies in China, including screenwriters, directors and stars as well as executives. BBPA members’ TV dramas and films are broadcast across platforms everywhere in China, occupying a major share of the primetime TV viewing market. At MIPDrama and MIPTV, BBPA members will be networking with their peers from all over the world, as well as promoting co-operation between Chinese film and TV companies and overseas counterparts.

MIPTV PREVIEW • 16 • March 2018


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news: THE MIPDRAMA BUYERS SUMMIT GIGANTES

NETWORKING AT THE SUMMIT THE MIPDRAMA Buyers Summit Networking Lunch is sponsored by CITVC, the China International Television Corporation. A state-owned enterprise founded in 1984 with China Central Television (CCTV) its sole investor and a marketing network covering 120 countries and regions on five continents, CITVC is one of China’s leading media group and a key enterprise for cultural exports. “After years in the industry, CITVC has become an important window for the world to enjoy Chinese culture,” Shen Jianing, assistant president of CITVC, said. “We are always committed to presenting the most excellent Chinese TV programmes to a global audience, and we cherish every single opportunity to exchange ideas with industry talents.” She added: “It is a great honour for us to be sponsor of this year’s MIPDrama Buyers Summit Networking Lunch. Over four decades, since the reform and opening up of China, we have built a firm attitude of openness and inclusiveness. As always, CITVC will single out the works of the highest quality, take advantage of the most professional marketing team, and tell a great story about China.”

Origin - Spain Co-producers - Telefonica Studio, Lazona, About Premium Content International Sales - About Premium Content GIGANTES follows the story of the Guerrero brothers, Daniel, Ciro and Clemente, who for decades have controlled the drug traffic in the Iberian Peninsula under the harsh direction of their father, Abraham. Time passed, and things went wrong: Daniel, the eldest son, was jailed for 15 years, Clemente disappeared, and Abraham grew old and senile. Ciro was left with a drug empire to rule and only a teenage daughter and a few rivals to worry about. But Daniel will soon be out of jail and he is eager to reclaim his place in the family.

PAGAN PEAK

TRIGGER

Origin - Germany/Austria

Origin – Russia

Co-Producer - Wiedemann & Berg, Epo-Film

Producer – Sreda Production

International Sales - Beta Film

International Sales – Sreda Production

PAGAN PEAK follows two detectives who are sent to investigate when a body is found propped up on a mountain pass in the Alps close to the German-Austrian border. For German detective Ellie, this is the first real challenge of her career, while Austrian counterpart, Gedeon, seems to have lost interest in his work. They discover more crime scenes with symbolically posed victims, reminiscent of pagan rituals and Ellie finds herself under increasing pressure to understand the deranged killer’s motives so she can stop him. The hunt leads them into dark places and archaic Alpine customs — and the paranoid world of the killer.

TRIGGER follows the story of Artem, a 35 year-old psychologist whose use of provocative methodology is successful until one of his clients commits suicide. Artem had tried to heal his suicidal patient by taking him to the roof and telling him that suicide was the right course of action, hoping the therapy would have the opposite effect. But something went wrong. Artem is sentenced to eight years in prison and his wife and friends turn their backs on him. When released from jail he still believes in his method and wants to prove that the patient’s death is not his fault. Each episode of Trigger is a separate case, in which Artem is brilliantly solving other people’s seemingly impossible problems. But will he be able to save himself?

CITVC’s Shen Jianing

MIPTV PREVIEW • 18 • March 2018


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news: KEYNOTE SPEAKERS

BRAND CONTENT OF THE YEAR THE 2018 MIPTV Brand Content Of The Year award goes to Carmilla. Produced by Shaftesbury, in association with U by Kotex, Carmilla is a scripted transmedia digital series with over 71 million views on YouTube channel KindaTV, the largest scripted YouTube channel for millennials in Canada. To date, Carmilla has over 80 million impressions and 7.2 million engagements on its series Twitter, Tumblr, and Instagram accounts. A modern spin on the cult classic gothic vampire novella by Joseph Sheridan Le Fanu, Carmilla follows the adventures of university student Laura Hollis (Elise Bauman) whose world is turned upside down after a vampire, Carmilla Karnstein (Natasha Negovanlis), moves into her dorm room. In January 2018, The Carmilla Movie made its world television premiere on Hollywood Suite, after an 18-hour marathon of seasons one through three of the web series. Brand licensing deals include jewellery from Jewlr.com, and t-shirts with apparel licensee Mighty Fine. A book adaptation is slated for early 2019.

Laura (Elise Bauman) and Carmilla (Natasha Negovanlis) in The Carmilla Movie

CONFERENCES & EVENTS AT MIPTV

The Brand Content Of The Year award is presented to Shaftesbury and Kimberly-Clark at 12.00 on Wednesday, April 11 in the Debussy

Creators In Demand Media Masterminds from around the world take to the Cannes stage at MIPTV to give insights into all aspects of the industry, as part of MIPTV’s overarching theme, Creators In Demand. They include… DATO’ ROHANA ROZHAN is CEO of Malaysia’s Astro Group and CEO of the group’s wholly-owned subsidiary MEASAT Broadcast Network Systems. She has been a pioneer in offering VOD and original content for the Southeast Asia region, and has led the company’s growth strategy through diversification of its many satelliteand IPTV-based channel packages and its push CONFERENCES & into high-end content. EVENTS As well as giving a MIPAT MIPTV TV Media Mastermind Dato’ Rohana Rozhan’s Keynote, she will be honMedia Mastermind Keynote oured in Cannes with Vais at 17.45 on Monday April 9 riety’s 2018 Achievement in the Debussy In International Television Award.

WEIDONG YANG has been Rotating President of Alibaba Digital Media & Entertainment Group since December 2017. He has also served as President of Youku business group since October 2016 where his focus has been on raising the standards of video content. Before joining Alibaba Group, he was an executive officer at Youku Tudou, where as president of Tudou he reinvented the Toudou brand to make it popular among young people. Yang’s Media Mastermind Keynote will outline on the need to bridge internet and broadcast channels and the need for quality brand-defining content. He will also share Youku’s international partnership strategy aiming at strengthen its position as a lead- CONFERENCES & EVENTS ing multi-screen AT MIPTV e n t e r t a i n m e n t Weidong Yang’s Media and media plat- Mastermind Keynote is at 10.45 on Monday April 9 in the Debussy form in China.

MATTHEW HENICK is the Head of BuzzFeed Motion Pictures, where his role includes seeking out content for ideas that could be turned into external development projects for television series or feature-length films. In his Media Mastermind Keynote he will outline how “the current landscape is about creativity and sourcing good ideas to make compelling content”. MIPTV PREVIEW • 20 • March 2018

CONFERENCES & EVENTS AT MIPTV

Matthew Henick’s Media Mastermind Keynote is at 11.30 on Monday April 9 in the Debussy


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Factual // Feature Documentary, 1 x 2 Hours MIPTV: Stand P4.C10 redarrow.tv/international


news: IMMERSIVE CONTENT

Immersive content: a focus on the future of storytelling A SERIES of sessions across the four days of MIPTV focus on immersive content and the entertainment platforms of the future. The latest trends and developments in VR and AR will be explored in a session on Monday, April 9 (Auditorium A) when speakers including Jeremy Dalton, head of VR/AR at professional services network PWC, and Matthew Collado, chief content officer at distribution platform Littlstar, contribute to an overview of VR, AR — and XR — as mass adoption becomes a crucial goal for all new and emerging technologies. In How AR Will Affect The Content Industry, on Tuesday, April 10, (Auditorium A) a panel including VIMN’s Karmelina Parouka, Microsoft’s Steve Sullivan and Leen Segers of LucidWeb will discuss the content industry’s approach towards this technology. Sullivan is general manager of the Mixed Reality Capture Studios at Microsoft, which has facilities in Redmond and San Francisco, California, and a licensed partner in London. Sullivan said the company believes that mixed reality (MR) is the future of storytelling. “The medium is young, but we’re seeing early innovation in this area through applications like Actiongram for Microsoft HoloLens, which empowers people to be amazing holographic storytellers, and through Fragments, an interactive crime thriller that leverages your real-world environment to tell its story in all new ways,” he said. “Mixed reality technology such as HoloLens and Windows Mixed Reality enables users to interact with holograms in the same ways that they interact with other physical objects, which aligns more closely to our natural instincts for communication,” Sullivan added. “Bringing computing into the three-dimensional world that humans have always existed in is the next step

in making computing truly more personal.” In the Tuesday session True VR: Gearing Up For An Interactive Watching Experience (Auditorium A), panelists will discuss how we transition from a story-telling to a story-living experience without losing the luxury of passive immersion. “As with every new technology, tech enthusiasts were the first adopters of VR systems since they required a high-end PC,” said panelist Jonathan Flesher of VR animation studio Baobab. “More recently mobile platforms like Samsung Gear and Google Daydream have made VR more accessible to a mainstream audience. The upcoming releases of stand-alone headsets by HTC, Oculus and Google will dramatically broaden VR’s reach.” But there is still a need for more high-quality and universally-appealing content for VR to really blossom as a consumer platform, Flesher said. “Animation, live-action, games, music, sports and esports are all areas showing real traction. At Baobab, we are incredibly happy to see the amount of enthusiasm there is for animated storytelling in VR.”

Baobab’s Jonathan Flesher

THE INNOVATION HUB AT MIPTV THE INNOVATION Hub on Level -1 of the Palais is a zone dedicated to the digital and VR ecosystem where delegates can find: • The VR Library, where delegates will have the opportunity to discover content through Samsung Gear and HTC Vive hardwear. • Content showcases and pitching sessions in the Agora conference are within the Zone. • A programme of regional and thematic meet-ups designed to introduce new potential partners, taking place twice a day in the Zone. • VR Matchmaking, on Wednesday April 11 at 14.00-15.00, where VR investors and commissioners can meet with VR content producers and forge new partnerships.

And Flesher believes in the power of VR as a storytelling medium. “It allows a director to take you to incredible new worlds and connect with characters in a way that you have never been able to do in the traditional media of film and television. VR allows you to combine the empathy of films, the agency of video games, and the motivation of real life to create something truly unique.” At Wednesday’s invitation-only Immersive Content Leadership Summit at the Majestic hotel, industry pioneers will focus on the mass-adoption of VR. The roundtable summit will include executives from media groups, content distributors, producers and manufacturers from

ARTE’s Gilles Freissinier

MIPTV PREVIEW • 22 • March 2018

around the world, whose focus is on what is the most likely game-changer for VR. The answer is a simple one for ARTE’s head of digital, Gilles Freissinier, one of the participants at the Summit: “We need good content and easy-to-use headsets,” he said. “The killer-app will be the content that easily engages the user, and that tells a good story. Content is king.” And he believes that VR will become a successful storytelling platform. “That’s why ARTE is involved in VR production.” So what is Freissinier’s advice to MIPTV delegates who wish to adapt their business and their skills to VR? “Just try it a least once and see if it touches you.”

Microsoft’s Steve Sullivan


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news: Junior@MIPTV

Creators and networks come together at Live-Action Pitch THE FIRST-ever MIPTV Kids Live-Action Pitch is an open to creators from around the world, designed to meet the growing international demand for kids’ live-action series. “Live-action has always had a central seat at our table as it’s what appeals to kids in an authentic and relevant way,” said Nina Hahn, senior vice-president, international production and development at Nickelodeon, and a

Toon Goggles’ Lee Adams

member of the Kids Live-Action Pitch jury. “My hopes for this pitch session is that we make a match — a match between creator and network such that we can be a great home for a new creator to tell his or her story.” She added: “What makes live-action special is the authenticity it depicts and the speed at which it can be produced. It’s got a great chance to showcase fantastic locals, while simultaneously delivering great

CBBC’s Jo Allen

characters you care about and in whom you see yourself.” For a place in the final pitching event, entrants sent a short video or an illustrated PDF, which were judged for creativity and storytelling; originality; suitability for six- to 12-year-olds; the potential to return for multiple series; and international appeal. It was a requirement that all the series entered have not yet been commissioned or released, and worldwide

Nickelodeon’s Nina Hahn

Disney’s David Levine

Live-action tops Junior@MIPTV agenda LIVE-action series for kids feature strongly in this year’s Junior@MIPTV programme of events and conferences. A Fresh TV session on Monday, April 9 focuses on new programming in this genre from around the world, presented in the Esterel by Virginia Mouseler of research company The Wit. Tuesday sees the Kids Live-Action Pitch at 14.15, followed by

a session focusing on channel strategies in live-action scripted series for kids, at 15.30 in the Esterel and the World Premiere TV Screening of live-action series Find Me In Paris at 18.00. Wednesday features How To Find Common Language To Make Live-Action Series Travel at 10.00; Financing High-End Live-Action Series For Kids at 11.00; and Selling Live-Action Se-

ries As Scripted Formats at 14.15, all in Auditorium A. Two sessions on animation, new Digital Creators To Watch and the Animation Co-production Breakfast, also form part of Junior@MIPTV, on Monday at 14.15 in the Esterel and Wednesday at 08.30 in the Verriere Grand Auditorium, respectively. Over 1,000 kids buyers and 1,200 kids-TV executives will

MIPTV PREVIEW • 24 • March 2018

rights are still available. Other jurors include: Lee Adams of Toon Goggles in the US; Jo Allen of CBBC; David Levine of Disney Channels EMEA; and Paula Taborda dos Guaranys of Gloob, Brazil. Finalists get the opportunity to pitch on-stage at MIPTV; meet one-to-one with jury members; and members of the audience will have the opportunity to meet the finalists through meetings that can be arranged on-site after the pitching session is over.

CONFERENCES & EVENTS AT MIPTV

The MIPTV Kids Live-Action Pitch is at 14.15 - 15.15 in the Esterel, on Tuesday, April 10

Gloob’s Paula Taborda dos Guaranys

be present at MIPTV. And a nine-strong Kids Buyers Advisory Board has been established to advise on kids’ programming projects related to Reed MIDEM’s portfolio of television events. They are: Nickelodeon’s Jules Borkent; Universal Kids’ Deirdre Brennan; the BBC’s Jackie Edwards; RAI’s Luca Milano; Disney’s Karen Miller; Cartoon Network’s Adina Pitt; France Televisions’ Tiphaine de Raguenel; and SuperRTL’s Janine Weigold.


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news: Junior@MIPTV

Kids Emmys winners announced in Cannes THE INTERNATIONAL Emmy Kids Awards will be announced at MIPTV during an awards ceremony at the Carlton. The 2017 nominations were announced by the International Academy of Television Arts & Sciences during MIPCOM in October last year. There are 28 nominees in seven categories from 16 countries: Argentina, Australia, Brazil, Canada, Colombia, France, Germany, Ireland, Japan, Netherlands, Norway, Philippines, Singapore, Sweden, South Africa and the UK. “We congratulate the nominees for their outstanding talent and for setting the high standard we all expect for children’s content,” said Bruce L Paisner, president and CEO of the Interna-

tional Academy of Television Arts & Sciences. The International Emmy Kids Awards Nominee Showcase takes place at 10.00 on Tuesday, April 10, in the Esterel, followed by an opportunity to network with the nominees in the Verriere Californie at 11.00. The International Emmy Kids Awards at MIPTV presenting partners are Ernst & Young, MIPTV, TV Kids and WDR.

THE NOMINEES

Jenter (Young Girls) NRK • Norway Malhacao – Seu lugar no Mundo (Young Hearts – I just want to love) Globo • Brazil Why?! Programming NHK • Japan

KIDS: PRESCHOOL La Cabane a Histoires (The Treehouse Stories) Dandelooo/Caribara Production • France Design Ah! NHK/NHK Educational Corporation • Japan O Diario de Mika (Mika’s Diary) Supertoons • Brazil Puffin Rock Cartoon Saloon/Dog Ears/Penguin Books • Ireland KIDS: ANIMATION Oddbods One Animation • Singapore Revolting Rhymes Magic Light Pictures • United Kingdom Siesta Z El Perro en la Luna/Educa/Senal Colombia/INCAA/ Pakapaka/Red Animation Studio • Argentina Trudes Tier (Trude’s Flatmate) Studio Soi/WDR • Germany Kids: Digital Hele Norge Bygger (The Great Norwegian Build Off) NRK Super • Norway

CONFERENCES & EVENTS AT MIPTV

The International Emmy Kids Awards ceremony starts at 19.30 at the Carlton on Tuesday, April 10

Die Maus, the Emmy Kids Awards mascot brought to Cannes by partner WDR

KIDS: FACTUAL Asquerosamente Rico (Disgustingly Tasty) Echando Globos/Senal Colombia – RTVC • Colombia Berlin und wir (Berlin and Us) Imago TV/ZDF • Germany Miracle Lesson NHK/NHK Educational Corporation/TV Man Union • Japan Operation Ouch! Maverick TV • United Kingdom KIDS: NON-SCRIPTED ENTERTAINMENT Disney Cookabout Walt Disney Television/Penguin Films/SABC • South Africa Snapshots Forte Entertainment • Canada Var Restaurang (Our Restaurant) SVT • Sweden

MIPTV PREVIEW • 26 • March 2018

The Voice Kids Globo / Talpa Content • Brazil KIDS: SERIES Club der Roten Baender (Red Bracelets) Bantry Bay Productions/Vox Television • Germany Jamie Johnson Short Form Film Company/CBBC • United Kingdom O Zoo da Zu Discovery Kids Latin America/Boutique Films • Brazil Shahrukh & Warsan The Big Shots • Singapore KIDS: TV MOVIE/MINI-SERIES Alleen op de Wereld (Remi, Nobody’s Boy) VPRO Television/Lemming Film • Netherlands Hank Zipzer’s Christmas Catastrophe Kindle Entertainment/DHX Media/Walker Productions/Screen Yorkshire’s Yorkshire Content Fund • United Kingdom Little Lunch Gristmill/Australian Broadcasting Corporation/ Australian Children’s Television Foundation • Australia Wansapanataym: Candy’s Crush (Once Upon A Time) ABS-CBN Corporation/CineMedia • Philippines


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news: KIDS WORLD PREMIERE TV SCREENING

Find Me In Paris

Jessica Lord as Lena Grisky in Find Me In Paris

Find Me In Paris is MIPTV’s first-ever Kids World Premiere TV Screening. We spoke to some of the people involved in the live-action adventure series MIPTV PREVIEW • 28 • March 2018


W

ITH live-action programming for children and young people taking centre stage at MIPTV, Find Me In Paris is the perfect choice for the first-ever Kids World Premiere TV Screening at MIPTV. Find Me In Paris is a tween drama centering on Lena Grisky (Jessica Lord), a teenage girl attending the Paris Opera Ballet School, the most elite dance institution in the world. But Lena has a secret. She’s a time traveller, accidentally propelled from 1905 into the 21st century by her boyfriend Henri (Christy O’Donnell), who does everything he can to find a way to bring her back to the past. Meanwhile, Lena tries to fit in with modern life, juggling high school and rigorous ballet training. The series is filmed on location across Paris and features some of the city’s best-known landmarks. It’s produced by Cottonwood Media — a Federation Entertainment company — and co-produced by ZDF, Belgium’s Be-Films and the Opera National de Paris. “ZDF had been looking for another ballet show for a long time to put together with our successful Dance Academy series,” said Nicole Keeb, head of acquisitions and co-production for children’s and youth programming at ZDF. “We wanted something dramatic, fairytale-like, but still modern. However everything we had on the table was just too similar to Dance Academy, until Cottonwood came up with the idea of combining ballet with time travel — and voila, we loved it!   “I think time travel has an escapist quality to it,” Cottonwood Media president David Michel said. “It offers a promise of freedom — being able to

run away to a world that’s both different and familiar — that’s naturally appealing to teens.” He added: “We hope the show will speak to both the younger end of the six-to-12 bracket because of the ballet and love-story aspects of the plot, and to tweens as well thanks to the more complex storylines about time travelling. For the same reason, we expect boys to connect with the slightly sci-fi plots and the action, while girls will hopefully be drawn to the deep character-led stories.” And the series offers some rarely-seen locations and some very special talent. “The uniqueness of this series comes from the co-production with the Opera de Paris which allowed us to shoot on location, inside the opera and on the main stage,” Michel said. “We worked with its most well-known choreographer as well as the students of the Paris ballet school itself, which are doubling for some of our cast. This collaboration is completely groundbreaking and gives the show a unique, realistic window into what it is like to attend the top ballet school in the world.” ZDF has been investing in live-action for children and young people for over 20 years, as part of its public channel remit. “For example, H2O, our mermaid show produced by Jonathan M Shiff Productions; Dance Academy by Joanna Werner; and Wolfblood and Worst Witch with the BBC. As a public channel we are obliged to show not only animation, but real kids in the real world as well,” Keeb said. “The magic touch within those shows help children to identify with our heroes, who are going through the same problems as those kids.” The universal themes of the series make Find Me In Paris a

MIPTV PREVIEW • 29 • March 2018

perfect fit for young audiences around the world. “Clearly, Lena’s goal in the first season is to be reunited with Henri, the love of her life, despite the obstacles they both face: one is in 1905, the other in 2018. So at the core of the show, we are looking at an intense, classic love story,” Michel said. “The series was shot in English. The entire cast comes from the UK and Canada, as do the directors. And since this is a kid/tween series, it will naturally be dubbed.” And while many primetime teen dramas have a “near sitcom-feel in their limited sets, strong lighting and colours and frequent closeups”, Find Me in Paris is being shot “like a premium drama”, Michel said. The 26 x 26-mins series is budgeted at around €12m ($13.7m), “very high for a tween show, average for a primetime show”, he added. Streaming exclusively on Hulu in the US, Find Me In Paris has been acquired by major broadcasters in key territories including France Televisions (France), Disney (France and Italy), ABC (Australia) and VRT (Belgium). ZDF will air the show in Germany.

David Michel:

“Time travel offers a promise of freedom that’s naturally appealing to teens”

CONFERENCES & EVENTS AT MIPTV

The MIPTV Kids World Premiere TV Screening of Find Me In Paris is at 17.30, on Tuesday, April 10 in the Esterel


news: NEXT-GEN SHOWCASES

Talking about the next generation Young studios from around the world will be showing their Gen-Z-targeted content at a series of Next Gen Studio Showcases across the four days of MIPTV. We spoke to Mike Skogmo, founder and CEO of California-based Jukin Media, ahead of his Next Gen Studio Showcase presentation

Describe Jukin Media Jukin is a global digital media company founded on the belief that the future of storytelling is user-generated. We utilise user-generated content in our own productions, and for licensing to our partners in TV and digital. We produce high-end original non-scripted series, and we license the newest, most engaging UGC video clips for use by advertisers, and in global productions such as news, morning

shows, daytime talk, late night, and of course, clip shows. How do you seek-out and find video content? It’s a combination of technology and methodology. We have a proprietary platform that we built in-house that continues to evolve, and a highly-trained global research staff that works 24 hours-a-day, seven days-aweek. The team and our technology work in concert to enable Jukin to discover and acquire the exclusive licensing rights to amazing video content on a daily basis. In total we have nearly 50,000 highly engaging, hand-selected, brand-safe, user-generated video clips that are available for licensing via our online database. Whose work has surprised you recently? I’m extremely impressed with what Hulu has been able to create with regard to original dramatic scripted programming. A year or so ago, I would have written them off. But clearly they’ve had their first breakthrough hit and, impressively, were the first SVOD platform to win the Emmy for Drama. They look poised to follow that success up with some interesting shows, and

in the process it seems like they’re finding their way and figuring out how to differentiate in a crowded, fragmented landscape. Who are your competitors? We view the world much differently than many of our contemporaries in video and digital media. Having said that, we compete at various levels with different companies. We compete for ad dollars with other media companies, we compete for clips with other licensing companies, and like everyone in entertainment we compete for eyeballs. At the end of day, we focus much less on our competition than on ourselves, and what goes on within our walls. We know that if we focus on creating value for our partners and connecting with audiences, that’s what will move the business forward. We focus on the road ahead and not what’s behind us. How do you see this sector growing? Global adoption of smart phones and camera phones continues to rise. In the next few years, hundreds of millions of people will get access to technology that allows them to capture HD video footage on their personal devices and share that footage with the world. In the end, as the amount of content in-

Mike Skogmo: Jukin Media’s Mike Skogmo

creases, so do the possibilities for intriguing storytelling. In addition, more consumers are viewing and engaging with content from their mobile devices and this will ultimately change viewing habits and storytelling. What can we expect from Jukin Media at the Next Gen Video Showcase? Last year on the MIPTV stage we were able to showcase, for the first time, a new original series called Fly Guys that we were extremely excited to bring to market. I’m proud to say that we ended up finding the perfect partner — Facebook — to bring that show to life, and the show premiered to an excellent reception on Facebook Watch this February. This year, in addition to introducing a couple of new original series that we’re very proud to present, we also plan on showcasing some of the ways that we partner with brands and advertisers, who are becoming an increasingly bigger part of the video ecosystem every year. Brands have really embraced user-generated content in a major way because of the authenticity and engagement that come with it. We can’t wait to reveal some of the projects we’ve been working on, and some of the ideas we have for the future.

“As the amount of content increases, so do the possibilities for intriguing storytelling” MIPTV PREVIEW • 30 • March 2018


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From sports to drama: UHD screenings cross all genres MIPTV is showcasing drama, music, documentary and sports in UHD and HDR in a series of screenings taking place in the Sony 4K Ultra HD Theatre, on Level 4 of the Palais across the four days of MIPTV. Japan’s NHK will screen two high-profile shows including a monster fantasy drama Koujin, as well as a concert from Japanese pop-sensation Sakanaction. The Sakanaction concert was filmed in 8K but will be down-converted to 4K/UHD for overseas sales. Staying in Japan, Kansai TV will also screen their new Netflix co-production. High-quality music footage features in two major arena concerts captured in UHD. MTV will show clips from their annual European Music Video Awards show, which always grabs solid ratings and was this year screened in UHD. And Eagle Rock Productions, whose A-list catalogue features the world’s leading names in rock and pop, will showcase two recent UHD productions, Hans Zimmer Live In Prague and the more intimate Norah Jones Live At Ronnie Scott’s. The Zimmer show was recorded in Dolby Vision and Dolby Atmos 22.2 channel sound, bringing the show to near audio and video perfection.

The music session will also see a striking show from ARTE Germany, distributed by ZDF Enterprises, featuring Cirque Du Soleil, filmed in Las Vegas. The Sony 4K Ultra HD Theatre factual session this year features Discovery Networks’ Above And Beyond: NASA’s Journey To Tomorrow, and Olivier Chiabodo’s The Explorers, which offers natural history captured in HDR. While viewers around the world can see football, basketball, rugby, golf and other sports in UHD — the recent Winter Olympics was almost completely available in 4K/Ultra HD — there are now a growing number of examples of extreme sports being captured in UHD/HDR. HopLite Entertainment will screen Drone Wars in UHD during MIPTV. Also in the action sports genre, Ananda Media, one of the most prolific action and adventure sports TV distribution companies in the business, will be showing examples of its programming. Rome-based Oberon Media will screen Journey To Herculanium, directed by Mirko Conte, which won recognition at the Impact Docs festival. The show focuses on this historic part of Italy not only from an archaeological point of view, but also from the human

Eagle Rock’s Norah Jones Live At Ronnie Scott’s

and religious aspect of the population on the slopes of the volcano Vesuvius. The film also explores the 18th-century villas and palaces along the Golden Mile. • Sony is sponsor of the screenings along with satellite operator Eutelsat and content licensing company Vivicast Media.

HopLite Entertainment’s Drone Wars

NHK’s monster fantasy drama Koujin

CONTENT licensing company Vivicast Media is a sponsoring partner of the UHD 4K programme at MIPTV. And the company is once again exhibiting at MIPTV and looking to build on its 4K and HDR successes from previous markets. “Since MIPCOM last October we have tripled the number of MPVD’s commercially launching the 4K channels that we represent in the US, and we have seen LatAm and other operators enter the 4K and HDR family,” Stuart Smitherman, president of Vivicast Media, said. “I can honestly say that I am delighted but not surprised to see our 4K and HDR channels as well as our content sales start to spread further and deeper into both North and South America.” He added: “As Vivicast has continued to build on its reputation as a leader in the distribution of 4K it has been an honour to have producers and channel owners reach out to us as their main 4K representatives and we will be showcasing some truly spectacular new content and channels that will be available Vivicast Media’s Stuart Smitherman for all territories’.”

MIPTV PREVIEW • 32 • March 2018


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Safe star in Cannes MICHAEL C Hall is among a list of A-list stars, in Cannes to promote their latest shows, meet the press, and attend screenings and galas. Safe will close the first edition of CANNESERIES on Wednesday, April 11, following the festival’s gala awards ceremony. The series has been ordered by Canal+ Group and Netflix and will run on free-to-air channel C8 in France and Netflix globally outside of France, later this year. It is created by bestselling writer Harlan Coben and written by Danny Brocklehurst (Shameless). The series centres around Tom, played by Dexter star Hall, a paediatric surgeon and single father of two teenage daughters who is struggling to deal with the loss of his wife from cancer; Sophie, played by Amanda Abbington, a formidable detective sergeant. who lives in the same beautiful gated community as Tom and is also raising two children single-handedly; and her husband Josh, played by Emmett J Scanlan who is desperately clinging onto his youth, partying all night and generally letting his family down at every opportunity. Teacher Zoe, played by Audrey Fleurot, and Tom’s best friend Pete, played by Marc Warren, also feature in a story in which Tom is pushed to the edge when his eldest daughter disappears and he realises that he knows nothing about the people closest to him. Safe is executive produced by Michael C Hall, Nicola Shindler, Harlan Coben, Danny Brocklehurst Richard Fee, head of development at Studiocanal’s Red Production Company — the producers behind Happy Valley and Last Tango in Halifax.

Michael C Hall as Tom in Safe

MIPTV PREVIEW • 34 • March 2018


© 2018 Mon Voisin Productions - Mother Production - France Télévisions

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On the following pages we highlight some of the multiplatform content from around the world available in Cannes this year BRAIN POWER STUDIO

DCD RIGHTS

BASED on a book by Victoria Carson, The Ponysitters Club (20 x 22 mins), from Canada’s Brain Power Studio, is in production in association with Discovery Kids Latin America, and supported by the Shaw Rocket Fund. Set on a horse rescue ranch, the live-action family drama features 12-year-old Skye who with her friends Olivia, Trish and Ethan sets up The Ponysitters Club to share the horse care and support her mother with the running of the ranch. Together they find compassion while nurturing these animals that have had an unfortunate past.

UK DISTRIBUTOR DCD Rights brings new observational documentary series Facing The Fire (18 x 60 mins) to Cannes. From IMG Productions for UK TV, the series follows a team of firefighters from the West Midlands Fire Service and is filmed using 150 fireproof helmet and body cameras to follow the firefighters as they risk their lives to protect an area that is home to nearly three million people. Facing The Fire (DCD Rights)

DYNAMIC TELEVISON TWO TOP series priorities for MIPTV from LA-, Paris- and Berlin-based Dynamic Television are: The Day (12 x 45 mins), a crime drama that follows an ingenious bank robbery as it spirals out of control in a quiet Flemish town. Police, criminals and hostages reveal unexpected agendas, with each time-shifting episode showing a new point of view on the day’s events; and the second season of Trapped (10 x 52 mins) which follows the story of a man who immolates himself and a government minister outside the parliament in Reykjavik. Andri oversees the case which takes him back to a town he left behind, and then a brutal murder at a power plant raises questions which reach far beyond the remote community. The series is filmed in Iceland by RVK Studios.

The Day (Dynamic Television)

NIPPON TV CELEBRATING its 65th anniversary this year, Japan’s commercial broadcaster, network and producer Nippon Television Network Corporation (Nippon TV), showcases its newest scripted format Anone (ahno-nay) in Cannes. Currently airing in Japan, the 10 x 60 mins series is from the team that created Mother and Woman - My Life For My Children. The story follows a young girl who after losing her family becomes isolated. She meets an older woman and they discover they have many things in common as the heart-warming story evolves. Anone (Nippon TV)

SONY INDIA SONY India brings the dramatic historical saga of Prithvi Vallabh to Cannes, a story about Prithvi, from the Malwa dynasty, a connoisseur of art and literature, a nature lover, poet and a great, though reluctant, warrior. As a protagonist of freedom and a peacemaker he believes that violence slays the human soul. Therefore whenever he witnesses tyranny, oppression and exploitation of human values, he lifts his sword to oppose it.

Prithvi Vallabh (Sony India)

ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) A NEW adaptation of William Makepeace Thackeray’s classic novel Vanity Fair, is the MIPTV priority for the UK’s ITVS GE. Written by Gwyneth Hughes and produced by Mammoth Screen with Amazon Studios, Vanity Fair is due to air later this year on ITV. Filmed in Budapest and London, the seven-part drama is set against the backdrop of the Napoleonic Wars and follows Becky Sharp (Olivia Cooke), as she attempts to claw her way out of poverty and scale the heights of English society, taking her all the way to the court of King George IV, breaking hearts and losing fortunes as she goes. Vanity Fair (ITVS GE)

MIPTV PREVIEW • 35 • March 2018


product news

ZDF ENTEPRISES (ZDFE)

CC-Lab

ZDFE returns to Cannes with a range of drama and kids titles. Kudamm 59 (3 x 90 mins) is a family drama set in Berlin in 1959. Tabula Rasa (9 x 50 mins) is a psychological thriller about a woman with amnesia in a psychiatric hospital who learns that she is a witness and prime suspect in the disappearance of a man. Bron | Broen (Danish Broen, Swedish/Bron) is a 10 x 60 mins Scandinavian crime series with storylines featuring the Oresund Bridge that links Sweden Kudamm 59 with Denmark. Kids programming (ZDFE) includes: School Of Roars (52 x 7 mins), an animation set in a school for monsters, which aims to help children prepare for school; animation The Jungle Book (156 x 11 mins/1 x 90 mins), based on Rudyard Kipling’s characters; and Lassie (52 x 22 mins), about loyal dog Lassie and the young owner Zoe.

THE UK’s CC Lab is highlighting its Christmas special It’s Christmas Live (1 x 90 mins) at MIPTV, filmed at the Royal Albert Hall in London. Produced for Sky One in the UK, the show features artists performing their favourite Christmas hits — including Chrissy Hinde, Marc Almond, Melanie C, Fleur East, Holly Johnson, Jona Lewie, Nadine Coyle, Ricky Wilson, Shakin’ Stevens, Tom Chaplin and The Vamps. The musical director is singer-songwriter Ed Harcourt.

APC KIDS/APC PARIS-based kids content distributor APC Kids is launching animation Roger at MIPTV. The first episodes will be available in Cannes, with the full series scheduled for the first quarter of 2019. Roger (78 x 7 mins), a 3D comedy series aimed at kids six-to-10, is set on a tropical island and follows a friendship between a little girl and an extra-terrestrial called Roger. APC is launching its first English-language drama series Keeping Faith (8 x 52 mins) in Cannes, an emotionally intricate thriller which centres on a strong female character who discovers the man she loves is a stranger. APC is also launching drug-crime drama Fenix (8 x 45 mins).

It’s Christmas Live (CC-Lab)

DRG DRG is launching its emotionally charged new drama The Cry, (4 x 60 mins) at MIPTV, produced by Synchronicity Films for the UK’s BBC One. Based on Helen Fitzgerald’s best-selling book, The Cry follows Jenna Coleman and Ewen Leslie as the parents of a newborn son who find themselves at the centre of an unthinkable tragedy when their baby is abducted from a sleepy coastal town in Australia. As they face public scrutiny, the consequences of the tragedy change their lives and their marriage forever.

Roger (APC Kids)

FZ ENTERTAINMENT PRIORITIES for China’s FZ Entertainment include: girl-focused Butterfly Fantasy, which follows Elsa who, when she awakens twelve knights, must confront the dark elves; and CoNaBLUE(52 × 12 mins), an adventure of exploration, investigation and protection of natural environments, featuring little dolphin Columbus and his friends. Butterfly Fantasy (FZ Entertainment)

The Cry (DRG)

K7 MEDIA TV TRENDS consultancy K7 Media is at MIPTV to launch its monthly World Entertainment And Reality Report, which will focus on a number of key genres each month. The report will be available to K7 Media’s subscribers and will be a review of notable successes and launches across the globe. The company is also highlighting Special Edition Quicklists, a new monthly video showreel designed to provide inspiration to TV professionals ahead of major international events and projected consumer trends.

MIPTV PREVIEW • 36 • March 2018


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REALITY & ENTERTAINMENT

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1 x 60’ Blackball Media / Woodcut It’s an exciting time for the British Royal Family - with William and Kate’s third baby and a royal wedding between Prince Harry and American actress Meghan Markle, the monarchy has undergone quite the transformation. With interviews with royal correspondents, journalists and those in the know, we explore how these two couples have modernised the British royal family.

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AB INTERNATIONAL

MARVISTA ENTERTAINMENT

NEW COMEDY series 25 (10 x 26 mins) is brought to Cannes by French distributor AB International. Jeremy is dumped by his girlfriend while his first novel reaches a dead end and he has to go back to his parents’ home in Paris. The series follows the ups and downs of Jeremy and his friends as they try to balance romance, careers and parents.

DHX MEDIA CANADIAN kids content specialist DHX Media is bringing the latest animated series from its partnership with Mattel Creations to MIPTV. Polly Pocket (26 x 22 mins) is aimed at kids aged six to nine, based on the toy brand which is back in its original mini scale. The launch is supported by a 360-degree marketing campaign on the theme of Tiny is Mighty. Polly is often told she is too little to do the things she wants to, but then she inherits a magic locket that allows her to shrink to four inches tall and her adventures begin. Polly Pocket is produced by DHX Media’s Vancouver studio and the company will distribute the series internationally, with global licensing and merchandising handled by Mattel Creations.

Boarder (MarVista Entertainment)

MARVISTA Entertainment debuts thriller movie Boarder at MIPTV. Starring James Maslow (Big Time Rush, It Happened One Valentine’s), Tanya Clarke (Inhumans, Banshee, American Horror Story), Lorynn York (Dear White People, 2 Lava 2 Lantula!) and Adam Huber (Awkward., Animal Kingdom), the story follows a girl who returns home from college to find that her mother has rented out a room to a killer.

MGM TELEVISION THIS year’s highlights from MGM Television include: murder-mystery series The Truth About The Harry Quebert Affair (10 x 60 mins), starring Patrick Dempsey, and based on a novel by Joel Dicker; Condor (10 x 60 mins), adapted from the novel Six Days Of The Condor and screenplay Three Days Of The Condor, which follows a CIA analyst who stumbles onto a plan that threatens the lives of millions, starring Max Irons, William Hurt with Mira Sorvino, Bob Balaban and Brendan Fraser; Tomb Raider, starring Alicia Vikander; the second season of The Handmaid’s Tale (10 x 60 mins); the second season of Get Shorty (10 x 60 mins); Lauren Lake’s Paternity Court; and Couples Court.

Polly Pocket (DHX Media)

Tomb Raider (MGM Television)

LIONSGATE AT MIPTV Lionsgate is debuting international rights to Vida and Sweetbitter, two new Starz Original drama series. Vida (6 x 30 mins) focuses on two very different Mexican-American sisters, Emma (Mishel Prada) and Lyn (Melissa Barrera), from the Eastside of LA. Circumstances force them to return to their old neighbourhood, where they are confronted by the past and the surprising truth about their mother’s identity. Sweetbitter (6 x 30 mins) follows 22-year-old Tess (Ella Purnell), who comes to New York to work in a restaurant. She is quickly intoxicated by this chaotic world — tasting expensive wine, exploring dive bars and learning who she can trust. Sweetbitter is adapted from the best–selling novel of the same name by series creator Stephanie Danler. Vida (Lionsgate)

RTVE INTERNATIONAL SALES RTVE is at MIPTV with Betrayal (9 x 70 mins), a new series that follows the complicated relationships of a family of parents and four children that owns a law firm. The father tells his family that he has a terminal illness and then takes decisions that his family does not agree with, and their comfortable world begins to collapse.

Betrayal (RTVE International Sales)

MIPTV PREVIEW • 38 • March 2018


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PLANETA JUNIOR

STUDIO HAMBURG ENTERPRISES AT MIPTV Studio Hamburg Enterprises is launching two new episodes of the mini-series Vera — First Aid From Berlin (5 x 90 mins), from UFA Fiction. Another priority is the first two episodes of new edgy mini-series Borderland, from Polyphon Pictures, which features criminal cases that call for the deployment of the trans-border Franco-German police forces in the Alsace area. Borderland (Studio Hamburg Enterprises)

GORMITI (52 x 11 mins), a new animation series based on a toy franchise and produced by Giochi Preziosi, Planeta Junior and Kotoc, is brought to Cannes by Barcelona-based Planeta Junior. Aimed at boys between five and eight, the stories feature four kids who discover Elemental Bracers which allow them to call and fight with the legendary Gormiti and their ancestral enemies. Production has started and the first 26 episodes are scheduled for delivery this year. Gormiti (Planeta Junior)

BBC WORLDWIDE A HIGHLIGHT from the BBC Worldwide drama slate for MIPTV is The Split (6 x 60 mins), which features brilliant divorce lawyer Hannah Defoe, who with her mother and sister takes on cases for London’s wealthy and well-known. Following a bitter argument, Hannah leaves the family business to begin a new job at a rival firm, where she unexpectedly reconnects with the only other man she could have imagined her life with. When Hannah’s estranged father returns after 30 years, the toxic feud between her parents is re-ignited. As the Defoe family is forced to confront the past, Hannah begins to question her own marriage.

BETA FILM THE GLADBECK hostage crisis in 1988 is the subject of a four-hour drama brought to Cannes by Beta Film. A bank robbery which turned into a 54–hour-long ordeal, leaving two teenagers dead, all seen on the world’s media, became one of the biggest scandals in recent German history. Other titles from the Munich-based distributor include: five-hour series Off Protocol, in which a homicide squad secretary takes the law into her own hands; Sirens, about beautiful mythological creatures in Naples; Professor T, a series featuring a brilliant but eccentric professor; and from Beta’s Kids and Family, Dschermeni (6 x 25 mins), a story about friendship across the borders of a refugee camp.

The Split (BBC Worldwide)

TVN PRIORITIES at MIPTV for Polish commercial TV station TVN include: Taxing Love — a film which has had a cinema release — which proves that love can happen anywhere, even in a tax office; Letters To Santa 3, a romantic comedy that unfolds on Christmas Eve; the second season of the channel’s most watched drama Diagnosis (26 x 60 mins); the fifth season of drama Second Chance — What Matters Most? (65 x 60 mins); and new seasons of various lifestyle and travel programmes.

Sirens (Beta Film)

FREMANTLEMEDIA INTERNATIONAL

Taxing Love (TVN)

THE CORONATION is an hour-long film about the British Crown Jewels, which includes — to mark the 65th anniversary of Her Majesty The Queen’s coronation — the appearance of The Queen as she shares memories of the coronation, as well as that of her father, King George VI, in 1937. The Crown Jewels consist of 140 items and contain 23,000 precious stones. These sacred objects form the most complete collection of royal regalia in the world. Made by Atlantic Productions, the film is a co-production with Smithsonian Channel and ABC Television, and is distributed by FremantleMedia International.

MIPTV PREVIEW • 40 • March 2018


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THE FIRST SERIES IN THE THEATRICAL RUN

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Incredible story about people fleeing from epidemic to the far-off lake. Normally they wouldn't spend a single moment together, but do they have any choice now? Based on the bestselling book by Yana Vagner translated into 11 languages.

DON’T LEAVE THE CIRCLE

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A group of anarchists challenge vampires who guard the Russian Tsar and inadvertently trigger the Russian Revolution.


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CAKE ENTERTAINMENT PIGGY Tales (30 x 1.25 mins/3D) — brought to Cannes by the UK’s Cake Entertainment — is the latest non-dialogue series to feature the Piggies from The Angry Birds Movie. Now totalling 122 episodes, Piggy Tales is produced by Rovio Entertainment and is the latest addition to the Angry Birds franchise, which includes Angry Birds Toons, Angry Birds Stella and Angry Birds Blues, which launched last year and stars The Hatchlings from the movie.

DARO FILM DISTRIBUTION JACKIE Chan leads the line-up for Daro Film Distribution at MIPTV in the action thriller Bleeding Steel (rights for CEE/Africa). Chan plays a hardened special forces agent who fights to protect a young woman from a sinister gang. Another highlight is the crime thriller River Runs Red (CEE/Africa) in which John Cusack and Taye Diggs face-off against a backdrop of injustice and police brutality. New additions to the slate include Who Took My Daughter and Deadly B&B.

CYBER GROUP STUDIOS PRIORITIES at MIPTV for Paris-based Cyber include: Nemertine On The Nile (52 x 11 mins), currently in production, about a little girl who aspires to be the first female scribe in Egypt, and uses her papyrus diary to record the adventures she has with her friend Piramses; the first episodes of the second season of Mini Ninjas (104 x 11 mins), based on a video game and app; Zak Jinks (52 x 11 mins), based on a comic strip published in kids’ magazines around the world, about a lovable little boy with an overflowing imagination; and the first episode of Ernest And Rebecca (52 x 13 mins), also from a comic strip, about six-year-old Rebecca and Ernest the microbe, who after giving her a cold, becomes a friend and protector. Nefertine On The Nile (Cyber Group Studios) Piggy Tales (Cake Entertainment)

FOX NETWORKS GROUP CONTENT DISTRIBUTION GENIUS: Picasso (10 x 60 mins), which features Antonio Banderas as Pablo Picasso, leads Fox Networks Group Content Distribution’s drama slate for MIPTV, following Genius: Einstein, National Geographic’s first scripted drama. Filmed throughout Europe, the new series details the tumultuous marriages, passionate affairs and political and personal alliances that sparked Picasso’s creativity and pushed his boundaries of artistic expression. Executive produced by Brian Grazer and Ron Howard, Genius: Picasso also stars Alex Rich, Clemence Poesy, Robert Sheehan, Poppy Delev- Genius: Picasso (Fox Networks Group Content Distribution) ingne and Aisling Franciosi.

COMERCIAL TV INTERNATIONAL

MEDIA I.M. THE THIRD season of Sunny Bunnies is brought to Cannes by the UK’s Media I.M. This series features a cosy classroom in a meadow where knowit-all Iris teaches her friends magic, even though she is a beginner, Hopper is curious and nosey, Turbo bosses his friends around, Big Boo pursues his dream of becoming the strongest bunny in the world and Shiny can turn into a skilful ninja. They discover the world of magic — getting sporty, constructing things, growing plants, exploring different cultures and even racing a wolf in their cars.

IN MOTHER Chef, a cooking series from Spain’s Comercial TV, some of the best chefs in Spain return to their mother’s kitchen, recalling their first steps, the evolution of their dishes, the people that influenced them and the efforts they made to reach the highest positions in the cooking world. The series also visits their Michelin Star-restaurants. The company also brings docudrama Dark Times (La Hora Oscura), which recreates true-crime police investigations. Mother Chef (Comercial TV International) MIPTV PREVIEW • 42 • March 2018

Sunny Bunnies (Media I.M.)


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1 Free Floating Ship 3 Years of Building 7 Oceans to Explore 2 Crews to Document It All The Chance of a Lifetime


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ALBATROSS WORLD SALES

MOMEDIA

ALBATROSS brings a number of fresh titles to MIPTV. The Borderless Sky (5 x 52 mins, 4K) explores the magic and science of the night sky by following astrophotographers in Chile, Scandinavia, Australia, Canada and Indonesia. Wild Galapagos (2 x 52 mins/4K), looks at the fascinating landscapes and animals of the islands, above and below sea level. Gene Lab Revolution (1 x 52 mins), explores whether genetic engineering will change the world. Water Is Our Future (5 x 52 mins) identifies sustainable solutions based on best practices from around the world, a series that follows the success of Islands Of The Future (5 x 52 mins).

DIGITAL distribution specialist MoMedia brings Ninano (78 x 2.5 mins), a non-dialogue 2D and 3D CG series to MIPTV. The show, aimed at all ages, features alien frogs who, while looking for the ‘happy virus’ on earth, get into slapstick situations. Produced by Sony Pictures Animation and TOZ Studios, the show has aired on SBS, Animax (KT) and PT Indosiar.

Ninano (MoMedia)

ONZA DISTRIBUTION THE GYPSY Heiress is a telenovela from Portugal — filmed in Spain, Portugal and Mexico — about a man with a model family and a great fortune, but who feels empty and unfulfilled since he lost his wife and baby girl. Luz was raised by a Gypsy family after she was kidnapped as a baby. The story unravels against a backdrop of drug smuggling, gypsy culture, love and mystery. The Spanish distributor also brings Double Game to Cannes, a telenovela about two lovers, separated as teenagers, who find each other after many years, in Macau.

Borderless Sky (Albatross World Sales)

FRANCETV DISTRIBUTION FRANCETV distribution brings international rights to War On Beast (6 x 52 mins) to Cannes. From Europacorp Television, adapted from Nicolas Mathieu’s novel set in the Vosges Mountains, the series is about how the interlinked fates of people are changed when a local factory shuts down. Further priorities include: police drama Charon, set against the backdrop of the Calais refugee camp; the third season of comedy Call My Agent!; and new animation series Rabbids Invasion, the fourth series about the characters known in France as Lapins crétins, in production from Ubisoft Motion Pictures.

The Gypsy Heiress (Onza Distribution)

PGS ENTERTAINMENT TEAM DroniX (26 x 22 mins) — brought to MIPTV by Paris-headquartered PGS Entertainment — is a series developed alongside a line of kids’ drones, in partnership with Silverlit (a drones manufacturer) and producer Technicolor, in a co-production with France Television and Globosat. The CGI series follows the adventures of three drone enthusiasts, pilot Buck Roquette, designer Tim Chessmat and engineer Vicky Risk, who meet in the high-tech Hawkings Academy. Together, they build a one-of-a-kind drone, DroniX, competing against fellow student teams.

Charon (francetv distribution)

Team DroniX (PGS Entertainment)

MK PRODUCTION SWITZERLAND’s MK Production brings the second season of animation series Alpine Story to Cannes. After its debut at MIPCOM last year the company is looking for partners for collaboration and co-production for forthcoming seasons. The main characters are Roggy the bull and Cocco the rooster, who protect the peace and calm of their alpine home. MK Production is also unveiling plans to produce a sitcom.

Alpine Story (MK Production)

MIPTV PREVIEW • 44 • March 2018


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NPO SALES NPO SALES, the international sales department of Dutch Public Broadcaster NPO, is highlighting a coming-of-age film in Cannes. Deaf Child is a film by Alex de Ronde in which he portrays the life of his son, a charismatic young deaf man. The film follows Tobias from the cradle to the present day through archive material and other personal footage.

Deaf Child (NPO Sales)

FEDERATION ENTERTAINMENT ONE NIGHT (10 x 26 mins) is a romantic dramedy produced by Via Film, a producer based in LA and Oslo, for NRK (Norway). Made by the creative team behind DAG and Lilyhammer, One Night is about a blind date, filmed in real time from 20.00 to 01.00. Elisabeth and Jonas, each bruised by past relationships, spend their date discovering each other. Two versions are available, in English and Norwegian. Also on the slate is tween series Find Me In Paris, about a ballet dancer in 1905 who is transported to 21st-century Paris. While her boyfriend struggles to bring her back to 1905 she tries to fit into her new world.

One Night (Federation Entertainment)

LAGARDERE STUDIOS DISTRIBUTION ON THE drama slate from France’s Lagardere Studios are: Tandem (24 x 52 mins), about a criminal investigations unit in Montpellier run by a couple who have recently divorced; and Ad Vitam (6 x 52 mins), which follows the story of a chilling discovery of seven dead young bodies, resulting in a race against time and death. Tandem (Lagardere Studios Distribution)

PASSION DISTRIBUTION NEW PROGRAMMING brought to Cannes by the UK’s Passion Distribution includes Where To I Do (8 x 30 mins), a wedding series focusing on locations. Hosted by design and property expert Tommy Smythe, the series takes engaged couples on a tour of three completely different spaces, looking at the best options which are brought to life in a glossy 3D graphic to help them decide. Factual titles include: Car Vs. America (12 x 30 mins), following two car-obsessed hosts as they travel on an epic road trip exploring modern American car culture; and Bad Teen To Ballroom Queen (6 x 60 mins), which sees a group of unruly youngsters given a crash course in ballroom dancing over a period of 30 days.

Where To I Do (Passion Distribution)

XILAM ANIMATION

BLUE ANT MEDIA LOOK Mom! Productions, Blue Ant Media’s Toronto-based animation studio has begun production on Gary & His Demons (16 x 11 mins). The comedy centres around 45-year-old Gary who has just chased his final demon before his long-overdue retirement. But he discovers that his boss has again failed to find his replacement and Gary will be forced to keep fighting demons for eternity. The series is produced with LA-based Mondo and is set to premiere on Mondo’s’s channel on VRV in early 2018. Look Mom!, which launched late 2017, also highlights two new kids’ series; Toy Hunters (26 x 11 mins) and Cloudface (26 x 11 mins).

XILAM Animation is launching the third season of Zig & Sharko (78 x 7 mins) at MIPTV. This series brings the total number of episodes to 234. Season three sees a change of scene for Zig & Sharko, with the slapstick comedy now taking place on a boat. Marina wants to travel the world and the whole gang boards a luxury ocean liner. The series currently airs in 150 territories and has almost 900,000 subscribers on YouTube.

Gary & His Demons (Blue Ant Media)

MIPTV PREVIEW • 46 • March 2018

Zig & Sharko (Xilam Animation)


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GAUMONT

RED ARROW STUDIOS INTERNATIONAL

GAUMONT is debuting Nox (6 x 60 mins), a Canal+ Creation Originale at MIPTV, a thriller set in the tunnels beneath Paris. Catherine (Nathalie Baye) is a retired cop who is forced back into action when her daughter Julie (Maiwenn), also a cop, disappears into the Paris sewers. Along with the help of her daughter’s police partner (Malik Zidi), Catherine is in a race against time to investigate in the terrifying maze. Gaumont is co-distributing the series with Studiocanal, and will handle distribution in the US, Canada, Latin America and Asia.

RED ARROW Studios International’s scripted slate includes new comedy Squinters (6 x 30 mins), which celebrates the ritual of the daily commute. The series’ cast includes Jacki Weaver and performer/composer Tim Minchin. The fourth season of Amazon crime drama Bosch (10 x 60 mins) is also on the slate, based on Michael Connelly’s books about LA homicide detective Harry Bosch.

Nox (Gaumont)

MILIMAGES THE THIRD season of Molang (52 x 3.30 mins/ 9 x 7 mins specials) is brought to Cannes by France’s Milimages. Molang has been sold to over 220 territories and master toy licensee Tomy has recently launched products in Europe, Australia and New Zealand. Another highlight — in production — is Louie & Yoko Build (78 x 7 mins). With the magic toolbox Louie and Yoko can build anything their friends need. Molang (Milimages)

Squinters (Red Arrow Studios International)

MEDIA CARAVAN CHINA’s Media Caravan is highlighting two titles at MIPTV. Period drama The Longest Day In Chang’an (60 x 45 mins), adapted from a best-selling book, is a multi-layered story over the course of 24 hours. In A.D. 744, a group of invaders plans to launch a fire attack on the ancient capital of imperial China. Lee, the head of the Imperial Guard, realises that he has only 24 hours to protect Chang’an. He teams up with Zhang, a deathrow prisoner, but he is drawn into a whirlpool of conspiracy, assassination, kidnapping and treason. The second season of Medical Examiner Qin: The Scavenger Game (20 x 30 mins), sees Dr. Qin and his team at work, not realising that they are being watched by a serial killer.

PORTFOLIO ENTERTAINMENT PORTFOLIO comes to MIPTV with a slate of pre-school, reality and lifestyle series. The kids catalogue features two new animated series, Addison (50 x 11 mins), about a young female inventor, and Bubu And The Little Owls (26 x 11 mins/13 x 30 mins). Other priorities include: kids’ series Cyberchase (114 x 30 mins); cooking series Fast Indian Cooking With Sapna (6 x 30 mins), Sailing Chef (30 x 30 mins) and Cafe Maria (30 x 30 mins); millennial-geared reality series The Gig Guys (6 x 30 mins); Small Town Big Mayor (10 x 30 mins); kids’ factual series Do You Know (25 x 15 mins); and the new season of The Cat In The Hat Knows A Lot About That! (20 x 30 mins/40 x 15 mins). Addison (Portfolio Entertainment)

The Longest Day In Chang’an (Media Caravan)

ZODIAK KIDS ZODIAK Kids presents live-action series Joe All Alone (4 x 30 mins) at MIPTV. Joe is 13 and is left at home when his mum and her boyfriend go on holiday. Abandoned, Joe makes an unlikely friend, a girl called Asha. Then he discovers a sealed bag lodged in a toilet with £20,000 inside it and his troubles and adventures really begin.

MIPTV PREVIEW • 48 • March 2018


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GRIPPING UNCONVENTIONAL

GLOBAL SCREEN

HIGHLIGHT SERIES AT MIPTV 2018

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A FILM BY DOMINIK GRAF

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20.02.18 09:40


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CBS STUDIOS INTERNATIONAL

CINEXPORT

SCRIPTED content brought to Cannes by CBS includes: Instinct (13 x 60 mins), starring Alan Cumming as a former CIA operative who is lured back to his old life when the NYPD needs his help to stop a serial killer; military drama Seal Team (22 x 60 mins); family comedy 9JKL (16 x 30 mins), about a newly divorced actor living in New York in an apartment between his meddlesome parents on one side and his brother, sister-in-law and their new baby on the other; prison-break drama Escape At Dannemora (8 x 60 mins); dark science-fiction period drama Strange Angel (10 x 60 mins); mystery thriller $1; The Twilight Zone; and psychological thriller Tell Me A Story.

FEATURE films brought to Cannes by Paris-based Cinexport include: Cache Cache/Hide And Seek (1 x 77 mins/HD), about five friends who take a break together in a country house; Les Etoiles Restantes/The Ones Who Stay (1 x 80 mins/HD), about Alexandre, a somewhat lost thirty-something whose life changes when he meets Marion; La Legende/ The Legend (1 x 83 mins/HD), about a top basketball player; and documentary Copable D’Innocence/Guilty By Innocence (1 x 94 mins/HD).

GLOBO GLOBO’s new series The Formula (8 x 30 mins) follows a scientist, who after discovering the elixir of youth, tests the formula on herself, with each dose making her 30 years younger. Switching between her current persona and the younger one, she becomes her own rival for the affections of a man. The Brazilian distributor also brings telenovela Edge Of Desire (160 x 60 mins), about three strongwilled women who have one thing in common — the tenacity to fight for what they want.

Cache Cache (Cinexport)

GLOBAL SCREEN

The Formula (Globo)

ENDEAVOR CONTENT US COMPANY Endeavour Content is highlighting new series Killing Eve at MIPTV, based on novellas by Luke Jennings. Eve is a bored, whip-smart, MI5 security officer whose desk-bound job doesn’t fulfill her fantasies about being a spy. Villanelle is a mercurial, talented killer who clings to the luxuries her violent job affords her. Killing Eve follows these two fiercely intelligent women, equally obsessed with each other, as they go head-to-head in a game of cat and mouse.

BURIED Truth (6 x 60 mins) is brought to Cannes by Munich-based distributor Global Screen. A Swiss mountain village winds up in the international spotlight when the daughter of a rich Arab investor disappears just before a controversial new vacation resort begins construction. Local cop Rosa Wilder has to solve the case, unearthing a dark secret that the village has been hiding for years — and which has more to do with Rosa’s own history than she realises.

Buried Truth (Global Screen)

INCENDO CANADIAN producer and distributor Incendo’s priorities for MIPTV include: drama series in development Los Juniors, Echo and The Edge; and TV movies Second Opinion, The Queen of Sin and Twisted. Incendo works under its joint venture with 20th Century Fox International Television (Fox/Incendo), and also handles theatrical distribution in Quebec for Paramount Pictures.

Killing Eve (Endeavor Content)

Twisted (Incendo)

MIPTV PREVIEW • 50 • March 2018


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BEJUBA! ENTERTAINMENT

ENTERTAINMENT ONE (EONE)

BEJUBA! Entertainment and Koko Rose Media have partnered with Canadian studio Yeti Farm (Little Charmers, Camp Lakebottom, Beat Bugs, Max & Ruby), and writer and producer Scott Cameron, on pre-school series, Flora Of The Forest (52 x 11 mins). Seven-year-old Flora lives in a treehouse with her scientist mother. Flora’s enthusiasm to explore — with the help of her furry friends, her handy goggles and ever-present journal — earns her the title of citizen scientist and journalist. Flora Of The Forest (Bejuba! Entertainment)

EONE returns to MIPTV with a new animation series, Cupcake & Dino: General Services (52 x 11 mins), aimed at six- to 12-year-olds. Produced by eOne and Birdo Studio in Brazil, in collaboration with Netflix, Teletoon and Disney, the series is slated to roll out from later this year on Teletoon in Canada and Disney Channels Latin America, and will debut as a Netflix Original on the streaming service’s global platform. The unlikely duo — a tiny cupcake with big brains and a Napoleon complex and his giant, energetic dinosaur younger brother — strive to make a name for themselves in business. Other titles on offer include: the eighth season of Peppa Pig (117 x 5 mins); and two seasons of 52 x 11 Cupcake & Dino: General Services mins series PJ Masks. (eOne)

GLOBAL GENESIS GROUP US DISTRIBUTOR Global Genesis is highlighting two of its MIPTV titles: Action Mice is an animation series that follows Whiskers, Quartermaster, Chunk, Pika and Silhouette, part of a specialised military task force of battle-hardened mice who combat the onslaught of Baron and Lady Mustafa and their elite Iron Weasels. In contrast comes Men & Motors, a series reboot in which hosts Shane Lynch and Torie Campbell present cars, stunts and new technology delivered from a mobile studio in various locations in North America Action Mice (Global Genesis Group) and around the world.

KEW MEDIA GROUP KEW MEDIA Group launches the second season of comedy drama Can’t Cope, Won’t Cope (6 x 30 mins) at MIPTV, from Deadpan Pictures. Season two sees Aisling and Danielle continuing to navigate the perilous waters of adulthood. Aisling has a job in a local financial establishment, but she throws in the towel at the first signs of trouble. Meanwhile in Vancouver, Danielle is really struggling despite having her wish come true — life in Canada with more art and less Aisling. Season two gives Aisling and Danielle all of the opportunities to get where they want to go, if only they could make better decisions.

MAGNIFY MEDIA THE UK’s Magnify Media brings multi-platform crime mystery Where Is Thea? to Cannes, originally produced for NRK in Norway. Liv and Thea are best friends and when Thea suddenly disappears Liv tries to find her. She uses social media and the internet to try and find her and publishes everything she does and finds online so that the public can help find her friend. But as she searches for Thea she rapidly realises it’s not just a question of where Thea is, but who Where Is Thea? (Magnify Media) she really is.

Can’t Cope, Won’t Cope (Kew Media Group)

STUDIO HAMBURG ENTERPRISES IN CANNES Studio Hamburg Enterprises is launching two new episodes of the series Vera – First Aid From Berlin (5 x 90 mins), as well as the first two episodes of the new edgy 90-minute mini-series Borderland, from Polyphon Pictures, which features the cross-border Franco-German police forces in the Alsace area.

MIPTV PREVIEW • 51 • March 2018


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TM INTERNATIONAL

9 STORY MEDIA GROUP

THE NAME Of The Rose is the series adaptation of Umberto Eco’s best-selling novel, brought to Cannes by Germany’s TM International. Set in 1327 Italy, the Franciscan monk William of Baskerville and his apprentice Adso of Melk arrive at a secluded monastery in the Alps, where they become witnesses of a series of mysterious murders. While Baskerville and Adso are investigating and searching for the killer, the Pope orders merciless inquisitor Bernard Gui to destroy the Order of St Francis.

TWO NEW series from Canada’s 9 Story are presented in Cannes. Luna Around the World (working title, 78 x 11 mins/1 x 44 mins) follows three friends — Leo, a wombat from Australia; Carmen, a butterfly from Mexico; and Andy, a frog from the US — as they traverse the globe with their parents’ traveling troupe, Circo Fabuloso. At each of the Circo’s stops, their trusted guide Luna the moon, leads the trio as they experience the local language, music and daily life. Luo Bao Bei (52 x 11 mins) features a spirited sevenyear-old girl with a vivid imagination, on a quest to understand the world. Luna Around The World (9 Story Media Group)

ARTE SALES

Proud (ARTE Sales)

SET IN 1981, when homosexuality was illegal in France, Proud (3 x 52 mins) tells the story of three generations of the same family in a story of tolerance and a portrait of changing times. The cast includes Samuel Thies (Call my Agent! Party Girl), Frederic Pierrot (Polisse, The Returned), Stanislas Nordey (A French Village), Emmanuelle Bercot (Polisse, My King), Chiara Mastroïani (Persepolis, Love songs) and Sophie Quinton (Who Killed Bambi?).

ENDEMOL SHINE INTERNATIONAL THE MIPTV slate for Endemol Shine includes: new comedy Action Team (6 x 30 mins), a spoof spy series following a top-secret team of agents working for the British government; Troy: Fall Of A City (8 x 60 mins), a dramatic retelling of the Trojan War; drama series Harem (8 x 60 mins), inspired by cults in Israel, including one led by a mystic with 32 wives and 89 children; La Catedral Del Mar (8 x 60 mins), set in 14-century Barcelona, a story of revenge, love and betrayal; factual series Surgeons: At The Edge Of Life (3 x 60 mins), filmed at the Queen Elizabeth Hospital Birmingham; and Britain’s Best Cook (8 x 60 mins).

Troy: Fall Of A City (Endemol Shine International)

KESHET INTERNATIONAL (KI) AT MIPTV KI is showcasing a new drama co-production with Belgian producer, De Mensen. Diamonds, a Flemish-, English- and French-speaking project focuses on the ultra-orthodox Jewish Wagner family who work in the diamond industry. When their youngest son commits suicide his long-estranged brother, Noah, who has abandoned the orthodox life, returns from America. He learns that his supposedly successful family is in fact on the brink of collapse. A shady deal and has been made in a lastditch fight for survival, and Noah decides to take charge and fix things his own way. As a result he is forced deep into the dark criminal underbelly of the diamond trade.

THE JIM HENSON COMPANY BASED on the children’s book by Randi Zuckerberg and produced by Industrial Brothers in association with The Jim Henson Company and the Canadian Broadcasting Corporation (CBC), a new season of Dot. (26 x 11 mins) is showcased in Cannes. Targeted at children four- to seven-yearsold, Dot satisfies her imagination, curiosity and latest passion with her dog and friends, and uses any tool or technology that will help enhance their play.

Dot. (The Jim Henson Company)

MIPTV PREVIEW • 52 • March 2018


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product news

FOOTHILL ENTERTAINMENT

ATRESMEDIA TELEVISION

SLIME Rangers (52 x 11 mins) is a new comedy, a co-production from Splash Entertainment and Foothill Entertainment, debuting with a teaser at MIPTV. The series features Dylan with his robotic armadillo, Tracker, and pals, Ricky and Amber working for a top secret alien-fighting organisation called the Slime Rangers who fight a disgusting band of slimy aliens committed to an all-out Slime Rangers (Foothill Entertainment) toxic invasion of Earth.

COMEDY series Cuerpo De Elite/Heroes Wanted features secret special operations group formed by members of different police bodies in the 1970s to protect the country. The new agents are a Catalonian policeman, an action-seeking mother, a member of the bomb squad, a very religious policeman and a thief who pretends to be an officer. The Spanish distributor also brings a series featuring travelling journalist and commentator Jalis De La Serna.

NEWEN DISTRIBUTION A HIGHLIGHT for France’s Newen is thriller series from TF1, Tomorrow Is Ours (75 x 26 mins), in which, after an explosion in a marina, a mother searches for her missing son and copes with her amnesiac sister as they wrestle with romance, family secrets, rival clans and police inquiries. Fox Networks Group has picked up the series, which was pre-sold to RTBF in Belgium and RTS in Switzerland.

Cuerpo De Elite/Heroes Wanted (Atresmedia Television)

PLAYGROUND

Tomorrow Is Ours (Newen Distribution)

ALL3MEDIA INTERNATIONAL

© The Forge and all3media international

ALL3MEDIA international is set to debut a number of drama titles at MIPTV 2018. Sarah Lancashire (Happy Valley) stars in the latest Jack Thorne-written drama, Kiri, a powerful series for Channel 4 and Hulu which examines the abduction and death of a young girl during her adoption process. Another highlight is six-part thriller Mystery Road, which stars Australian actress Judy Davies as smart local cop who brings in an outside detective to help investigate the disappearance of two young cattlemen. Reality programming includes: Monty Don’s Paradise Gardens (2 x 60 mins), looking at what marks out a garden in the Islamic world and the influence this has had on gardens closer to home; and Flatpack Empire (3 x 60 mins), which reveals the micro and macro workings of the Swedish global success story. Kiri (all3media international)

WHEN accusations of fake news are levelled against an American photojournalist, he tries to discover the truth behind the iconic image that launched his career nearly 30 years ago. This is the premise of new drama series Chimerica (4 x 60 mins), produced by Playground and commissioned by the UK’s Channel 4. Based on Lucy Kirkwood’s stage play, Chimerica is set against the run-up to the 2016 US Presidential election, the original play has been updated to reflect the political changes of the last two years, and the series will bring into focus vital issues such as fake news, political protest, the battle between present and future superpowers, the future of democracy itself, and our growing ease with the manipulation of fact and image.

TEAMTO MY KNIGHT And Me, from producer TeamTO, is a medieval comedy series, aimed at 6- to 11-year-olds, which follows the adventures of a charismatic trio of knights as they battle witches, dragons and giants.

My Knight And Me (TeamTO)

MIPTV PREVIEW • 54 • March 2018


M

Y

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product news

THE INK FACTORY

3BOXMEDIA INTERNATIONAL SALES

THE LITTLE Drummer Girl is a new six-part series financed and produced by The Ink Factory in partnership with 127 Wall, and in co-production with the BBC and AMC. Based on the best-selling novel of the same name by John le Carre and set in the 1970s, the story concerns a young actress who strikes up an acquaintance with an intriguing stranger while on holiday in Greece, but it rapidly becomes apparent that his intentions are far from romantic. The man is an Israeli intelligence officer, who entangles her in a complex plot orchestrated by an Israeli spymaster. The cast includes Michael Shannon, Florence Pugh and Alexander Skarsgard.

SPANISH-German distributior 3Boxmedia presents the third season of Maraton Man in Cannes. Produced by Movistar +, the series follows Raul Gomez, a compulsive runner, as he travels the world looking for the most curious, hard and extreme races. Countries featured include Costa Rica, Nepal, Morocco, Ethiopia, Peru and the Canary Islands. Maraton Man (3Boxmedia International Sales)

WILD BUNCH TV FRANCE- and German-based Wild Bunch TV, in partnership with Zwart Arbeid, brings The Oil Fund to MIPTV, an edgy drama that takes an insider look at the colliding worlds of high finance and public service. Per Grepp, a deeply flawed Norwegian financial genius, puts his country’s monetary — and moral — stability at risk when his performance figures drop. Created by Hollywood-based Norwegian director Harald Zwart, this dramedy highlights the complexity of balancing money-making with social responsibility.

COTE OUEST

© Zwart Arbeid

TOPPING the MIPTV slate for Ivory Coast-based Cote Ouest are: an English-language version of Hospital I.T., a dramedy that features stories which highlight the use of modern and traditional medicine against the backdrop of an unfolding love story; 40 & Single, a 13-episode series based in Accra, Ghana, about a successful entrepreneur in her late thirties who runs a lucrative fashion design outfit specialised in bridal gowns. She vows to never marry anyone, but being nearly 40 and single is not easy, especially when Mr Right knocks at the door; and 14-episode 21, a coming of age story about the daughter of a powerful businessman who has to navigate a cutthroat environment of jealousy, treason and money.

The Oil Fund (Wild Bunch TV)

BETA FILM BETA Film is partnering with ORF, RTL Crime and Superfilm on a new six-hour series version of Fritz Lang’s 1931 classic thriller M For Murder, starring Moritz Bleibtreu, Lars Eidinger and Udo Kiehr. Set in Vienna in the dead of winter, a series of children disappear, and then their bodies begin to turn up. The police fail to make progress, which becomes a feast for the tabloids and spurs political issues. Then an ambitious Minister of the Interior and elements of the criminal underworld step in to find the child murderer. Beta Film is handling world sales.

FREMANTLEMEDIA/UFA FICTION FILM director and screenwriter Michael Haneke is teaming up with FremantleMedia’s UFA Fiction to create his first TV series, Kelvin’s Book, which will be an English-language, 10-part series about a group of young people in a not-too-distant dystopian future.

Hospital I.T. (Cote Ouest)

NOTTINGHAM FOREST SPAIN’s Nottingham Forest returns to MIPTV as the licensing, merchandising and promotion agent for Saban Brand’s Power Rangers in Spain and Portugal. Power Rangers Ninja Steel currently airs on Neox Kidz in Spain and SIC is the Portuguese broadcaster. The brand is celebrating its 25th anniversary in 2018 with year-long consumer events, promotions and partnerships.

MIPTV PREVIEW • 56 • March 2018


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FEATURE: SHORT-FORM SERIES

10-minute fantasy adventure series Ren: The Girl With The Mark

Short-form

gets

serious MIPTV PREVIEW • 58 • March 2018


H

Short-form is getting serious. With more outlets for short-form video than ever before, the market is treating the format with new respect. But is short-form really an art-form? And is the true measure of short-form success a long-form reincarnation? Juliana Koranteng reports

IGH-end drama and other long-form fiction formats have been dominating the international TV business for so long that we could be forgiven for failing to notice the explosion of scripted content in the short-form format. That upsurge owes a great deal to the eruption of over-the-top (OTT) streaming services, the extensive reach of social media and messaging apps, and the ubiquity of smartphones and other mobile devices. All this is providing scripted-content creators more outlets for the lowbudget but high-quality one-minute shows that are increasingly delivering viewers — especially millennials and Gen Zeds — with the same impact in terms of entertainment as traditional onehour programmes. And the fluidity that comes with short-form productions is also giving producers more creative freedom, says Claire McArdle, vice-president of multiplatform at Comedy Central International, part of Viacom International Media Networks (VIMN). “Short-form is definitely more flexible. You’re able to be more agile compared to a scripted one-hour drama. And we can also see how an audience reacts to it almost immediately. Shortform is always evolving, because what the social-media platforms are favouring can influence what’s trendy, so it’s vital to be aware of how audience behaviour is changing.” Comedy Central’s short-form comedy dramas are aimed at 16to 30-year-olds. Examples include Bad Snappers, a one-minute series about two young women who unrealistically try to relive their activities on social media in the real world. It is available on Comedy Central’s website and YouTube. With VIMN in more than 180 countries, Comedy Central International has had to handle

MIPTV PREVIEW • 59 • March 2018

the challenge of making humour register with audiences across many countries and cultures. “Comedy can be difficult to translate, so I’m looking for something that will travel — relatable content that requires minimum localisation,” McArdle says. “We roll a show out in two to three territories first before rolling it out further. If it is from the UK, it will go to other English-speaking territories. If a show performs well on Facebook, we know it will travel far. And these days, subtitling is standard on Facebook. If one of our territories has produced something local that is doing well, we can help promote it.” Studio+, a subsidiary of French media conglomerate Vivendi and sister company to the Canal+ pay-TV giant, is on a mission to serve premium original shorts to a global audience. Available via a dedicated mobile app, Studio+ is currently in France, Italy, the US and Latin America, with more countries joining the roster this year. Two of Studio+’s 35-plus short scripted series produced since 2016 have already been nominated for the International Emmy Awards: Brazilian thriller Crime Time and Argentine road adventure movie Out There. Aline Marrache-Tesseraud, senior vice-president of international acquisitions for the Canal+ Group, Vivendi Content and Studio+, suggests that one reason why short-form is growing so fast is “a weariness” with traditional formats, rather than a desire for immediate digital consumption. “Content that is snackable anytime, anywhere is answering the demands of a new generation constantly on the move, which is not easy to do with traditional fiction,” she adds. Like Studio+, Colombia-based commercial broadcaster Caracol Television started investing


FEATURE: SHORT-FORM SERIES attention against a new kind of content, such as those videos being made by YouTubers or ‘Instagrammers’.” Furthermore, Liberini adds, the quality of user-generated content is soaring: “A world of ‘prosumers’ — people who not only consume video content but also produce or actively participate in it, and interact with the story — is creating new challenges in the way projects are being made.”

Marcelo Liberini:

Bad Snappers, available on Comedy Central’s website and YouTube

in quality original short-form in 2016. And its 70-plus shows, mostly on Facebook and YouTube, are delivering more than 500 million monthly views in total. As the reach of the social-media platforms grows, drama producers have had to accept the changes in audience behaviour that come with it, says

Marcelo Liberini, Caracol Television’s vice-president of digital. “Content producers have had to adapt to new realities, from storytelling to visual techniques, from distribution to monetisation, from audience development to consumer attraction,” he adds. “Professional productions are competing for

“’Prosumers’ — people who not only consume video content but also produce or actively participate in it — are creating new challenges in the way projects are being made”

Brazilian thriller Crime Time

MIPTV PREVIEW • 60 • March 2018

Caracol Television and its web-series subsidiary Shock are gaining fame for creating award-winning shows. These include current-affairs magazine Incorregibles and music-entertainment videos Pico: La Maquina Musical Del Caribe and Salsa Shocke (co-produced with Dynamo), as well as acclaimed comedy drama Pasada De Moda (The Old-Fashioned Way). In Australia, Cobbstar Productions has been targeting the international market with a portfolio of acclaimed shorts since 2009. Its award-winning 8 x 10 mins drama series The Horizon has been described as the “most-watched gay web series in the world”. Now in its eighth season, The Horizon’s dedicated YouTube channel has more than 139,000 subscribers and has recorded almost 60 million views. New on Cobbstar’s slate is Patricia Moore, a 10 x 10 mins digital horror series set in Australia’s rural and Outback regions. It is a co-production with Black Sheep Film and Blackpills, the fast-growing streaming-video


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FEATURE: SHORT-FORM SERIES app the focuses on short-form scripted content. “Millennials are hungry for high-level production values, great acting and well-developed stories. These factors have played a major role in the recent short-form digital-series explosion,” says Brian Cobb, Cobbstar’s owner and executive producer. “This has forced short-format storytellers to rise with the audience and this has now been matched by production investment from platforms that are progressive and forward-thinking.”

Brian Cobb:

“Millennials are hungry for highlevel production values, great acting and welldeveloped stories. These factors have played a major role in the short-form explosion”

The number of platforms committing to short-form videos is also expanding. In addition to YouTube, Studio+ and France’s Blackpills, which was co-founded by Daniel Marhely, also a co-founder of streaming-music service Deezer, other outlets for short-form web series and digital entertainment include go90, the mobile-first platform launched by Verizon, the US telecoms giant. NBCUniversal (NBCU), meanwhile, has partnered with ephemeral-messaging app group Snap to create original scripted shorts for Snapchat users. And Jeffrey Katzenberg, former Walt Disney Studios CEO and co-founder of Hollywood production juggernauts DreamWorks and DreamWorks Animation, has nabbed $600m from investors to build a mobile-first original short-form studio via holding company WndrCo. Called NewTV, the studio is hoping to amass $2bn to invest in premium short-form series, which Katzenberg believes are an inevitable part of screen entertainment’s future. To feed the studio, WndrCo is also investing in original web-content produc-

Rollem Productions’ innovative 10-minute drama series Overshadowed

Emmy winner The Braun Family

ers such as The Young Turks, the digital studio and channel that started life as a YouTube multichannel network (MCN). Even DreamWorks Animation has unveiled a new division called DreamWorks Shorts to produce original small videos to screen at cinemas before its main features begin. The opportunities for distributing shorts direct to consumers is multiplying. Social-media behemoth Facebook has launched Watch, its own video-sharing service and has started to commission original shorts from the likes of 45th & Dean, a shortform studio belonging to US TV giant A+E Networks. Like Facebook, iPhone maker Apple has pledged $1bn-plus for the creation of original content for its mobile devices. Even Spotify, the world’s biggest streaming-music platform, has added music videos and original video content to its service. It recently announced plans to add visuals, including videos, to the podcasts that it distributes. Then there are the streaming-TV market leaders Netflix and Amazon, which also have plenty of room to air short-form videos — as do the streaming units belonging to the traditional TV broadcasters. For

MIPTV PREVIEW • 62 • March 2018

example, BBC Three, the online platform operated by the UK public broadcaster and targeted at young viewers, commissions numerous original shorts, including Rollem Productions’ innovative 10-minute drama series Overshadowed. Via a series of vlogs presented by the young protagonist, Imogen, viewers watch the life of a once bubbly teenage girl descend to near death as she develops anorexia. Overshadowed has been praised for its realistically bold portrayal of a much-misunderstood medical condition. “We treat short-form exactly the way we do long-form on BBC Three in terms of quality and production standards,” says Max Gogarty, BBC Three’s executive editor. That automatic expectation of high standards is becoming universal. They can be found in The Braun Family, an eightpart mini-series that won the Short-Form Series category in the 2017 International Emmy Awards. It was made by Germany’s Polyphon. Meanwhile, UK-based multiple-awards winner Mythica Entertainment has seen its 10-minute mediaeval fantasy-adventure series, Ren: The Girl With The Mark, being compared to HBO’s Game Of Thrones. These achievements have


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“Father Ted meets The Inbetweeners” IRISH WORLD

CHANNEL 4’S MOST POPULAR COMEDY LAUNCH SINCE 2004

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FEATURE: SHORT-FORM SERIES on to the web because there are three generations of TV viewers who have mobile devices and PCs, and are watching TV in a different way,” says Joel Bassaget, Paris-based consultant for digital and short-form content at Web Series Mag. “Therefore, TV has to go to the web. Shortform is not necessarily the future of TV, but it is certainly the sidekick. But to connect with this generation, it has to be on the web.”

Absolutely Fine, starring UK comedian and actor Tom Rosenthal

inspired high-profile media companies to invest more money and time in shortform as part of their ambitions to expand their interests in scripted content. Conde Nast Entertainment (CNE), an in-house production studio at the print-media conglomerate that publishes Vogue and Vanity Fair magazines, has been investing in feature films tied to its published articles, for example Only The Brave, the 2017 action drama starring Hollywood stars Josh Brolin and Jeff Bridges. However, sixyear-old CNE has also built up a repertoire of more than 5,000 shorts designed for digital distribution. Warner Bros. Television launched Blue Ribbon Content to develop, produce and distribute original live-action shorts for digital platforms. Among the US-based streaming platforms that have purchased its works are go90, YouTube Red, CW Seed and multiplatform network Machinima. Blue Ribbon’s titles include Now We’re Talking, a live-action comedy set in the world of

sports broadcasting. Among its new commissions is Good Girls Get High, a digital short feature film; and scripted comedy Golden Revenge, set in the world of animals and pets. The latter is co-produced by Conaco, owned by US chat-show host Conan O’Brien, for Verizon. Blue Ribbon is also working with Los Angeles-based Abominable Pictures to adapt Critters, the 1986 cult sci-fi cinema box-office hit, into a digital short-form series called Critters: A New Binge, also for Verizon. Despite being one of the US’ biggest TV-network operators, US-Hispanic broadcaster Univision Communications has launched Univision Creator Network, a YouTube MCN, to host video clips based on its existing linear-TV programmes and, now, original, shareable short-form shows. Although its first two originals, Que Crees? (What Do You Think?) and La Polemica (The Controversy) are factual, the move is a reflection of the confidence that the major media-owners are placing in short-form content. “Now, broadcasters want to go

There had been a suspicion that short-form shows, web series and digital videos are just experiments by an overcrowded TV sector to test material for longform productions. In some cases, that is true. Blue Ribbon’s short-form show 10-minute mediaeval fantasy adventure has been expanded into traditional half-hour episodes for its second season. Likewise, Broad City, the popular half-hour comedy series on Comedy Central, now entering its fifth season, which began life as four-to-fiveminute web episodes. Studio+’s Marrache-Tesseraud argues that, while shortform should be treated as an independent format in its own right, knowing that long-form versions are possible is good for business. “We are working on the possible strategy of complementing short-form and long-form right now,” she says. “As an illustration, we recently inked a deal with Gaumont International Television, which will act as the sales agent in the Americas and Asia for some of our short-form original series, re-edited into long form.” Aspiring filmmakers should definitely see short-form as a conduit to the world of onehour dramas and films, adds Cobbstar’s Cobb: “Short films were and still are an entry point for filmmakers to prove they

MIPTV PREVIEW • 64 • March 2018

have talent. But my advice to emerging content creators is to think big and produce a short film that is actually the first episode of an on-going short-form series. This kills two birds with one stone: it displays the talent of the creative team while it doubling as a pilot to pitch for further development, with the ultimate goal of having the series commissioned.” However, Comedy Central’s McArdle argues that short-form productions require special kills, whatever the ultimate goal. “If something’s going to be watched on a smartphone, don’t put 20 people in one scene. Also, the narrative arch matters,” she advises.

Claire McArdle:

“If something’s going to be watched on a smartphone, don’t put 20 people in one scene” Referencing Absolutely Fine, starring UK comedian and actor Tom Rosenthal, McArdle adds: “The show had a loose narrative arch, but you can also watch each episode on its own. The narrative has to be clear from the very first few seconds, so that the audience doesn’t move on.” Being distributed digitally, shortform also gathers data that can be mined to help with future strategies, McArdle adds: “The first series of Absolutely Fine, comprising five episodes, did very well, so we could commission a second series. We knew the audience, how to reach them and which episode was most popular. You are able to look at that data, which makes it easier to have a dialogue with the audience for future ideas.”


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MIPTV 2018

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FEATURE: NEXT-GEN STUDIOS

New Form’s Mr Student Body President

They’ve

all

grown up

T

HE YOUTUBE multichannel network (MCN) has moved on to become a multiplatform network (MPN) attached to a dedicated studio that produces original premium long- and short-form digital content. In the five years before 2016, YouTube MCNs had become major brands in their own right.

Maker Studios, Fullscreen, New Form Digital, Machinima and AwesomenessTV were among the many MCNs creating entertainment for young viewers and using YouTube to generate billions of views for advertisers. Some were niche services aimed at Spanish-speaking consumers (such as US-based MiTu). Others specialised in comedy (USbased My Damn Channel) and

Five years ago, MCNs were the hottest ticket in town. Today, most multichannel networks have evolved into studios, are increasingly platformagnostic and don’t want to be called ‘digital’ any more. But it would be a mistake to think MCNs are dead, Juliana Koranteng writes — they’ve just grown up

satirical news (TYT Network). Vevo and The Orchard did not start out intending to be YouTube MCNs, but their music-industry heritage meant music videos and related content were perfect for the Google-owned video-sharing platform. Now, after a decade of entertaining millennials via thousands of hosts and influencers presenting shows on thousands of

MIPTV PREVIEW • 67 • March 2018

YouTube channels, a metamorphosis has taken place. “There’s a vast difference between what used to be called an MCN and what’s happening now. Now, it’s the convergence of the different startup companies to create digital-first studios,” says Fernando Szew, CEO of US-based film, TV producer and distributor MarVista Entertainment, which has also invested in dig-


FEATURE: NEXT-GEN STUDIOS

MarVista’s Fernando Szew

ital networks NetworkBe, FAV! and soon-to-launch Cocina. “We feel a lot more comfortable compared to three years ago, because of the demand for content. The rise of social-media and digital-media platforms has made audience acquisition a priority, even for Facebook and Snapchat. They want professionally made content.”

New Form’s JC Cangilla

Vevo’s Kevin McGurn

“There’s a vast difference between what used to be called an MCN and what’s happening now. Now, it’s the convergence of startups to create digital-first studios”

illustrates how legacy media has helped drive the development of MCNs into MPNs. “We have evolved well beyond our earlier days on YouTube and have expanded our programming to be on every platform where gamers are viewing, including YouTube, Twitch, Facebook and Amazon Video Direct,” says Russell Arons, general manager of Machinima. “We also have a number of partnerships with direct-to-consumer platforms providing high-quality premium content, such as go90, Xumo, Watchable, PlayStation Vue, AMC in Spain, Portugal and Mexico, Studio+ in multiple international territories and Sohu.com in China.” New Machinima shows include the animation series Transformers: Titans Return, the most recent outing from the Transformers: Combiner Wars trilogy based on Hasbro’s action toys.

Machinima, which started as an MCN specialising in games-related content for young male viewers, is now a subsidiary of Hollywood studio Warner Bros. This also

New Form Digital changed its name to New Form in 2017 to establish its platform agnosticism. Owned by traditional media corporations Discovery Communications and ITV, and

Fernando Szew:

Divimove’s Philipp Bernecker

award-winning Hollywood executives Ron Howard and Brian Grazer, New Form shows can be found on a wide range of platforms, from CBS to Facebook’s new Watch service. JC Cangilla, New Form’s chief operating officer, argues that MCNs and their ilk are best placed to thrive in this new era of video distribution. “New Form saw the challenges of the MCN business early and set up the company as a content studio, which a few MCNs pivoted into,” he says. He adds that, although the business model underpinning MCNs has proved to be challenging, many of the “tools and practices” live on: “Learning about audience behaviour on these large platforms — YouTube, Facebook, Snapchat, Live.ly — optimising content specifically for platforms and helping creators grow their entertainment practices is something that the MCNs started and is alive and well.” Germany’s Divimove has made branded content core to its expertise as a ‘new-generation media company’. Its assignments for more than 250 international brands include

MIPTV PREVIEW • 68 • March 2018

ING Only Football, a branded channel for Dutch bank ING. “ING Only Football recently marked a milestone by surpassing 100,000 subscribers on YouTube and has become the Netherlands’ number-one branded channel,” says Philipp Bernecker, Divimove’s co-founder and chief marketing officer. Vevo, the multichannel digital service that hosts round-theclock music videos on YouTube and its own website, is jointly owned by major record labels Universal Music Group and Sony Music Entertainment. It reports 25 billion-plus monthly views for the videos and shareable original content that supports up-and-coming artists. But Vevo is accessible anywhere fans watch videos digitally. And YouTube — now also available as a paid-for streaming service via YouTube Red and linear pay-TV on YouTube TV — remains essential to the future growth of MCNs. “YouTube offers scale and reach through a huge global audience, and remains one of our most important partners in providing scale,” says Kevin McGurn, Vevo’s chief sales officer.


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Kako Kuwahara, managing director at Nippon TV, says her company is staking its international business on overseas partnerships. “The key strategy behind our international business is allocating talent and investing capital to take our scripted and non-scripted format sales to the next level,” she says via email. The goal is to become “the world’s leading content creator,” and that will take money, about 50 billion yen (US$450 million), she figures, in M&A activities. “Some of our creators will be attending this

“anone”

At MIPTV2017, the Kansai TV presented the world premiere of its action drama “CRISIS,” and while the company’s general manager for content business, Miho Okada, expressed surprise at the success of the screening, she never doubted its ability to spread Kansai TV’s brand to the world. “For us, the Asian market was promising, so we never thought about Europe,” Okada says during a recent interview. “Now we understand that quality transcends borders.” Kansai TV now plans to reach further afield to ramp up international sales. Part of Okada’s prior beliefs about the difficulty of selling Japanese content in Europe was based on Japan’s inbound tourist experience in the 80s and 90s. “Japan didn’t attract large numbers of international travelers back then,” she says. “But now many tourists are coming to appreciate the things we Japanese take for granted.” She

year’s MIPTV,” she says. “They will forge relationships with potential format co-development partners, particularly companies interested in our scripted formats, as well as those that will co-develop our non-scripted formats.” W hen pressed about specif ic projects, Kuwahara replied she is looking for a Turkish company to buy or co-develop Nippon TV’s scripted formats as a “stage” to showcase their dramas. “The success we had with ‘Mother’ made us realize how influential Turkey is when it comes to dramas.” Turkish TV remade another Nippon TV drama, “Woman,” which was the number one rated show in January and February, and Kuwahara believes the appeal can be extended to other territories. “’Mother’ also debuted in South Korea in January,” she adds. “And in China, another one of our hits, ‘Your Home Is My Business,’ about a real estate sales woman, is currently being prepared for localization.”

thinks the same could be true of Japanese content. Consequently, Kansai TV has committed to a booth at MIP/MIPCOM, and is welcoming “new global visitors” to their world at MIPTV. “First, we want to develop a completely new market,” she explains. “Using our experience in Asia as a base, we aim our sales efforts toward the Middle East and South America, with a long-term focus on North America.” Secondly, she hopes to increase scripted format sales in the area of original drama content. “I believe if localized Japanese dramas can earn a certain reputation, then our international audience will grow.” Kansai TV’s other objective is co-productions with foreign partners and new platforms. Last year, the company worked with Netflix on a 4K series called “Erased,” which was broadcast in over190 countries.

Nippon TV’s Kako Kuwahara

As for new scripted formats, Nippon TV will be presenting “anone” from the same creators as those for “Mother” and “Woman.” “anone” is about a girl cut off from society after losing her family. “It has a very strong message for global viewers,” says Kuwahara. She understands that it requires talent and energy to “keep our ever-growing worldwide audience entertained.” To that end, Nippon TV is prepared to go to great lengths to cover themes that are important to international viewers.

“And it’s not just dramas,” she adds. “But also variety shows and documentaries, from planning to execution.” The first thing to do is “understand the needs of local consumers, then develop content that can be supported by a global audience.” Kansai TV’s Miho Okada


FEATURE: NEXT-GEN STUDIOS Trailblazers: the Disney Digital Networks team

Where are they now? Original name: Alloy Digital Network (launched 2009) Country: US Name today: Defy Media First famous for: An offshoot of Alloy Entertainment, a book-publishing/TV-and-film production subsidiary of Warner Bros. Television, Alloy Digital Network was renamed Defy Media after it merged with rival Break Media. It gained a reputation for producing high-quality digital content aimed at millennials. Viacom, owner of the youth-oriented MTV network, snapped up a minority stake. Present status: Defy Media operates 10 digital channels packed with weekly and bi-weekly TV-like series that reach 800 million monthly views and have more than 65 million YouTube subscribers. It also owns an in-house research unit called Acumen, which examines young audience’s consumption habits. In 2016, it raised $70m to extend the reach of its YouTube channels.

Once upon a time they were small, young, pioneering startups. Did they survive? And if so what have they become?

Original name: AwesomenessTV (launched 2012) Country: US Name today: AwesomenessTV First famous for: The youth-focused service was among the first MCNs to get its original content on to the legacy TV networks, including Nickelodeon. It was bought by DreamWorks Animation and Hearst Corporation, owner of A+E Networks. Present status: It is co-owned by DreamWorks Animation, now a Comcast Corporation subsidiary, and Verizon Hearst Media Partners. AwesomenessTV describes itself as a multiplatform media company specialising in news, fashion, beauty, lifestyle and branded entertainment. It produces and sells both short- and long-form shows to traditional broadcasters and streaming platforms.

MIPTV PREVIEW • 71 • March 2018


FEATURE: NEXT-GEN STUDIOS Original name: Bigballs Media (launched 2006) Country: UK Name today: The Bigballs Media website automatically takes you to the Copa90 site First famous for: In 2008, Bigballs hit the headlines for making lonelygirl15, one of the first web series. It then hit the jackpot with Copa90, a YouTube channel launched in 2013 with content made ‘for football fans by football fans’. Present status: Major TV network owners Liberty Global and Time Warner have acquired interests in Bigballs. Copa90 says it works with more than 500 creators in 50-plus markets and counts 85 million monthly views on several platforms, including Snapchat and Facebook Messenger. In 2017, it started sealing deals to broadcast live football for the first time on its own streaming platform.

Original name: BroadbandTV (launched 2005) Country: Canada Name today: BroadbandTV First famous for: BroadbandTV (BBTV) was one of the first YouTube MCNs to realise it could also create original content and bespoke tech for broadcasters and other rights-owners needing digital videos to complement their media businesses. Music publisher BMG, The Huffington Post and FremantleMedia were among the first rights-holders to form such partnerships. Since then, Germany’s biggest broadcaster RTL Group has acquired a 51% stake in BBTV. Present status: In terms of combined audience views and reach, BBTV is one of the world’s biggest MCNs, with more than 22 billion monthly views. In January 2017, it expanded its global footprint and now operates in seven languages in 23 countries.

Original name: Culture Machine Media (launched 2013) Country: India Name today: Culture Machine Media First famous for: Culture Machine was one of the first YouTube MCNs to gain traction in India. Its founders, Sameer Pitalwalla and Venkat Prasad, used their combined experience working for The Walt Disney Company, Google and YouTube to create a offer that resonated with young viewers in India and the Indian diaspora. Present status: It addition to operating 715 YouTube channels for third parties (including Sony, Microsoft and P&G), Culture Machine also operates its own five channels in the Tamil and Telugu languages, with themes ranging from youth entertainment to lifestyle, food and comedy. It produces long-form shows and has distribution deals with Hike, the Indian mobile-messaging platform, and TV network Star Vijay. Original name: DigiSay (launched 2010) Country: Egypt Name today: DigiSay First famous for: One of the first YouTube MCNs in MENA region, DigiSay was founded by Ahmed Abbas, a German-born Egyptian media mogul. Present status: DigiSay, which has expanded to include a VOD platform, specialises in producing short-form online movies. It has also moved into the creation of branded content.

Original name: Discovery Digital Networks (launched 2012) Country: US Name today: Group Nine Media First famous for: Despite being one of the world’s biggest media groups and owner of the Discovery Channel brand, Discovery Communications decided to launch its own YouTube MCN to offer “insightful and engaging” online content to 18- to 34-year-olds. Present status: Following the acquisition and creation of a series of online networks, Discovery added its digital channels plus an investment of $100m to the venture, which morphed into Group Nine Media in 2016. The following year, Discovery also led a consortium that included German media conglomerate Axel Springer to inject another $40m into Group Nine.

Original name: Collective Digital Studio (launched 2011) Country: US Name today: Red Arrow Studios First famous for: Collective Digital Studio gained Original name and status: Divimove (launched 2012) attention after German broadcaster ProSiebenSat.1 Country: Germany Media bought a 20% stake in it in 2014. It was then Name today: Divimove merged with ProSiebenSat’s own MCN Studio 71 First famous for: Divimove focused on marketing other companies’ Youin 2015, and became Studio71. Tube channels before FremantleMedia invested in it in 2013. FremantleMedia Present status: ProSiebenSat.1 owns 70% of became a majority owner in 2015 and expanded its online co-productions with Studio71, which gained Italian broadcaster MeDivimove. diaset (5% stake) and France’s TF1 (25%) as Present status: Now an MPN, Divimove continues to be one of Europe’s shareholders in 2016. In December 2017, Stubiggest digital entertainment services. FremantleMedia, now a 75% shareholder, dio71 merged with ProSiebenSat.1’s Red Arrow injected more capital into the venture last year. With its in-house creative agency Entertainment Group to create Red Arrow StuBrandboost, Divimove is also a prolific branded-content maker. In addition, it dios, which produces traditional TV and digital organises live events via its VideoDays festivals. Divimove’s YouTube channels content for the international market. alone have more than 1.7 billion monthly views, as well as 170 million subscribers. MIPTV PREVIEW • 72 • March 2018


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FEATURE: NEXT-GEN STUDIOS

Original name: FAV! Network (launched 2015) Country: Argentina/US Name today: FAV! Media First famous for: FAV! became one of the leading MCNs in Latin America, although it targeted at all Spanish-speaking fans. Present status: FAV! has a studio that creates original YouTube channels for third-party clients, along with branded entertainment and original content for broadcast and cable TV. It also produces Spanish-language trailers for hit US shows, including Westworld, Game Of Thrones and Grey’s Anatomy.

Original name: Maker Studios (launched 2009) Country: US Name today: Disney Digital Networks First famous for: As a trailblazer, Maker Studios was one of the first global superstar MCNs. Its most famous YouTube star was Swedish gamer PewDiePie, who currently has more than 60 million YouTube subscribers and was featured in Time magazine’s 2016 list of the world’s 100 most influential people. The Walt Disney Company acquired Maker for about $500m in 2014. Present status: Maker Studios is almost unrecognisable now that it is part of the Disney kingdom. Having been trimmed down, it works with about 300 creators, compared to the 55,000-plus at the time of the acquisition. The newly named Disney Digital Networks operates some 300 channels, compared to Maker Studio’s 60,000 or so channels.

Original name: Fullscreen (launched 2011) Country: US Name today: Fullscreen Media First famous for: One of the largest networks on YouTube, Fullscreen quickly attracted high-end investors. In 2014, it was Original name: New Form Digital (launched 2014) bought by Otter Media, a joint venture between US telecoms Country: US giant AT&T and The Chernin Group, an investment vehiName today: New Form cle founded by former News Corp president Peter Chernin. First famous for: Co-founded by Discovery Communications and blockFullscreen itself also acquired production studio Rooster buster-movie stalwarts Ron Howard and Brian Grazer, and other investors, Teeth in 2014. New Form Digital was hailed as Hollywood’s potential future. Its shows Present status: Fullscreen is a global MPN that colwere sold to a variety of US digital platforms, including go90, Fullscreen, laborates with thousands of YouTube creators and inYouTube Red and Refinery29, as well as TV networks such as TBS. New fluencers. These produce a variety of entertainment Form nurtured several YouTube talents, including Anna Akana and PJ Ligcontent, including music and branded content, as well uori, who are now stars of their own shows. In 2016, UK media group ITV as perform live. It also operates a studio that produces also invested in the venture, contributing to $18m in new funding. high-end content for a stand-alone streaming platform Present status: The company has dropped the word ‘Digital’ from its launched in 2016. However, its on-demand service was original name, making it clear that its productions are available to buyshut down last November. ers across the media spectrum. Its hits include youth-oriented shows Miss 2059, Mr Student Body President, I Ship It and Oscar’s Hotel.

Original name: Machinima (launched 2000) Original name: Qyuki (launched 2012) Country: US Country: India Name today: Machinima Name today: Qyuki Media First famous for: Machinima kicked off as a First famous for: The brainchild of two Bollywood celebrities, actor/producer YouTube MCN targeting mostly male gamers. Shekhar Kapur and artist/music producer AR Rahman, Qyuki started as an MCN This guaranteed that it had a large and loyal for Indian youth. US tech giant Cisco Systems was among its early investors. It following, making it one of the first YouTube offered its production facilities to aspiring and established artists wanting to set up, channels to boast more than five billion views. manage and monetise their own YouTube channels. Present status: Machinima is now part of Present status: Qyuki still creates YouTube channels for artists. In terms of Warner Bros. Digital Networks, after Warnbranded content, it recently joined forces with Indian fashion e-commerce venture er Bros. bought it for around $100m in NoFlipkart. Together, they are creating 360-degree VR videos for brands seeking to raise vember 2016. Its games-inspired live-action awareness via immersive media. and animation shows include titles based on Transformers, the popular Hasbro toy brand. Original name: Studio Bagel (launched 2012) It is also co-producing with Warner Bros. Country: France subsidiaries DC Entertainment and Blue Name today: Studio Bagel Productions Ribbon Content, and recently launched a First famous for: Studio Bagel became one of the biggest YouTube MCNs in Eulinear channel on Twitch, the streaming rope, discovering and developing a host of new French comedians. Canal+, France’s platform famous for its esports programbiggest pay-TV operator, acquired a majority stake in Studio Bagel, and featured its ming. Machinima content is also available shows on its network. on Verizon’s go90 mobile-first platform, Present status: Studio Bagel is still a YouTube MCN, but its predominantly shortAmazon Video, Sony’s PlayStation Vue form shows are also available on its own website. It is also responsible for creating and, very recently, Facebook’s Watch. Canal+’s digital content and plans to create original content for TV and the cinema.

MIPTV PREVIEW • 74 • March 2018


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TREASURE


FEATURE: NEXT-GEN STUDIOS

Original name: Vice Media (launched 1994) Country: Canada Name today: Vice Media First famous for: Vice began as a magazine in Montreal. In 2006, it reinvented itself as a digital-media company, offering videos, news and other entertainment via its own production studio and record label. It moved its headquarters to New York City in 1999. As it developed, some of its documentaries were picked up by HBO, Time Warner’s pay-TV network. Present status: Vice is a global multimedia enterprise partly owned by The Walt Disney Company and A+E Networks and valued at almost $6bn. In addition to the MCN on its website and YouTube, it also owns Viceland, a cable-TV network that launched in 2016 in the US and Canada. Viceland is now available in the UK, Australia, India and Africa (via Kwese TV), and as a programming block on the Outdoor Channel in South-East Asia. Vice recently launched Broadly Films, an initiative that invests in films made by women. Original name: Zoomin.TV (launched 2000) Country: the Netherlands Name today: Zoomin.TV First famous for: Zoomin.TV started as an international production house focusing on original shortform news and factual content produced by video journalists in around 18 countries. In 2015, Modern Times Group, the Sweden-headquartered international broadcaster, took a 51% stake in the company. Present status: Zoomin.TV has positioned itself as a multiplatform global news video agency targeting Gen Z — the generation born after millennials. Its subsidiary, ZoominStudios.TV, works with 3,500-plus journalists whose output can be accessed on more than 20,000 Zoomin.TV-managed YouTube channels.

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FEATURE: IMMERSIVE CONTENT

A demo of next-generation immersive-media app Magic Leap One

Another giant leap for mankind MIPTV PREVIEW • 78 • March 2018


2018 is being touted as the year that augmented reality (AR) goes mainstream. New AR technologies are set to transform the interface between people and the digital world — and entertainment is just one of the industries that will never be the same again. Juliana Koranteng reports

MIPTV PREVIEW • 79 • March 2018

T

HE SUCCESS of augmented reality (AR) mobile game Pokemon Go and the recent launch of next-generation immersive-media app Magic Leap One confirm that AR will have a significant role in on-screen entertainment. Its potential use as entertainment marketing and production tools have indicated that, like virtual reality (VR), AR and its sister tech mixed reality (MR) are viable next-generation storytelling formats for reaching and engaging viewers. In 2016, the location-based mobile AR game Pokemon Go, created by US immersive media and gaming-tech specialist Niantic, enabled players to see, chase and capture virtual 3D creatures that they could see in their real world in real time via their smartphone screens. “Pokemon Go proved that people chasing virtual creatures that only come to life when viewed through your phone is fun and social,” says Peter Hickman, BAFTA Award-winning drama and children’s producer, digital entertainment and games, at the UK’s BBC Worldwide. “There are already AR games that rely on you being able to move your mobile device around virtual objects and environments to solve puzzles. That really offers a different type of gaming and entertainment experience.” Karmelina Parouka, vice-president of content and engagement at Viacom International Media Networks (VIMN), also wonders whether AR could become an entertainment format in its own right: “If Pokemon Go taught us anything, the answer is yes — but it just scratched the surface of what will be possible. There is an opportunity for immersive experiences to be standalone. We might be surprised by what ends up working in this space in the end, but shared


FEATURE: IMMERSIVE CONTENT UK-based Supermassive Games to produce AR video game Wonderbook: Walking With Dinosaurs in 2013. “For Walking with Dinosaurs, we created a smartphone and tablet app that lets you bring dinosaurs to life on your table top. You can even feed them their favourite food,” Hickman says.

Peter Hickman

HoloLens, an MR headset created by Microsoft

and location-based experiences, such as how we connect within a space and with others, show a lot of promise.” The ability of AR, MR and VR tech to create a digitally synthetic world in which people can immerse themselves has taken media interaction to a new level. Full-VR users wearing headsets that immerse them completely in this virtual world cannot see anything else, including their physical surroundings. With AR and MR, on the other hand, the technology superimposes objects from a virtual world on to the physical world, which can still be seen. Imagine the characters of an animation series popping out of TV screens to engage with viewers in their living rooms. The mass-market application of immersive tech is still embryonic, but the possibilities are numerous. Its ability to combine gamification, interaction and personalisation to entertain millions of digital-native viewers is enticing. BBC Wordwide’s Hickman says: “AR, VR and MR allow us to engage with our audiences in new

and innovative ways, giving life to our traditional output beyond the programmes themselves.” While VR has been dominating the mass-market immersive-tech business in recent years, AR appears to be coming into its own in 2018. A report by Vast Media for MIPTV entitled Augmented Reality: Immersive Apps And Campaigns By Broadcasters, noted that the number of mobile-AR users worldwide is forecast to reach three billion by 2021, based on analysis by US consultancy Digi-Capital. The launch of Magic Leap One shows that AR might be able to offer even more than a mobile experience. The AR headset was unveiled in December after more than six years in stealth mode and almost $2bn in funding from the likes of Google and Chinese e-commerce giant Alibaba Group. Described as ‘built for creators’, Magic Leap One has a controller that enables you to pull content from your computer — anything from a document to an item from an online

store — outside the screen and interact with a 3D version floating in front of you. You could, for example, transport characters from your favourite video game from the screen into your real-world living room and interact with them. The tech sector expects great things from Magic Leap One, which is still being beta tested before going commercial sometime this year. Combine that with the HoloLens, an MR headset created by software conglomerate Microsoft that is also still being tested, and it looks as if AR technology has much to offer the media and entertainment business. The BBC has been extending a number of its brands into the AR space, including Walking With Dinosaurs, the 1999 blockbuster documentary that showed viewers what life would have been like millions of years ago, when dinosaurs ruled the earth. The series’ premise was brought into the 21st century after the BBC collaborated with

MIPTV PREVIEW • 80 • March 2018

“For Walking with Dinosaurs, we created an app that lets you bring dinosaurs to life on your table top. You can even feed them their favourite food” Daniel Wan is lead digital creative (VR/AR) at UK-based Alchemy VR, which has worked with the UK’s Natural History Museum to build immersive experiences linked to the BBC documentary Great Barrier Reef With David Attenborough. “Our clients have backgrounds in museums, charities and cultural institutions,” he says. “These attractions have a real appetite for AR. Not only is AR attention-grabbing for them, it opens up the story of their exhibits in real-world galleries. As our personal phones improve and get more powerful, AR will become mainstream and a natural extension of what we do.” The resume of US VR agency Moth + Flame includes projects for Google, Facebook’s VR operation Oculus, celebrities Taylor Swift and Karlie Kloss, and TV networks AMC, Discovery Channel and Viacom’s MTV. Founder and CEO Kevin Cor-


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FEATURE: IMMERSIVE CONTENT nish explains the extra dimension that immersive technology brings to TV content: “With VR, you are looking at something on a screen without edges, so your mind doesn’t know there is a screen. As a result, you remember not only what you saw, but also what you did. If a producer’s idea is to drop and immerse something into a world of visuals, VR is better for that. If you want someone to develop a bond with the characters, either VR or AR would work.” Cornish says that the TV industry is increasingly embracing immersive content as part of the production, distribution and promotion chain. “When it comes to marketing, now you automatically ask where to include the AR and VR elements, and determine which one serves your show best,” he adds. The number of VR creative agencies adding AR to their expertise is growing. Los Angeles-headquartered Here Be Dragons, the prolific VR-content studio that has worked on USA Network’s Mr Robot, FX’s Legion and Paramount Pictures’ sci-fi actioner Ghost In The Shell, plans to boost its AR activities following a $10m fund raise last August from Discovery Communications, among other investors. In December, Jaunt VR, another well-funded VR creative agency, launched its Jaunt XR Platform, which will enable media companies, brands and other rights-owners to create and deliver their own direct-to-consumer VR, AR and MR content. Meanwhile, tech behemoths including Apple, Google, Facebook and Snapchat have invested in AR technology to enhance the digital experiences they offer to their subscribers. Apple’s most recent iPhone operating system

Digital Catapult’s Aurelien Simon

iOS 11 features ARKit, a digital toolset that allows app developers to generate AR content and experiences. And in November, it acquired a Canadian AR-headset developer called Vrvana to further its immersive-media strategy. Google’s rival version of ARKit is called ARCore, while Facebook’s Camera Effects platform includes AR Studio, a feature designed for building social-AR experiences. Ephemeral messaging app Snapchat has also joined the AR club. To prove what it can do with the technology, owner Snap joined forces with Jeff Koons to allow users in different parts of the world

Alchemy VR’s Daniel Wan

to see gigantic virtual installations of the acclaimed US artist’s works, just by tapping their smartphone’s screen. Elsewhere, e-commerce conglomerate Amazon is collaborating with smart-glasses maker Vuzix. The US-based company has manufactured the first pair of smart glasses featuring Alexa, Amazon’s voice-activated digital assistant, which display answers to requested information on the glasses’ lenses. “At this early stage of these technologies, it’s important to consider the pros and cons of each technology and understand if reach [AR] or impact [VR] is the key performance in-

AR video game Wonderbook: Walking With Dinosaurs

MIPTV PREVIEW • 82 • March 2018

VIMN’s Karmelina Parouka

dicator for a project,” says Aurelien Simon, head of immersive at the UK government-backed innovation centre Digital Catapult. “The potential reach of an AR application is currently far greater than VR, but the creativity is limited. CreativeXR, one of our recent programmes, is trying to solve this issue by supporting early-stage creative ideas in AR and VR.” Michael Boreham, senior consultant at London-based Futuresource Consulting, says the entertainment industry should not understate the marketing strengths that AR can bring: “AR can play a significant role in advertising across multiple ap-


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FEATURE: IMMERSIVE CONTENT

Smart glass from Vuzix

supp o r t plications, particularly through products or feature-film launchsearch and discovery, and in the es. For example, the campaign use of marketing campaigns to by internet giant Tencent in 047_RM ADVERTISE_PV_TV

China to promote the film The Fast And The Furious used ARbased QR codes to unlock content.” Boreham adds: “AR advertising has also been utilised in a gamification context using Pokemon Go-style games to advertise products and services. Social-media platforms have used AR-based advertising to drive revenue growth, notably Snapchat, which is monetising its Lenses and Geofilters features via advertising.” Encouraged by the attention being paid by the global tech conglomerates to AR, sever-

al tech startups are developing related businesses for the film and TV industries. Augmen.TV, a project developed by Germany-based tech startup eyecandylab, is able to make virtual versions of characters and objects jump out from TV screens, be they in a show or a commercial, via a smartphone app. The company partnered with German network ProSieben to create a dedicated AR app for a oneweek marketing campaign to promote weekly magazine show Galileo last November. Via the app, 3D AR objects, graphics and interactive games offered extra information about items featured in the programme. Another startup is New Yorkbased We Are TV, which creates mobile AR games linked to TV programmes that viewers can play while engaged with the show.

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FEATURE: IMMERSIVE CONTENT It is also interesting to see other forms of long-established entertainment and leisure activities adopting AR. The Lego Group, the Danish corporation famous for its interlocking plastic bricks, Legoland theme parks, Lego stores and the movies that have earned almost $1bn in box-office receipts, is experimenting with AR. In December, it introduced the Lego AR Studio app built with Apple’s ARKit. Smartphone owners can use virtual Lego bricks inside the app to build animated 3D objects. They then use the phone to produce short video clips of the animation moving around in the physical world. The professional sports business is also adopting AR to offer fans the type of bespoke personalised content that is becoming increasingly important for retaining their loyalty. An expert is this field is US-based YinzCam, a mobile-software developer that has partnered with most of the top US professional sports teams, including those belonging to American football’s NFL, the NBA, Super Netball and Major League Soccer. YinzCam’s AR enables spectators to play the same sport on virtual versions of the football field or basketball court via their smartphones during game intervals or while watching the action on TV at home. The AR effect can be triggered by pointing the smartphone at a QR code on a sponsor’s product, such as a soft-drink can. “You can create virtual goal posts or basketball hoops to play the game on your mobile, or even play against each other,” says YinzCam CEO Priya Narasimhan. “We can show how many fans have engaged with sponsors’ products, thus enabling the teams to go back for some more sponsorship dollars.” Virtex Arena, a similar AR game offered by California-based Vir-

Moth + Flame’s Kevin Cornish

tex Apps, enabled fans watching this year’s NFL Super Bowl at home or at the stadium to play against each other live for the first time. For content-owners seeking reach, AR looks best placed to lead the way, since it is much more mobile-friendly than VR, and not dependent on expensive headsets. However, that has not stopped companies such as Moth + Flame from experimenting with the more consumer-friendly aspects of VR. It is one thing to be totally immersed in a virtual world that takes you completely away from your physical real world, but is it possible to have an organically natural conversation in that digitally created environment?

Futuresource Consulting’s Michael Boreham

YinzCam’s Priya Narasimhan

Moth + Flame’s Cornish has joined forces with California-based creative-production agency Tool of North America and VR headset giant Oculus to try to answer this question. They have created Fall In Love VR, an experiment that aims to see whether it is possible to talk to someone and develop a romantic relationship within a VR world. Cornish believes this could drive VR to “the next generation of cinematic storytelling”. He is also confident Conversive, which recently sealed $600,000 in new funding, will one day answer the following question: “How do you enable a conversation on an immersive platform? When I speak, how do I get the

other person in the virtual world to respond naturally?” As VIMN’s Parouka puts it: “VR and AR can offer transformative experiences and deepen relationships and interactions with consumers. VR is the most immersive, but requires a headset and commitment. Our smartphones, which we carry around at all times, are now capable AR devices.”

Karmelina Parouka

“Our smartphones, which we carry around at all times, are now capable AR devices”

YinzCam’s AR effects can be triggered by pointing the smartphone at a QR code on a sponsor’s product

MIPTV PREVIEW • 86 • March 2018


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FEATURE: KIDS’ LIVE-ACTION

Kids’ TV gets real In terms of global appeal, kids’ live-action may not have enjoyed the explosive success of adult scripted series in recent years. But, writes Andy Fry, all that is changing

Creeped Out (DHX Media)

T

HE MOST obvious evidence of the international appeal of children’s live-action programming is the pipeline of shows coming out of vertically integrated studios such as Nickelodeon and Disney. Nina Hahn, senior vice-president of production and development at Nickelodeon In-

ternational, says her company is “genre blind” when it comes to the distinction between animation and live-action. “For us, it’s all about finding the right content for kids. One of the great strengths of live-action is that you can get it to market faster than animation, making it more reflective of trends.”

Nina Hahn:

“One of the great strengths of live-action is that you can get it to market faster than animation, making it more reflective of trends”

MIPTV PREVIEW • 88 • March 2018

Hahn says Nickelodeon’s success with live-action is built on a range of development and production models. While the company is probably best known for Los Angeles-produced comedy series such as iCarly and The Thundermans, it has also enjoyed success with shows that have emerged out of an international model. I Am Frankie, for example, started as a Spanish-language series in


FEATURE: KIDS’ LIVE-ACTION

Latin America (Yo Soy Frankie) and was then adapted into English. “That means we have two versions we can roll out internationally,” Hahn says. “Hunter Street went through a similar process and is now available in its original Dutch version, as well as in English.” For a show to capture kids’ imaginations across borders, strong production values, great writing and solid research are essential. Hahn gives an example of why research matters: “A few years ago we were getting feedback that kids found their parents embarrassing, so we emphasised a ‘no parents allowed’ philosophy in our shows. But this sentiment has shifted and, now, kids see family as being their ‘tribe’. ‘Parents as friends’ is something we’ve consciously been able to feed into shows.” Nick also makes a point of staying across trends in digital media. Social-media star JoJo Siwa, for example, has appeared for Nick as a show host, in a TV movie and as a star of her own reality series. “We now have a deal with her and are looking at all the options,” Hahn adds. While Nick and Disney are major players in the kids’ live-action genre, they are not the only gigs in town, says Josh Scherba, executive vice-president of content and distribution at DHX

Media: “We have our own channels in Canada and there are other players like the BBC, ZDF and ABC Australia in the kids’ arena. With Amazon and Netflix also active in this area, it’s possible to develop an international co-production or look for a big pre-sale to support a show.” A current example, Scherba says, is Creeped Out, a spooky anthology series co-produced by CBBC and DHX-owned Family Channel in Canada. DHX has the distribution rights for the show, which Scherba calls “a kind of Black Mirror for kids”. He adds: “We’re aiming to place it with a big global platform to create a buzz around the launch.” Scherba believes Creeped Out’s anthology format is a good way of getting around the usual restriction of co-production: “We’re not having to shoehorn elements into the show. Because each episode is an individual story, it’s easier for us to produce in a way that utilises the skillsets available to us in both Canada and the UK.” DHX’s extensive live-action catalogue includes Degrassi, Make It Pop, Hank Zipzer and a new show called Bajillionaires “about a group of young kids trying to invent something”, Scherba says. “It’s like Silicon Valley for kids. It’s all about their resilience as they attempt to discover the next big thing that will make them rich.” There is also a supernatural pilot called Dark Haven High, reflecting the current trend for children’s live-action with some kind of fantasy dimension. In part, this is because Nick and Disney have sewn up the market for multi-camera sitcoms. But it is also the case that fantasy series tend to travel well, says Steven Andrew, UK creative director at Zodiak Kids Studio. “Witch-

Degrassi Next Generation, from the DHX live-action catalogue

es, wizards, aliens, ghosts and the like are a neutral landscape,” Andrew adds. “They help get around the little differences that can be a stumbling block.” Andrew, a kids’ industry veteran, recalls the success of Wolfblood from his time at the BBC. He also cites the mermaid-themed projects that ZDF Enterprises (ZDFE) distributes on behalf of Australia’s Jonathan M Shiff Productions. H2O Just Add Water has sold to 120 countries,

while its sequel, Mako Mermaids, has been picked up by Netflix for the global market. Recently, ZDFE has had particular success selling kids’ live-action to channels in Asia, including the Philippines, Vietnam and Thailand, as well as the pan-regional network HBO Asia. Other fantasy-driven successes include The Worst Witch, a BBC, ZDF and Netflix co-production based on the books by Jill Murphy. ZDFE is also back in the in-

Steven Andrew:

“Witches, wizards, aliens, ghosts and the like are a neutral landscape. They help get around the little differences that can be a stumbling block”

Nickelodeon’s Hunter Street, now available in its original Dutch version, and in English

MIPTV PREVIEW • 89 • March 2018


FEATURE: KIDS’ LIVE-ACTION ternational market with Jonathan M Shiff ’s latest children’s project, The Bureau Of Magical Things. Filmed in Australia, the show follows the adventures of a teenage girl who acquires magical powers when caught in a clash between an elf and a fairy. Hahn points out that Nick is also active in the fantasy/ magic space. In May, the company unveiled plans for a new 20-part show called Knight Squad, which is set at a magical school for young knights. Zodiak’s Andrew says another genre that travels well is music/performing arts-based shows. His company has made The Lodge for Disney, while DHX’s contribution to the genre includes Backstage, licensed to Disney and Netflix. “Well-made performance shows have an aspirational feel that audiences like,” Andrew says. “But they are also very visual with lots of action. That’s something they share with fantasy series and is another reason they travel well. It’s important not to be too ‘verbal’ if you want a show to travel. And you probably need the bold, unambiguous characterisation that has always helped telenovelas to stand out.” Another model that seems to work at international level is the co-pro in which the story’s lead character visits another country. UK producer Lime Pictures, for example, has enjoyed success with Free Rein, which aired on Netflix. The storyline turns on a 15-year-old American girl who visits a horse stable in the UK. Zodiak’s slate, meanwhile, includes Joe All Alone — about a 13-year-old boy whose uneasy life starts getting better after his mother and her objectionable boyfriend leave him behind while they holiday in Spain — from Joanna Nadin’s book; and CBBS’ Secret Life Of Boys, in which an Australian

The Ponysitters Club, targeting six-to-nine year-olds

girl comes to say with her four British cousins. An added point of interest about Secret Life Of Boys, Andrew says, is that it offers interactive elements that deepen engagement via character insights, story secrets and additional jokes. While the majority of live-action shows for kids are aimed at the eight-to-12 tween market, a few companies are having success with live-action for younger kids. Darrall McQueen co-founder Billy Macqueen says his company’s hit series Topsy And Tim is one of a handful of shows that has given broadcasters the confidence to experiment with preschool live-action. “Topsy And Tim originated in the UK but has since done well in France and the US, where it airs on Universal Kids,” Macqueen says. “I think its ability to travel is partly down to the quality of the production and partly down to its emphasis on a universal theme, namely first experiences. Broadcasters also like the fact it has a high level of repeatability, which you can also see through the show’s views on BBC iPlayer.” Darrall McQueen is now working on a new show for the same age group called Waffle The

Wonder Dog, which Mcqueen believes can emulate Topsy And Tim’s international success: “Waffle is for the BBC, with DHX Media distributing. It has a talking dog, which we think will appeal to kids internationally. The fact that the initial order is 30 x 11 mins episodes is also appealing to broadcasters.” One age group that does not see a lot of live-action are six- to nine-year-olds. This, however, is the segment that Brain Power Studios founder and president Beth Stevenson is exploring with The Ponysitters Club. Having produced or exec produced 35 children’s series, Stevenson knows her market well and believes the show’s emphasis on empathy, inclusion and compassion will cross borders. “The thing that’s missing from the market is classic family series like The Waltons and Little House On The Prairie — heart-warming shows where the kids have key roles,” she says. “We wanted to address that with The Ponysitters Club. The problem with a lot of today’s light-hearted comedy is that it doesn’t really allow you to address the issues facing kids in a satisfactory way.”

MIPTV PREVIEW • 90 • March 2018

Beth Stevenson:

“The problem with a lot of today’s light-hearted comedy is that it doesn’t really allow you to address the issues facing kids in a satisfactory way” The first broadcaster to jump on board The Ponysitters Club, which is being produced in Canada, was Discovery Latin America: “I think animal care is an area that appeals to audiences around the world,” Stevenson adds. “The show is based around some kids working on a horse-rescue ranch. They get to ride the horses as well as take care of them. That gives them a sense of responsibility and empowerment, which kids will relate to.” To date, many of the kids’ live-action series that travel have originated in markets such as the US, the UK, Canada and Australia. At the younger end of the spectrum, Sinking Ship’s


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FEATURE: KIDS’ LIVE-ACTION Dino Dana (Canada) and ABC ME’s Little Lunch (Australia) are examples of how the live-action genre is being stretched, the former using CGI and the latter a mockumentary set in a primary-school playground. Another illustration of Australia’s expertise in live-action is Nowhere Boys, a Matchbox Pictures’ production for ABC3 that has so far run for three series and inspired an 80-minute feature film. Canada’s Odd Squad (Sinking Ship) and the UK’s Horrible Histories (Lion Television) are also well-travelled kids’ live-action series. Mainland Europe’s primary contribution, as illustrated by ZDFE, is as distributor or co-pro partner. Another example of this is Studio 100 Media, which came to MIPCOM last October with two kids’ live-action series from Australia: Drop Dead Weird and Random And Whacky. 019_RM ODB_PV_TV

Drop Dead Weird is a good example of how co-pro and cross-cultural experiences can dovetail neatly, especially if there is a fantasy twist. In this show, an Australian family moves to Ireland to run a B&B in a remote seaside village. However, things are complicated by the fact that the parents are zombies. One company changing the sector’s dynamics is France’s Cottonwood Media, whose hit series Find Me In Paris cleverly deploys both performance and fantasy. Produced in partnership with ZDF, the show centres on a young dancer — and princess — who travels forward in time from 1905 to the modern day. The first season of the show was pre-sold to Hulu in the US, France Televisions, Disney France and Italy, ABC Australia and VRT Belgium. Find Me In Paris has now been recommissioned. Cottonwood president

Drop Dead Weird: co-pro and cross-cultural experiences

and founder David Michel echoes Zodiak Kids’ Andrew when he says: “A lot of kids’ drama doesn’t travel because it’s too culturally specific.” He adds: “I think the combination of high production values and a twist on a classic story helped our show travel. We set out to make a kids’ show but with primetime sophistication, so we put a lot of emphasis on the scripts.” In Michel’s opinion, one of the

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MIPTV PREVIEW • 92 • March 2018

challenges with the children’s business is that “people tend to pigeonhole what they think kids’ content should be. They are second guessing what the market wants instead of taking creative risks, and that’s where they go wrong.” Italian broadcaster De Agostini is entering the kids’ live-action space with New School, a show for seven- to 12-year-olds.


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FEATURE: KIDS’ LIVE-ACTION Launched in December 2017, the 26 x 26 mins first season follows a group of children who join a new school, where they stumble across an out-ofservice room that only kids can

enter. The series has already been renewed by De Agostini for a second season. Europe’s growing impact on children’s live-action can be seen in the latest crop of shows

aimed at the older end of the market — teens traversing into adulthood. German kids’ channel KIKA, for example, commissioned Five2Twelve as a way of appealing to an older audi-

Nowhere Boys, a Matchbox Pictures’ production for ABC3

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MIPTV PREVIEW • 94 • March 2018

ence. This show centres on five teenage boys who have all been in trouble with the police. Also noteworthy is NRK Norway’s hit youth series Skam (Shame), which focuses on kids at a high school attempting to deal with issues such as eating disorders, sexual assault, homosexuality, mental health and cyberbullying. The challenge with shows like these is that they can be too culturally specific to travel. One solution is to format the show. A breakout hit in its own region, Skam was picked up for reversioning in France, Germany, Spain, Italy and the Netherlands in late 2017. Entrepreneur Simon Fuller also picked up the English-language rights to the show and has since licensed it to Facebook Watch, which will make a US version.


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FEATURE: KIDS’ LIVE-ACTION

DAVID LEVINE, DISNEY

David Levine, vicepresident of programming, production and strategic development for Disney Channels EMEA, and general manager of Disney Channels UK and Ireland, tells Andy Fry how Disney uses “different formats, genres, talent and voices” to captivate kids around the world

‘Create relatable characters and explore universal themes’ What’s on Disney’s liveaction slate? Disney Channel produces and co-produces live-action series for kids aged six-to-11 in a variety of formats and locations, including the UK, Spain, France, Germany and Italy. Our goal is to complement the US content pipeline with different formats, genres, talent and voices. We work with partners including Zodiak Kids, Lime Pictures and 3Zero2 to create dramatic programming, often serialised, for this age group. We also create a variety of formats, episode lengths and orders, to be better able to reflect how kids are consuming content these days. We’ve created digital shortform, 10-minute episodes and 22-minute episodes, and we’ve also worked with our Latin America team on one-hour episodes of telenovelas to cater for all tastes and engagement. Any notable changes in approach? We’re looking to focus our next wave of content on a slightly younger audience —the six-tonine age range, as opposed to the nine-to-11. We’re looking to create more episodic and re-

peatable content that can work more easily across multiple age demographics and that can also have a longer shelf life on multiple platforms. The big investments for us in terms of series are for linear and on-demand TV. Creating episodic, repeatable content works best for those platforms. What’s the key to success with kids content abroad? Kids can show more flexibility than adults in accepting dubbed voices in live-action. Different settings and wardrobe can be a challenge, but this can be overcome by creating relatable characters and exploring universal themes. Music is a great way to captivate audiences. Both Soy Luna and The Lodge have musical elements that lend themselves to short-form content and can be consumed across multiple platforms and markets. The telenovela format was first popularised by Violetta and now by Soy Luna — it’s a format that I think surprised many people by being able to work across virtually the whole EMEA region, including markets like Germany and the Nordics. Aspirational and appealing casts are also

very helpful — an example being Thomas Doherty from The Lodge, who has gone on to appear in Descendants 2. What are the models? Co-production? Scripted formats? We draw from a range of models, including wholly owned Original Productions. We have our telenovelas, which are done as co-productions with our Latin American team. We also reversion international formats — for example, The Lodge is based on North Star, which was originally produced in Israel. We also get pitches from production companies, such as German local production Binny And The Ghost and French local production Mother And Daughter. And we also embark on co-productions where we have partners who take on the distribution rights. An example of this would be Italian local production Alex & Co, where 3Zero2 has the distribution rights. Are you developing new forms of live-action to cater to the mobile-first generation?

MIPTV PREVIEW • 96 • March 2018

Yes, absolutely. Our pilot series Royal Ranch is a great example of this. We produced three-minute shorts, which were windowed to DisneyLife first and then to our non-linear platforms, as a way to test the concept and idea with audiences. We are also showcasing YouTube talent in our live-action content, because we recognise that these influencers are important to our audiences. An example is season two of The Lodge, where we cast Lina Larissa Strahl from Germany, who has a huge social-media presence there. Another example is short-form series Just Like Me, which is produced in France. Our Italian team reversioned the concept locally using two popular Italian YouTube talents and it has performed incredibly well. How is live-action holding up against animation? We recognise that live-action is under some pressure from animation on the linear channels. But the variety of new formats, and the rise of YouTube and local talent online, is driving online usage of live-action content in ways it has never done before.


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PREVIEW March 2018 www.miptv.com

// DIRECTOR OF PUBLICATIONS // Paul Zilk // MARKETING DIRECTOR // Mathieu Regnault / EDITORIAL DEPARTMENT / Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editor Joanna Stephens Contributors Andy Fry, Juliana Koranteng Editorial Management Boutique Editions Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres / PRODUCTION DEPARTMENT / Publishing Director Martin Screpel Publishing Manager Amrane Lamiri Creative and Production Officer Yovana Filipovic Printer Riccobono Imprimeurs, Le Muy (France). / MANAGEMENT & SALES TEAM / Director of the Entertainment Division Jerome Delhaye Director of the Television Division Laurine Garaude MIPTV Conference Director Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyers’ Department Benedicte Touchard de Morant Executive Producer, Conferences Amandine Cassi TV Division Sales Director Geraud de Lacombe Head of Entertainment UK Paul Nickeas Director UK Sales – TV Division Matt Colgan Director UK Sales Music & TV Division Javier Lopez SVP Sales & Business Development Robert Marking VP Sales Louis Hillelson Sales Director Manuel da Sousa Director of Visitors Sales North and Latin America Matthew Rosenstein Sales Manager Noah Buchwald Sales Manager Hugo della Motta Sales Director Sylvain Faureau Sales Director Aude Dionnet Sales Regional Director Nathalie Gastone Senior Sales Projects Director Fabienne Germond Sales Managers Paul Barbaro, Liliane Da Cruz, Nancy Denole, Samira Haddi, Cyril Szczerbakow, Hicran Lefort Head of Sales, Buyers Yi-Ping Gerard Sales Manager, Buyers Eve Gualbert-Galvis Sales Executive, Buyers Laetitia Rouis-Carrero Australia and New Zealand Representative Natalie Apostolou China Representatives Anke Redl, Tammy Zhao CIS Representatives Alexandra Modestova English Speaking Africa Representative Arnaud de Nanteuil Germany Representative Marc Wessel India Representative Anil Wanvari Israel Representative Guy Martinovsky Japan Representative Lily Ono Middle-East Representative Bassil Hajjar Spain Representative Maria Jose Vadillo South Korea Representative Sunny Kim Taiwan Representative Irene Liu 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 BOULOGNE-BILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2018, Reed MIDEM Market Publications. Publication registered 1st quarter 2018. ISSN 1963-2258. Printed on PEFC Certified Paper


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your mipTV experience

9-12 APRIL 2018 Palais des Festivals, Cannes, France MIPTV OPENING TIMES Opening hours 9-11 April: 08.30*-19.00 12 April: 08.30-17.00 * Access from 08.00 for exhibitors

Registration hours 6 April: 16.00-19.00 7-8 April: 08.00-19.00 9 April: 08.00-19.30

10-11 April: 08.30-19.00 12 April: 08.30-15.00

We look forward to welcoming you in Cannes, but first here are some tips to prepare your journey to MIPTV

Prepare for the show in 4 steps Visit MIPTV website to organise your travel • Book your transportation & accommodation with our partners to get the best deals. • Book your taxi in advance with a fixed rate of €80 from the airport to Cannes (incl. motorway tax).

Prepare your agenda and meetings in advance

Your badge: your key to getting into MIPTV

• Check out the programme of conferences and networking events.

• Did you receive it by post? Don’t forget to bring it with you.

• Log in to the Online Database to: - Fill out your profile and personalise your agenda - Browse participants and attending companies - Get meeting recommendations based on your business preferences - Send one-to-one messages to other delegates and organise business meetings.

• You only have your confirmation email Pick up your badge at the registration area, located in Croisette 18. Be sure to check the registration hours above. • Save time with an e-ticket Sent to you by email, simply print it out to collect your badge, or alternatively download the mobile app and connect to your account to find your e-ticket.

• Download the Mobile App

Please carry your badge at all times, and be ready to show it at entry points around the show. Your badge is strictly personal and non-transferable.

Onsite: meet decision makers and get an overview of the market trends Onsite Services Participants’ Club (Palais -1, aisle D) • Open to all participants attending MIPTV without a stand. • Features include a meeting area, free coffee service, telephone charging stations.

The Premium Lounge

For buyers and invited guests

Press Club (Palais 3)

• Exclusive club reserved for our invited guests and programme purchasing executives to relax or do business in more private surroundings.

• Features include a lounge and terrace bar dedicated to journalists and the assistance of permanent staff members.

(Palais -1, aisle D)

• Features include a lounge area, refreshments and daily press. • By invitation only. In association with

• A fully equipped editorial room (Auditorium J, Palais 4) which includes computers, internet connection and printers.

MIPTV PREVIEW • 101 • March 2018

Gold Business Lounge (Palais -1, aisle A) • Reserved for Gold Members of our Customer Recognition Programme. • Includes a private lounge area, complimentary coffee and international press.


your mipTV experience

General map of MIPTV CROISETTE 11 to 20 C11

FremantleMedia Group

C16.A

ITV Studios House

C16.B

Talpa Global

C16.C

FOX Networks Group Content Distribution

C16.D

Inter Medya

C17

Warner Bros.

C20

Banijay Group

MIPTV Perimeter Security Checkpoint C11

Left Luggage Badge holders only

Sea

En tra nc e

Riviera 8 Beach

C15

Riviera 9

C17

Registration / Press Registration / Protocol

Entrance No. 1

C18

Access to Riviera 7, 8 & 9

C16.D C16.C

C16.B

La Croisette min

Carlton Hotel

Palais 5

Entrance Canneseries

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Palais 4 rium dito Au re iè nd Gra Lum

Registration exit

Entrance No. 3 Access Canneseries

Palais -1 to 5

Organiser’s office

C16.A

Entrance No. 2

10

Riviera 7

Harbour

Palais 3 Palais 1 Palais 0 Palais -1 Debussy Theatre

Entrance No. 4 Access Canneseries Entrance No. 5

Majestic Hotel

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MIPTV shuttle

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The Grand Hyatt Cannes Hotel Martinez

Train Station

Don’t miss 1. Matchmaking programme

2. Innovation Hub (Palais -1)

3. Canneseries International Competition

A 4 day-long programme of thematic meet‑ups and matchmaking sessions, designed to assist you in making new connections and new partnerships.

MIPTV 2018 is your one stop shop for immersive and digital content. Hear firsthand from industry experts, meet the companies paving the way and experience the power of virtual reality.

Access with your MIPTV badge (within the limit of space available).

Consult full details in this magazine and programme schedule online on miptv.com.

Exhibition zone, VR library, pitching sessions and conferences in the heart of the Palais des Festivals.

MIPTV PREVIEW • 102 • March 2018

• Opening Ceremony, Saturday 7 April at 20:00. • Official Competition Screenings, Sunday 8 April, Monday 9 April and Tuesday 10 April. • Closing Ceremony & Awards, Wednesday 11 April. at 19:15. Please note that ‘close of door’ varies for each session, see precise programme.


your mipTV experience

Connect, learn & share MIPTV Networking cocktail Monday 9 April, 19.30 Intercontinental Carlton Hotel Cannes The must attend event for meeting new faces and networking. Open to all on presentation of your MIPTV badge.

Your first time at MIPTV? Don’t miss our First Timers Programme 4 DAYS OF CONFERENCES, SCREENINGS, AWARDS & NETWORKING EVENTS

Networking events*

Daily opportunities to expand your business reach: • Matchmaking Sessions • Meet the speakers • Pitching sessions • Meetups • and many more.

*Full schedule online and on the Mobile App

A “First Timers welcome HQ” manned by our dedicated team available throughout MIPTV in the Participants’ Club, Palais -1, and a daily programme to meet peers at the market.

19.30-21.00: First Timers’ meet & greet HQ at the MIPTV Networking cocktail, Intercontinental Carlton. Hotel Cannes

Sunday 8 April First Timers “How to” MIPTV presentation and welcome drinks. 17.00: Meeting point: Entrance No. 4, Palais des Festivals. 17.15: “How to” MIPTV including a presentation by The Pitch Doctor, Paul Boross, Agora, Palais -1. Followed by discovery tours, then Welcome drinks, Innovation Hub, Bar.

Monday 9 & Tuesday 10 April 10.00 & 16.00: First Timers discovery tours of the exhibition floors and MIPTV services, Agora entrance, Palais -1. On request at the First Timers HQ.

Monday 9 – Thursday 12 April 08.30-10.00: First Timers’ Welcome Breakfast, Innovation Hub, Bar.

Monday 9 – Wednesday 11 April 16.30-17.30: First Timers’ Coffee & Biscuits, Innovation Hub, Bar.

See the programme p.104 and plan your journey

See you in Cannes!

For further information: www.miptv.com • Help desk: +33 (0)1 79 71 99 99

MIPTV PREVIEW • 103 • March 2018


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MIPTV 2018 PROGRAMME

9-12 April 2018 Cannes - France

MATCHMAKING AT THE HEART OF MIPTV

Cement new partnerships between producers, commissioners, digital studios and brands at MIPTV’s 4-day programme of matchmaking events.

MEET-UPS

TECH PITCHING SESSIONS

Producers are at the heart of MIPTV. This year, benefit from a brand new programme of regional and thematic meet-ups especially designed to meet new potential partners. This year’s themes are: China, Latam, VR, Africa and Kids’ Live-Action co-productions.

Discover the digital and VR companies exhibiting in the MIPTV Innovation Hub through a series of sessions featuring the innovative technologies from the digital studios and VR companies at the market.

Where & When?

Where & When?

Bar, Innovation Hub Monday: 10:00-11:00 & 17:30-18:30 Tuesday: 10:00-11:00 & 17:30-18:30

Agora Monday: 14:00-15:30 & 16:00-17:30 Tuesday: 14:30-15:30 & 16:00-17:30

Verriere Californie Wednesday: 15:15-16:15

How to attend?

How to attend?

Open to all registered delegates, come and join us!

By pre-registration.

VR SPEED MATCHING

ANIMATION CO-PRODUCTION BREAKFAST

On a “Speed Dating” basis, VR investors and commissioners will meet with VR Content producers and find potential partners!

Good projects start with good connections. Join our round tables and be mentored on the new creative and business trends in international co-production. Time to build up new relationships over coffee and croissants!

Where & When?

Where & When?

Participants’ Club Wednesday: 14.00-15.00

Verriere Grand Auditorium Wednesday: 8.30-10.00

How to attend?

How to attend?

By pre-registration.

By invitation only.

MEET WITH

JUNIOR@MIPTV NETWORKING

Want to meet the finalists of the Kids Live-Action Pitch and digital animation creators, book a meeting right after the sessions and see you on Tuesday 10 April afternoon!

Want to reach the stars? Here is another chance! Meet with the International Emmy Kids Awards Nominees over a drink.

Where & When?

Where & When?

Verriere Californie Monday: 16.15-17.00, for the new digital animation creators to watch Tuesday: 17.30-18.30, for the Kids Live-Action Pitch

Verriere Californie Tuesday: 11.00-12.00

How to attend?

Open to all registered delegates, come and join us!

How to attend? Meeting booking at the end of the session.

FIRST TIMERS’ PROGRAMME Your first time at MIPTV? Don’t miss our First Timers Programme. A “First Timers welcome corner” manned by our dedicated team available throughout MIPTV in the Participants’ Club Palais -1 and a daily programme to meet peers at the market.

Where & When? Sunday: 17.00, Meeting point: Entrance number 4, Palais des Festivals 17.15, ‘How to’ MIPTV including a presentation by The Pitch Doctor, Paul Boross, Agora (Followed by Welcome drinks, Bar, Innovation Hub) Monday: 10.30, First Timers’ catch-up discovery tours of the exhibition floors and MIPTV services, Agora entrance, upon registration

16.30-17.30, First Timers’ Coffee & Biscuits, Bar, Innovation Hub 19.30-21.00, First Timers’ meet & greet corner at the MIPTV Networking Cocktail, Intercontinental Carlton Hotel Monday – Thursday: 8.30-9.30, First Timers’ Welcome Breakfast, Bar, Innovation Hub

How to attend? Open to all registered delegates, come and join us.

More information & pre-registrations available on the online programme. As of 23 February 2018, subject to change.

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MIPTV 2018 PROGRAMME

9-12 April 2018

MIPDRAMA BUYERS SUMMIT

THE PRE-MIPTV DRAMA SHOWCASE FOR INTERNATIONAL BUYERS The new MIPDrama Buyers Summit is focused on new trends and upcoming series in production. An exclusive first look at a curated selection of the most anticipated international new series in production will be presented to 450 invited leading buyers and commissioners.

2018 OFFICIAL SELECTION

AGENDA

SUNDAY 8 APRIL 11.00-13.00, Grand Auditorium Lumiere

CANNESERIES Screening #1 13.00-14.30, Majestic Hotel

ARCTIC CIRCLE

BULLETS

Production: Yellow Film & TV in co-production with Bavaria Fiction

Production: Vertigo Production in co-production with Nadcon and Lunanime

Distribution: Lagardère Studios Distribution Broadcaster: Elisa Viihde, YLE

Distribution: Sky Vision

MIPDrama Buyers Networking Lunch Sponsored by China Central Television – China International Television Corporation

14.30-15.30, Grand Auditorium Lumiere

CANNESERIES Screening #2

Broadcaster: Elisa, MTV 15.30-15.45, Foyer Debussy

Welcome Networking Coffee 15.45-16.15, Debussy Theatre

Newest Trends in Drama Content

Avril Blondelot

John Peek

CLEANING UP

GIGANTES

Production: Sister Pictures

Production: Telefónica Studios, Lazona

Fast Forward: Drama, the Viewer’s Story

Distribution: About Premium Content

Presented by TAPE and Eurodata TV Worldwide

Distribution: ITV Studios Global Entertainment Broadcaster: ITV

Head of Content Insight Eurodata TV Worldwide

Joint Managing Director TAPE Consultancy

Broadcaster: Movistar+ 16.15-18.00, Debussy Theatre

Official Selection Screenings Hosted by:

Ali May

Writer and Broadcast Journalist Mayhart Media

18.00-19.00, Foyer Debussy

PAGAN PEAK

TRIGGER

Production: Wieddemann & Berg in co-production with epo-film produktionsgesellschaft

Production: Sreda Production

Distribution: Beta Film Broadcaster: Sky Germany

Networking Cocktail

Sponsored by BRFT – Beijing Municipal Bureau of Press, Publication, Radio, Film and Television

Distribution: Sreda Production Broadcaster: Channel One Russia

19.15-23.00, Grand Auditorium Lumiere

CANNESERIES Screenings #3 & #4

As of 23 February 2018, subject to change.

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MIPTV 2018 PROGRAMME

CREATORS IN DEMAND

9-12 April 2018

KEYNOTE SPEAKERS

BRAND CONTENT OF THE YEAR: ‘CARMILLA’

Debussy Theatre

By Kimberly Clark

Monday 9 April, 10.45-11.15

Wednesday 11 April, 12.00-12.30 Debussy Theatre

Monday 9 April, 17.45-18.15

Weidong Yang

Rotating President of Alibaba Digital Media & Entertainment Group President of Business Group, Youku

VARIETY’S 2018 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV

Christina Jennings Chairman & CEO Shaftesbury

Dato’ Rohana Rozhan

Monday 9 April, 11.30-12.00

Scott Usitalo

Chief Marketing Officer, Global Sector, Marketing & Innovation Kimberly Clark

CEO Astro

Matthew Henick

Head of Development Buzzfeed

Kaaren Whitney-Vernon SVP, Branded Entertainment Shaftesbury

FUTURE OF STORYTELLING KEYNOTE Tuesday 11 April, 11.30-12.00 Debussy Theatre

NEXT GEN SHOWCASE Monday 9 April, 17.00-17.30 Debussy Theatre

Robert Rodriguez

Producer, Director and Author

Racer Max Rodriguez Co-Author

Rick Rey

Co-President STXsurreal

Andy Vick

Co-President STXsurreal

Jonathan Skogmo Founder and CEO Jukin Media

FRESH TV

‘THE BIG SHIFT’ MEGA PANEL DISTRIBUTORS WITH A PRODUCERS’ MINDSET

Presented by The WIT

Tuesday 10 April, 10.30-11.15 Debussy Theatre

FRESH TV LIVE-ACTION SCRIPTED SERIES Monday 9 April, 17.00-17.30 Esterel

FRESH TV FORMATS

W Tuesday 10 April, 9.30-10.30 NEDU LE

SCHE

Maria Kyriacou President International ITV Studios

Cathy Payne Chief Executive Officer Endemol Shine International

Louise Perdersen CEO all3media international

Keren Shahar

COO & President Distribution Keshet International

Grand Auditorium Lumiere & Balcony

FRESH TV FICTION

Wednesday 11 April, 12.45-13.30 Debussy Theatre

As of 23 February 2018, subject to change.

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Trends, Live-Action, Digital... What’s trending in the Kids industry? KIDS WORLD PREMIERE TV SCREENING

LIVE-ACTION David Levine

VP Programming, Production & Strategic Dev, Disney Channels EMEA The Walt Disney Company

Nina Hahn

SVP International Production and Development Nickelodeon

Strong focus on live-action scripted series, including numerous conference panels, the inaugural Kids’ Live-Action Series Pitch, a Kids’ Live-Action Fresh TV presentation, workshops and matchmaking.

Tuesday 10 April, 17.30-18.30, Esterel Presented by Cottonwood Media “Find Me in Paris” is a premium Englishlanguage tween drama centring on Lena, a typical teenage girl attending the Paris Opera Ballet School, the world’s most elite dance institution. But Lena has a secret. She’s a time traveller, accidentally propelled from 1905 into the 21st century by her boyfriend Henri. Lena tries to fit in, juggling high school and rigorous ballet training, while spending time with an underground dance crew.

INTERNATIONAL EMMY® KIDS AWARDS Tuesday 10 April, 19.30-22.00, Intercontinental Carlton Hotel By invitation

ANIMATION

The International Academy of Television Arts & Sciences awards will be presented at MIPTV on Tuesday 10 April. Join leading kids content executives for an incredible evening recognising excellence in international children’s programming.

Junior@MIPTV will also feature an Animation Co-production breakfast and a showcase of animation pioneers who have broken through via the digital ecosystem.

SCREENINGS

Jeremy Rosen

VP, Programming & Networks Frederator Networks

IMMERSIVE CONTENT

Go beyond the stunning experiences and storytelling disruption, and get real about VR and business! A full comprehensive programme with panels, showcases and a VR library take place in the Palais des Festivals.

IMMERSIVE CONTENT LEADERSHIP SUMMIT #2

Wednesday 11 April, 08.30-11.30, Majestic Hotel, by invitation Tuesday 10 April 9.00-10.15, Auditorium K

Tuesday 10 April 17.15-18.30, Auditorium K

KEEPING FAITH

LIFELINE

Presented by ABOUT PREMIUM CONTENT

The must-attend leadership summit gathering VR/AR executives from media groups, content distributors, producers and manufacturers.

Presented by ATV

Matthew Collado Co-Founder & CCO Littlstar

Clifton Dawson

Founder & CEO Greenlight Insights

Laura Talsma

VR Cinema Specialist &Samhoud Media

MIPTV’S ULTRA HD SESSIONS SHOWCASE THE LATEST IN 4K DRAMA, FACTUAL, MUSIC AND SPORT Tuesday 10 April 15.45-17.00, Auditorium A

Wednesday 11 April 10.45-12.00, Auditorium K

LODGE 49

PUTIN. WITNESSES

Presented by AMC STUDIOS

Presented by CURRENT TIME TV

Knowledge Partner:

As of 23 February 2018, subject to change.

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CREATORS IN DEMAND

CONFERENCE & EVENTS PROGRAMME

By invitation

DRAMA 9.30-10.45

Auditorium K

SCREENING To be announced

11.00-13.00, Grand Auditorium Lumiere CANNESERIES SCREENING #1

19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #3 & #4

INDUSTRY SPOTLIGHT DRAMA

NEXT GEN IMMERSIVE CONTENT REGIONAL FOCUS 4K ULTRA HD SCREENINGS MATCHMAKINGS CANNESERIES SCREENINGS Open to all MIP badge holders

10.45-11.15 Agora

PRODUCING A SERIES FOR SNAPCHAT: AN EPHEMERAL PRIMER

REGULATORS: CATCHING UP TO CONTENT VIEWING BEHAVIOURS

MEDIA MASTERMIND KEYNOTE

MEDIA MASTERMIND KEYNOTE

Majestic Hotel Doors open at 12.00 By invitation

DRAMA CO-PRODUCTION LUNCH 14.15-15.30 Auditorium K

To be announced

15.45-17.00 Auditorium A

SCREENING To be announced

17.15-18.30

14.15-15.45 Esterel

KIDS ANIMATION: NEW DIGITAL CREATORS TO WATCH Followed by pre-booked meetings with the Speakers* (16.15-17.00, Verriere Californie)

16.00-16.30 Esterel

IMMERSIVE CONTENT

INDUSTRY SPOTLIGHT

4K ULTRA HD 15.00-16.00

Sony 4K Ultra HD Theatre

16.00-17.30 Agora

TECH PITCHING SESSIONS

By registration, space limited

MIPTV Thanks its Sponsors & Partners

5-6_at_a_glance_int_rabat.indd Toutes les pages

9.30-10.30

Esterel

Followed by Networking with the Speakers (11.00-12.00, Verriere Californie)

Auditorium A

Auditorium K

Screening presented by all3media international

15.45-17.00 Auditorium A

‘LODGE 49’

16.00-16.45

‘LIFELINE’

17.00-17.30, Debussy Theatre JUKIN MEDIA

17.45-18.15, Debussy Theatre VARIETY’S 2018 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV: ROHANA ROZHAN, CEO, ASTRO 19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #6 & #7

17.15-18.30 Auditorium K

Screening presented by ATV

4K ULTRA HD 15.30-16.30

Sony 4K Ultra HD Theatre

THE BEST IN UHD, IN MUSIC AND ENTERTAINMENT

14.15-15.15 Esterel

Sony 4K Ultra HD Theatre

FACTUAL IN ULTRA-HD, WINNING CRITICAL AND PUBLIC ACCLAIM

KIDS LIVE-ACTION PITCH Followed by pre-booked meetings with the Speakers* (17.30-18.30, Verriere Californie)

15.30-16.10 Esterel

LIVE-ACTION SCRIPTED SERIES – CHANNEL & PLATFORM STRATEGIES

14.00-14.30

14.00-14.20

HOW AR WILL AFFECT THE CONTENT INDUSTRY?

KBS DRAMA SCREENING

15.00-15.30

14.30-15.30

Auditorium A

Auditorium A

TRUE VR: GEARING UP FOR AN ‘INTERACTIVE WATCHING EXPERIENCE’

Agora

By KBS

Agora

TECH PITCHING SESSIONS 16.00-17.30 Agora

TECH PITCHING SESSIONS

Auditorium A

FINANCING HIGH-END LIVE ACTION SERIES FOR KIDS

Presented by Cottonwood Media

17.00-17.30, Debussy Theatre NEXT GEN STUDIO To be announced

MEDAILLES D’HONNEUR LUNCH

SCREENING 12.45-13.30, Debussy Theatre FRESH TV FICTION

By invitation

INTERNATIONAL EMMY® KIDS AWARDS

NEXT GEN

IMMERSIVE CONTENT

14.30-15.00

14.00-15.00

14.15-14.45

BEST OF SHORT FORM SERIES

VR SPEED MATCHING

HOW TO PRODUCE A SERIES FOR INSTAGRAM?

Agora

JUNIOR 14.15-15.00

Verriere Californie

SELLING LIVE ACTION SERIES AS SCRIPTED FORMATS

19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #9 & #10

WORKSHOP 10.30-11.00

13.00-14.00 Agora

TRENDING TOPICS: THE MOST BUZZWORTHY TRENDS OF THE MARKET

MEET-UPS MONDAY 9 APRIL Bar, Innovation Hub

10.00-11.00 MEET-UP: VIRTUAL REALITY 17.30-18.30 MEET-UP: LATIN AMERICA

TUESDAY 10 APRIL Bar, Innovation Hub

10.00-11.00 MEET-UP: AFRICA 17.30-18.30 MEET-UP: CHINA

WEDNESDAY 11 APRIL Verriere Californie

15.15-16.15 MEET-UP: KIDS LIVE ACTION

KEYNOTE SHOWCASE 15.15-16.00, Debussy Theatre WOMEN & SERIES: THE NEW EL DORADO? Produced by CANNESERIES and MIPTV

15.30-16.30, Sony 4K Ultra HD Theatre SPECTACULAR SPORTS AND ACTION, IN ULTRA-HD

To be announced

Agora

WORKSHOP

Screening presented by Current Time TV

12.30-14.00, Intercontinental Carlton Hotel

Participants’ Club By pre-registration

WORKSHOP

Auditorium K

By invitation

Auditorium A

Agora

Agora

10.45-12.00

KEYNOTE SHOWCASE

DRAMA

NON-STOP ULTRA-HD

INDUSTRY SPOTLIGHT

9.00-9.30

9.45-10.15

Sony 4K Ultra HD Theatre

4K ULTRA HD

KEYNOTE SHOWCASE 17.45-18.15, Debussy Theatre

19.30-22.00, Intercontinental Carlton Hotel

NON-STOP ULTRA-HD

12.00-12.30, Debussy Theatre MIPTV 2018 BRAND CONTENT OF THE YEAR: ‘CARMILLA’ By Kimberly Clark

Esterel

NEXT GEN SHOWCASE

To be announced

‘PUTIN. WITNESSES’

11.00-11.45

17.30-18.30 KIDS WORLD PREMIERE TV SCREENING: ‘FIND ME IN PARIS’

Sony 4K Ultra HD Theatre

14.00-15.00

HOW TO FIND COMMON LANGUAGE TO MAKE LIVE ACTION SERIES TRAVEL?

9.30-10.30

INDUSTRY SPOTLIGHT

9.30-11.30

SCREENING

Auditorium A

ASIA: NEW PRODUCERS TO WATCH

IMMERSIVE CONTENT

Auditorium K

ANIMATION CO-PRODUCTION BREAKFAST

INDUSTRY SPOTLIGHT

4K ULTRA HD

10.00-10.45

Auditorium A

12.00-14.00, Grand Auditorium Lumiere CANNESERIES SCREENING #8

DRAMA 9.00-10.15

Verriere Grand Auditorium By registration

IMMERSIVE CONTENT LEADERSHIP SUMMIT #2

11.30-12.00

By STX Entertainment Partners & Robert Rodriguez

JUNIOR

Majestic Hotel By invitation

4K ULTRA HD

KEYNOTE SHOWCASE

DRAMA

8.30-10.00

Agora

10.30-11.15, Debussy Theatre ‘THE BIG SHIFT’ MEGA PANEL – DISTRIBUTORS WITH A PRODUCERS’ MINDSET

Screening presented by AMC Studios

NEXT GEN SHOWCASE

From 19.30, Intercontinental Carlton Hotel MIPTV OPENING COCKTAIL

4K ULTRA HD

DRAMA, IN ULTRA HD, REACHING MILLIONS OF VIEWERS

MEDIA MASTERMIND KEYNOTE IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM

Screening presented by About Premium Content

‘MYSTERY ROAD’

SPECIAL EVENT SCREENING: KANSAI TV AND NETFLIX

* Meeting booking at the end of the session.

HOW TO PRODUCE A SERIES FOR FACEBOOK WATCH?

14.15-15.30

FRESH TV KIDS LIVE-ACTION SCRIPTED SERIES

Presented by TV3 By invitation only Presentation followed by cocktail

ASIAN DRAMA SERIES – LOCAL ORIGINALS WITH GLOBAL AMBITIONS

TECH PITCHING SESSIONS

Sony 4K Ultra HD Theatre

RUSSIAN SERIES ROULETTE: SEE WHAT SHOOTS NEXT

INTERNATIONAL EMMY® KIDS AWARDS NOMINEE SHOWCASE

Agora

17.00-17.30

Verriere Californie

‘KEEPING FAITH’

VR/AR- LATEST TRENDS AND DEVELOPMENTS

Auditorium A

To be announced

Esterel

10.45-11.15

14.00-15.30

KIDS – GETTING TO KNOW THE 6-12!

18.00-19.00

10.30-11.15

14.15-14.45

SCREENING

Auditorium K

10.00-11.00

Auditorium K

JUNIOR

8.30-11.30

NEXT GEN

11.30-12.00, Debussy Theatre BLOCKBUSTER ORIGINAL SCRIPTED VR SERIES ‘THE LIMIT’, FEATURING ROBERT RODRIGUEZ

12.00-14.00, Grand Auditorium Lumiere CANNESERIES SCREENING #5

JUNIOR

REGIONAL FOCUS

FUTURE OF STORYTELLING KEYNOTE

11.30-12.00, Debussy Theatre MATTHEW HENICK, HEAD OF DEVELOPMENT, BUZZFEED

12.30-14.30

NEW

SCHEDULE

9.00-10.15

NHK- READYING FOR 4K AND 8K

10.45-11.15, Debussy Theatre WEIDONG YANG, ROTATING PRESIDENT OF ALIBABA MEDIA & ENTERTAINMENT GROUP, PRESIDENT OF BUSINESS GROUP, YOUKU

DRAMA

JUNIOR

DRAMA

Sony 4K Ultra HD Theatre

In partnership with CSA

SCREENING

JUNIOR

ONE TV YEAR IN THE WORLD: CRACKING AUDIENCE TRENDS

Auditorium A

IMMERSIVE CONTENT

SCREENING 9.30-10.30, Grand Auditorium Lumiere & Balcony FRESH TV FORMATS

THURSDAY 12 APRIL

8.00-18.30, Gare Maritime - By registration, space limited IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM - Co-organised by MIPTV and CANNESERIES

Sponsored by BRFT - Beijing Municipal Bureau of Press, Publication, Radio, Film and Television

Esterel

WEDNESDAY 11 APRIL

8.00-18.15, Gare Maritime - By registration, space limited IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM - Co-organised by MIPTV and CANNESERIES

18.00-19.00, Foyer Debussy NETWORKING COCKTAIL

ULTRA HD OPENING SESSION AND GLOBAL UPDATE

IF CONTENT IS KING, WILL BLOCKCHAIN SPARK THE REVOLUTION?

Sony 4K Ultra HD Theatre

9.30-10.15

NEXT GEN 10.30-11.00

Auditorium A

14.30-15.30, Grand Auditorium Lumiere CANNESERIES SCREENING #2

16.15-18.00, Debussy Theatre OFFICIAL SELECTION SCREENINGS

4K ULTRA HD 9.30-10.30

11.15-12.00

Sponsored by China Central Television China International Television Corporation

15.45-16.15, Debussy Theatre NEWEST TRENDS IN DRAMA CONTENT

INDUSTRY SPOTLIGHT

By Eurodata TV Worldwide & Tape Consultancy

13.00-14.30, Majestic Hotel MIPDRAMA BUYERS NETWORKING LUNCH

15.30-15.45, Foyer Debussy WELCOME NETWORKING COFFEE

TUESDAY 10 APRIL

MONDAY 9 APRIL

SUNDAY 8 APRIL

MIPDRAMA BUYERS SUMMIT

9-12 April 2018

16.30-17.30, Sony 4K Ultra HD Theatre CONNECTING WITH YOUR AUDIENCE UHD & HDR

VISIT MIPTV.COM FOR REGULAR UPDATES As of 23 February 2018, subject to change.

19.15-00.00, Grand Auditorium Lumiere CANNESERIES – CLOSING CEREMONY

Capital Radio & TV Program Producers Associa on

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CREATORS IN DEMAND

CONFERENCE & EVENTS PROGRAMME

By invitation

DRAMA 9.30-10.45

Auditorium K

SCREENING To be announced

11.00-13.00, Grand Auditorium Lumiere CANNESERIES SCREENING #1

19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #3 & #4

INDUSTRY SPOTLIGHT DRAMA

NEXT GEN IMMERSIVE CONTENT REGIONAL FOCUS 4K ULTRA HD SCREENINGS MATCHMAKINGS CANNESERIES SCREENINGS Open to all MIP badge holders

10.45-11.15 Agora

PRODUCING A SERIES FOR SNAPCHAT: AN EPHEMERAL PRIMER

REGULATORS: CATCHING UP TO CONTENT VIEWING BEHAVIOURS

MEDIA MASTERMIND KEYNOTE

MEDIA MASTERMIND KEYNOTE

Majestic Hotel Doors open at 12.00 By invitation

DRAMA CO-PRODUCTION LUNCH 14.15-15.30 Auditorium K

To be announced

15.45-17.00 Auditorium A

SCREENING To be announced

17.15-18.30

14.15-15.45 Esterel

KIDS ANIMATION: NEW DIGITAL CREATORS TO WATCH Followed by pre-booked meetings with the Speakers* (16.15-17.00, Verriere Californie)

16.00-16.30 Esterel

IMMERSIVE CONTENT

INDUSTRY SPOTLIGHT

4K ULTRA HD 15.00-16.00

Sony 4K Ultra HD Theatre

16.00-17.30 Agora

TECH PITCHING SESSIONS

By registration, space limited

MIPTV Thanks its Sponsors & Partners

5-6_at_a_glance_int_rabat.indd Toutes les pages

9.30-10.30

Esterel

Followed by Networking with the Speakers (11.00-12.00, Verriere Californie)

Auditorium A

Auditorium K

Screening presented by all3media international

15.45-17.00 Auditorium A

‘LODGE 49’

16.00-16.45

‘LIFELINE’

17.00-17.30, Debussy Theatre JUKIN MEDIA

17.45-18.15, Debussy Theatre VARIETY’S 2018 ACHIEVEMENT IN INTERNATIONAL TELEVISION AWARD AT MIPTV: ROHANA ROZHAN, CEO, ASTRO 19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #6 & #7

17.15-18.30 Auditorium K

Screening presented by ATV

4K ULTRA HD 15.30-16.30

Sony 4K Ultra HD Theatre

THE BEST IN UHD, IN MUSIC AND ENTERTAINMENT

14.15-15.15 Esterel

Sony 4K Ultra HD Theatre

FACTUAL IN ULTRA-HD, WINNING CRITICAL AND PUBLIC ACCLAIM

KIDS LIVE-ACTION PITCH Followed by pre-booked meetings with the Speakers* (17.30-18.30, Verriere Californie)

15.30-16.10 Esterel

LIVE-ACTION SCRIPTED SERIES – CHANNEL & PLATFORM STRATEGIES

14.00-14.30

14.00-14.20

HOW AR WILL AFFECT THE CONTENT INDUSTRY?

KBS DRAMA SCREENING

15.00-15.30

14.30-15.30

Auditorium A

Auditorium A

TRUE VR: GEARING UP FOR AN ‘INTERACTIVE WATCHING EXPERIENCE’

Agora

By KBS

Agora

TECH PITCHING SESSIONS 16.00-17.30 Agora

TECH PITCHING SESSIONS

Auditorium A

FINANCING HIGH-END LIVE ACTION SERIES FOR KIDS

Presented by Cottonwood Media

17.00-17.30, Debussy Theatre NEXT GEN STUDIO To be announced

MEDAILLES D’HONNEUR LUNCH

SCREENING 12.45-13.30, Debussy Theatre FRESH TV FICTION

By invitation

INTERNATIONAL EMMY® KIDS AWARDS

NEXT GEN

IMMERSIVE CONTENT

14.30-15.00

14.00-15.00

14.15-14.45

BEST OF SHORT FORM SERIES

VR SPEED MATCHING

HOW TO PRODUCE A SERIES FOR INSTAGRAM?

Agora

JUNIOR 14.15-15.00

Verriere Californie

SELLING LIVE ACTION SERIES AS SCRIPTED FORMATS

19.15-23.00, Grand Auditorium Lumiere CANNESERIES SCREENINGS #9 & #10

WORKSHOP 10.30-11.00

13.00-14.00 Agora

TRENDING TOPICS: THE MOST BUZZWORTHY TRENDS OF THE MARKET

MEET-UPS MONDAY 9 APRIL Bar, Innovation Hub

10.00-11.00 MEET-UP: VIRTUAL REALITY 17.30-18.30 MEET-UP: LATIN AMERICA

TUESDAY 10 APRIL Bar, Innovation Hub

10.00-11.00 MEET-UP: AFRICA 17.30-18.30 MEET-UP: CHINA

WEDNESDAY 11 APRIL Verriere Californie

15.15-16.15 MEET-UP: KIDS LIVE ACTION

KEYNOTE SHOWCASE 15.15-16.00, Debussy Theatre WOMEN & SERIES: THE NEW EL DORADO? Produced by CANNESERIES and MIPTV

15.30-16.30, Sony 4K Ultra HD Theatre SPECTACULAR SPORTS AND ACTION, IN ULTRA-HD

To be announced

Agora

WORKSHOP

Screening presented by Current Time TV

12.30-14.00, Intercontinental Carlton Hotel

Participants’ Club By pre-registration

WORKSHOP

Auditorium K

By invitation

Auditorium A

Agora

Agora

10.45-12.00

KEYNOTE SHOWCASE

DRAMA

NON-STOP ULTRA-HD

INDUSTRY SPOTLIGHT

9.00-9.30

9.45-10.15

Sony 4K Ultra HD Theatre

4K ULTRA HD

KEYNOTE SHOWCASE 17.45-18.15, Debussy Theatre

19.30-22.00, Intercontinental Carlton Hotel

NON-STOP ULTRA-HD

12.00-12.30, Debussy Theatre MIPTV 2018 BRAND CONTENT OF THE YEAR: ‘CARMILLA’ By Kimberly Clark

Esterel

NEXT GEN SHOWCASE

To be announced

‘PUTIN. WITNESSES’

11.00-11.45

17.30-18.30 KIDS WORLD PREMIERE TV SCREENING: ‘FIND ME IN PARIS’

Sony 4K Ultra HD Theatre

14.00-15.00

HOW TO FIND COMMON LANGUAGE TO MAKE LIVE ACTION SERIES TRAVEL?

9.30-10.30

INDUSTRY SPOTLIGHT

9.30-11.30

SCREENING

Auditorium A

ASIA: NEW PRODUCERS TO WATCH

IMMERSIVE CONTENT

Auditorium K

ANIMATION CO-PRODUCTION BREAKFAST

INDUSTRY SPOTLIGHT

4K ULTRA HD

10.00-10.45

Auditorium A

12.00-14.00, Grand Auditorium Lumiere CANNESERIES SCREENING #8

DRAMA 9.00-10.15

Verriere Grand Auditorium By registration

IMMERSIVE CONTENT LEADERSHIP SUMMIT #2

11.30-12.00

By STX Entertainment Partners & Robert Rodriguez

JUNIOR

Majestic Hotel By invitation

4K ULTRA HD

KEYNOTE SHOWCASE

DRAMA

8.30-10.00

Agora

10.30-11.15, Debussy Theatre ‘THE BIG SHIFT’ MEGA PANEL – DISTRIBUTORS WITH A PRODUCERS’ MINDSET

Screening presented by AMC Studios

NEXT GEN SHOWCASE

From 19.30, Intercontinental Carlton Hotel MIPTV OPENING COCKTAIL

4K ULTRA HD

DRAMA, IN ULTRA HD, REACHING MILLIONS OF VIEWERS

MEDIA MASTERMIND KEYNOTE IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM

Screening presented by About Premium Content

‘MYSTERY ROAD’

SPECIAL EVENT SCREENING: KANSAI TV AND NETFLIX

* Meeting booking at the end of the session.

HOW TO PRODUCE A SERIES FOR FACEBOOK WATCH?

14.15-15.30

FRESH TV KIDS LIVE-ACTION SCRIPTED SERIES

Presented by TV3 By invitation only Presentation followed by cocktail

ASIAN DRAMA SERIES – LOCAL ORIGINALS WITH GLOBAL AMBITIONS

TECH PITCHING SESSIONS

Sony 4K Ultra HD Theatre

RUSSIAN SERIES ROULETTE: SEE WHAT SHOOTS NEXT

INTERNATIONAL EMMY® KIDS AWARDS NOMINEE SHOWCASE

Agora

17.00-17.30

Verriere Californie

‘KEEPING FAITH’

VR/AR- LATEST TRENDS AND DEVELOPMENTS

Auditorium A

To be announced

Esterel

10.45-11.15

14.00-15.30

KIDS – GETTING TO KNOW THE 6-12!

18.00-19.00

10.30-11.15

14.15-14.45

SCREENING

Auditorium K

10.00-11.00

Auditorium K

JUNIOR

8.30-11.30

NEXT GEN

11.30-12.00, Debussy Theatre BLOCKBUSTER ORIGINAL SCRIPTED VR SERIES ‘THE LIMIT’, FEATURING ROBERT RODRIGUEZ

12.00-14.00, Grand Auditorium Lumiere CANNESERIES SCREENING #5

JUNIOR

REGIONAL FOCUS

FUTURE OF STORYTELLING KEYNOTE

11.30-12.00, Debussy Theatre MATTHEW HENICK, HEAD OF DEVELOPMENT, BUZZFEED

12.30-14.30

NEW

SCHEDULE

9.00-10.15

NHK- READYING FOR 4K AND 8K

10.45-11.15, Debussy Theatre WEIDONG YANG, ROTATING PRESIDENT OF ALIBABA MEDIA & ENTERTAINMENT GROUP, PRESIDENT OF BUSINESS GROUP, YOUKU

DRAMA

JUNIOR

DRAMA

Sony 4K Ultra HD Theatre

In partnership with CSA

SCREENING

JUNIOR

ONE TV YEAR IN THE WORLD: CRACKING AUDIENCE TRENDS

Auditorium A

IMMERSIVE CONTENT

SCREENING 9.30-10.30, Grand Auditorium Lumiere & Balcony FRESH TV FORMATS

THURSDAY 12 APRIL

8.00-18.30, Gare Maritime - By registration, space limited IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM - Co-organised by MIPTV and CANNESERIES

Sponsored by BRFT - Beijing Municipal Bureau of Press, Publication, Radio, Film and Television

Esterel

WEDNESDAY 11 APRIL

8.00-18.15, Gare Maritime - By registration, space limited IN DEVELOPMENT, THE CANNES DRAMA CREATIVE FORUM - Co-organised by MIPTV and CANNESERIES

18.00-19.00, Foyer Debussy NETWORKING COCKTAIL

ULTRA HD OPENING SESSION AND GLOBAL UPDATE

IF CONTENT IS KING, WILL BLOCKCHAIN SPARK THE REVOLUTION?

Sony 4K Ultra HD Theatre

9.30-10.15

NEXT GEN 10.30-11.00

Auditorium A

14.30-15.30, Grand Auditorium Lumiere CANNESERIES SCREENING #2

16.15-18.00, Debussy Theatre OFFICIAL SELECTION SCREENINGS

4K ULTRA HD 9.30-10.30

11.15-12.00

Sponsored by China Central Television China International Television Corporation

15.45-16.15, Debussy Theatre NEWEST TRENDS IN DRAMA CONTENT

INDUSTRY SPOTLIGHT

By Eurodata TV Worldwide & Tape Consultancy

13.00-14.30, Majestic Hotel MIPDRAMA BUYERS NETWORKING LUNCH

15.30-15.45, Foyer Debussy WELCOME NETWORKING COFFEE

TUESDAY 10 APRIL

MONDAY 9 APRIL

SUNDAY 8 APRIL

MIPDRAMA BUYERS SUMMIT

9-12 April 2018

16.30-17.30, Sony 4K Ultra HD Theatre CONNECTING WITH YOUR AUDIENCE UHD & HDR

VISIT MIPTV.COM FOR REGULAR UPDATES As of 23 February 2018, subject to change.

19.15-00.00, Grand Auditorium Lumiere CANNESERIES – CLOSING CEREMONY

Capital Radio & TV Program Producers Associa on

26/02/2018 15:03


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Miptv 2018 preview magazine  

Miptv 2018 preview magazine; Introducing the inaugural CANNESERIES; In Development, the brand-new creative forum; The MIPDrama Buyers Summi...

Miptv 2018 preview magazine  

Miptv 2018 preview magazine; Introducing the inaugural CANNESERIES; In Development, the brand-new creative forum; The MIPDrama Buyers Summi...