Newsline Report International - Edición Especial MIPTV 2016 by IQ Publishing

NEWSLINE REPORT

MIPTV 2016

INCOMPANY

STAFF Year XXV MIPTV 2016 Edition

Eladio Jareño was appointed as new Director of TVE, replacing José Ramón Díez, who resigned last February. Throughout his career, he has been Director of TVE in Catalonia and Territorial Delegate at RTVE in Catalonia between 2003 and 2004. He came back to the position in 2014. For four years, he was also responsible of kids-shows on TVE. ○

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The Board of Directors of Televisión Nacional de Chile chose Alicia Hidalgo Córdova to take control as temporary executive director after Carmen Gloria Lopez quitted. Hidalgo Córdova has big experience at TVN with more than 14 years, as Marketing SubManager, Sales SubManager, Planning Manager and Commercial Director. ○

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Fred Joubaud is the new Director, International Sales & Digital Acquisitions and Staff Promotions of Tricon Films & Television, replacing Lia Dolente, who’ll extend her responsibilities as Director of Communications. Previously, the executive was General Manager at Ouat Media and Head of Acquisitions and Sales at the French distributor Premium Films. ○

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Stingray Digital Group points Alejandra Olea as Regional Manager for Latin America. The executive heads the next step of the multi-platform musical services provider and will help to reach the maximum potential in the market. Gustavo Tonelli, who was on the position, now will be developing and producing exclusive content for Stingray and generate different initiatives in the Latin American market. ○

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Luis Fernández joins the Hispanic network Telemundo, as the new Executive Vice President of Network News, its informative arm, replacing Luis Carlos Vélez. Fernández arrives at Telemundo after a long time trajectory in the Industry, with important steps at Radio Televisión Española as Executive Director, Univision y the Spanish networks Telecinco, Cadena Ser and Canal +. ○

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Federico Rava was chosen as President at Telefónica Argentina, adding responsibilities at General Secretary, Institutional Relationships and Interior Auditory, to the ones we has at Telefónica and Movistar Argentina as General Director. In his new role, he’ll look for the capitalization of the chance to join the business points of the company with the institutional ones. ○

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Coming from Viacom, Corinna Keller joins CNN International Comercial as Vice President of Publicity Sales for The Americas and from that position she will supervise the businesses in The Americas, from Miami’s office. She will work for Petra Malenicka, VP Senior of Publicity Sales for Europe and The Americas, CNN International Comercial. ○

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Nathascha Rengifo is designated as Vice President and General Manager, Channels, OLA (Other Latin American Markets) of Sony Pictures Television. From this position, Rengifo will head the strategic management of AXN and Canal Sony Latin America, with responsibilities over the incomes, investments, programming and planning, marketing, business development and affiliated relationships. ○

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Since May 3rd, Emmanuelle Namiech will be the CEO of Passion Distribution. The executive left her role as Head of Sales at Banijay Group, when the company finished the merger to Zodiak Media. At Passion, Namiech will replace Sally Miles, who resigned in January, and will be in charge of a portfolio that includes the reboot of Robot Wars. ○

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Hemisphere Media Group hired the Hispanic media executive Lucía Ballas-Traynor as Executive VP of Advertising Sales. Her goal is to head the strategy of advertising sales for their channels offer. With more than 25 years in the Hispanic Industry, Ballas-Traynor was the editor of People Magazine in Spanish, and General Manager of Galavisión and MTV Tr3s. ○

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Editors • Directors Rafael Val María Pía Pazzaglini Editorial Departament María Alejandra Sturiza José Luis Fajín Aldo Bianchi Pablo Garcia Damián Martínez Ailín Scapolan Commercial Departament Rafael Aboy Javier Fiorellino Franco Aboy Design ADNOW www.adnow.com.ar Printing House Gráfica Pinter info@graficapinter.com.ar

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TV Azteca reinvents itself on the way of international models Rodrigo Fernández, Benjamín Salinas and Mauricio Majul That was announced by its CEO, Benjamín Salinas Sada, who highlights that 2016 will be the year of biggest production investments in TV Azteca history. After a diagnosis of the new opportunities generated by the current structure, he said that the reinvention will be following the trends of international TV networks. The redesign contemplates the creation of Estudio Trece (13) and Estudio Siete (7) in a new way that facilitates the arrival of new content to the Free-TV, meanwhile guarantees the financial efficiency of the company. Under this new organization, their own productions, independents and co-productions are welcomed at TV Azteca. As General Director of Estudio Trece, was designated Mauricio Majul Gabriel. Also, Rodrigo Fernández Capdevielle will be the General Director of Estudio Siete. With this leaderships, Benjamín Salinas emphasizes that TV Azteca will offer the best contents with the highest quality for the audience and assures that this year will be a record year and a time of great recovery of the whole programming area.

DIXIT «While the performance of theatrical film slate resulted in softer than anticipated results, other businesses performed strongly in the quarter. With the television business continuing its robust topline and margin growth, a deeper and more diversified film slate with lower costs and contributions anticipated from recently launched businesses, there is a clear path to resume the industry financial trajectory in fiscal 2017» Jon Feltheimer CEO, Lionsgate

Philippe Dauman is the new Executive Director of Viacom

Bruce Tuchman leaves AMC Networks After positioning the brands all over the world, AMC Global and Sundance Channel Global President leaves AMC Networks International on April, after five years in the company, and meantime Ed Carroll, COO, AMC Networks, will take his position. «Bruce has been fundamental in the development of Sundance Channel as a worldwide trend and during the transition of MGM Channel to AMC Global, positioning the business for future growth», said the announcement. Tuchman leaded different strategies of distribution, programming, marketing and business development, for AMC and also Sundance Channel. In addition, he was in charge of the strategies for the acquisition of Chellomedia, valuated in USD 1 billion and the European network Kinowelt TV, acquired in 2014 by AMC Networks. Before his arrival at AMC, Tuchman worked as President of MGM Worldwide Networks, as he had done in management positions at Nickelodeon Global Network Ventures and MTV Networks.

Viacom’s Board of Directors picked up the executive as CEO and President, replacing Sumner Redstone who was pointed as Emeritus President, the recently created position. Dauman goal is increase the culture of creativity and innovation of the company, dealing with the interest of all the stockholders and creation of long term value. «Philippe Dauman has been so helpful with Summer in the whole aspects of the company success for almost 30 years and most recently, as CEO he has take the decision to drive our future in a way of innovation and disruption without precedents», said William Schwartz, President of Government and Nominations Committee from the Board of Directors of Viacom. «Redstone contributions to Viacom and media Industry are legendaries. He had driven the company with success and dedication to build a global business in benefit of all the stockholders, thanks to his vision and leadership», added Schwartz.

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COVER STORY JENS RICHTER, CEO, FREMANTLEMEDIA INTERNATIONAL

«The biggest challenge is to have great content» How have evolved FremantleMedia International businesses during the year? 2015 was a very nice year for us in a lot of aspects. We had a terrific slate across all genres. Some of our highlights include the launch of ‘The Returned’, our first US-drama which was co-produced with A+E in the US. We managed to set this up

as a Netflix Original and went worldwide on the platform. We had a phenomenal run with ‘Deutschland 83’, the series has sold all over the world and had great ratings worldwide, it even became the highest rating foreign drama on UK linear TV. Our talent shows like ‘The X Factor UK’, ‘America’s Got Talent’ and ‘American Idol’ continued to sell well

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FremantleMedia has grown worldwide and today has operations in 31 different territories. in every territory, and our lifestyle genre continues to grow with new titles from globally recognized talents such as Nigella Lawson and Jamie Oliver. Latin America was one of our highlight territories in 2015. The great big talent shows were the best performing genres in the region, with ‘100 Latinos Dijeron’ and ‘La Banda’ being very successful. How has evolved the content Industry in the last years? Over the past two years there has been the intro-

duction of even more linear channels and OTT services in each market. Netflix is now global, Amazon and HBO are in many territories and looking to spread further. Both global and local OTT platforms are commissioning big original series and local content to suit their viewers’ demand. The linear broadcasters have extended their catch-up capability. Overall, there are more channels, more platforms, and even more possibilities and ways of watching content. In some markets, SVOD is dominating, but it’s not the same all over the world. The change from linear to non-linear content consumption has moved with the audience. The people that were called viewers are now called users and watch the content where they want, when they want.

Where is going to be the focus of the company in the next months? We have a big focus in the acquisition area. We brought more people into the team with the goal of working with more production companies to widen our slate even further. Our FMI catalogue is full of diverse and innovative programming but we want even more great programs that can travel all over the world. And, as the world is changing now, every program we want to bring, has to be able to adapt. We have to spend the correct amount of time and energy to focus on our content. Which are the main challenges for FremantleMedia International? The biggest challenge is related to the fragmentation of market. There

are more ways to view the content than ever before, so we have to make sure that our content reaches everyone. The landscape is constantly changing with so many different business models and an explosion of content. In the US, drama has evolved from 29 dramas being produced in 1999, to more than 400 series produced in the territory last year – this is a steep increase. With the increase in the number of platforms comes the need for more content, and here we have to make the difference. We need big content from all over the world with a certain DNA that can create big impactful marketing campaigns to attract the audience. It’s important that the audience easily understands what the show is about in order to draw them in. ‘Deutschland

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COVER STORY 83’ (8x60') is a good example of this. The cold war inspired thriller from FremantleMedia’s UFA Fiction in Germany performed incredibly worldwide. The series is captivating coming-of-age story which is fresh and has actually helped to reshape the reputation of German dramas worldwide. The series sold very well internationally to networks such as Sundance in the US where the audience grew week on week, and Channel 4 in the UK where the series became the highest ever rating foreign drama – two huge accolades. During the past two years, FremantleMedia has also invested in several companies including 495 Productions in the US, Corona Pictures, Man Alive Entertainment and Naked Entertainment in the UK, No Pictures Please in the Netherlands, Fontaram and Kwai in France, Abot Hamieri in Israel, Miso Film across Scandi and Wildside in Italy. This activity mixed with the content being created by FremantleMedia’s existing production labels around the world means that our upcoming FremantleMedia International pipeline is looking very healthy with a mix of top titles and talent. Our acquisitions team

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are also continuously building the network of 3rd party producers that we work with in order to invest in and acquire quality content that will transcend cultural barriers and perform well for our clients. What’s your point of view on Social TV? Do you think it is the future of the market? Twitter and Facebook, SVOD and mobile phones, are the new Gods of the market. You can create a big storm if you understand how to use social media. We’re looking to take advantage of the social TV trend by teaming it up with different marketing angles and creating new relationships with the audience. Which are the main territories of FremantleMedia International? The US is by far the most important territory for us. It has the all the benefits, their huge audiences and US produced formats succeed everywhere, even if it’s the format or just the finished product . ‘Project Runway’ and ‘America’s Got Talent’ are clear examples of the success as both of those series have been acquired by a huge number of networks worldwide. In Europe, Germany and the UK are the most impor-

tant countries for the region. In Latin America and Asia-Pac are also big territories for us. Why do you think that FremantleMedia formats are so successful in the territories, regardless of the region? There are a couple of reasons that let our shows succeed all over the world. The first reason is that we are deeply connected with our creative partners. Today we have operations in 31 territories worldwide. The most recent territory to be added to our list of local producers is Israel where we have acquired Abot Hamieri, a Israeli production company. In all these territories we have local developments which often have the elements needed to work globally and we at FMI manage to sell them worldwide. I strongly believe that in the future, local platforms will commission more local content, so in the more territories we produce, the stronger we are. The communication between all our corporate and creative areas is one of the key features that make our content so strong. We are very well connected with the individual markets and are very much aware of the need in each territory. That’s one of the reasons as to why FremantleMedia produce so many different genres, because we understand what each market needs. We have a great heritage of big brands. We have shows like ‘Family Feud’ which started in US market in 1976 and is still going strong. In 2015, the show was the N°1 in syndication television in US.

Main titles to conquer the market We’re very excited about our new MIPTV slate that includes huge channel defining dramas such as ‘The Young Pope’ (8x60) – this series has become one of the most anticipated dramas of 2016. Starring A-list Hollywood talent, Jude Law and Diane Keaton, the series is directed and written by the Academy Award®winning Director, Paolo Sorrentino. The series is beautifully shot, has a powerful storyline and a very unique script. It is already in high demand. We’re also very excited to be bringing a new series from the world famous parenting expert, Jo Frost. ‘Jo Frost: Nanny On Tour’ (10x60'), starring and executive produced by Jo Frost follows her as she returns to help families evolve through all stages of parenting. We’re also taking ‘The Traffickers’ (8x60') to MIPTV. This is a thrilling documentary that follows the Award-winning British journalist Nelufar Hedayat as she goes deep into the global black market to meet the traffickers, the people who buy, sell and smuggle illicit goods such as endangered species, precious minerals, body parts and even children across continents and those trying to crack down on this huge international trade. The series is gritty and authentic and is must see viewing.

The same year we have a Celebrity edition of the show for ABC and it turned into the best summer show for the network. Another reason that some series work internationally better than others is the casting or talent attached. Our FMI catalogue includes a collection of globally recognized and amazing names such as Jamie Oliver, Nigella Lawson and Jo Frost, that are big brands by themselves and this brand power really does benefit us when selling their series around the world. What’s your goal for the company? How do you see FremantleMedia International in the future? We want to be in as many territories as possible. In

a few years there won’t be linear channels, they’ll be called local platforms. These local platforms will need more local content, so we want to work closer with the local markets. On the other hand, we want to be an important player and partner for the global OTTs. We want to sell them more products, work in co-productions with them, we want to be their partner. A big goal for us, besides the region, is that we want to be a home for great creative talents. Only with them can we fulfill our goals of becoming the biggest company on the market. We want to create more big brands that have a real life in tomorrow’s world.

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CONTENTS

SOCIAL TV

Changes

in the way we watch TV Every day, networks have more chances to reach their audiences.

Fred Graver, Head, TV Creative, Twitter

Facebook and Twitter are still the main players of the social TV environment, and as the time goes by, they continuously look for new ways of getting more and more money from TV advertisement. Both social media became the link between content owners and audiences, and have encouraged the interactivity among their users. With the goal of becoming a main player of the industry, Facebook and Twitter develop, constantly, different tools that help broadcasters to get to the audience target they’re looking for. During 2015, Facebook

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Nicola Mendelsohn, VP, EMEA, Facebook

had users consuming TV content directly from the app. This feature was benefited by the agreement with HBO to broadcast the episodes of its new comedy shows: ‘Ballers’ and ‘The Brink’. The premiere episode of ‘Ballers’ reached 50 million of followers. The company shows a

report that said that in the second quarter of the year, their users generated 4 billion video views per day, from which 65% happened through mobile devices. In 2014, the number of views had reached a billion diary; while today half of the people living in US watch, at least, a video per day.

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Tools that confirm their positions

In a few years, and with a diversity of numbers and actions, Facebook plans to become a whole video platform. In order to increase its decision, the social network closed a deal to produce an special diary from ABC News, called ‘Facecast: The One Thing’, the first newsshow specially created for Facebook users. Other tool of the company is ‘Instant Articles’, that offers a wide range of interactive features, like maps and live video, that can be found between the home stories. ‘Instant Articles’ provides 100% of the advertising incomes in case they sell their own ads, but if Facebook is the one that makes the deal, the incomes turn to be of the 70%. This adds an interactive layer, that will allow Facebook to become a truly Social TV platform. In order to justify this decision, the company suggests a unification of the social network and the most important content, in which the user could be updated of their contacts’ activity and consume their favorite programming at the same time. Nicola Mendelsohn, VP, EMEA, Facebook, explained the new determinations:

Fred Graver, Head TV Creative, Twitter, did mention that the app is one of the best things that could have happened to TV, because it captives all the audience. Under this statement, he analyzed: “we are in a world where everything we do, appears in hundreds of channels and our works it’s called ‘content’”. So as to describe the growth of the importance of the social media in the Industry, Graver explained that with Twitter people get an emotional connection that duplicates the one without it. “We are the answer to our question about how to establish a deeper link with the audience”, the executive sentenced. There are some reasons that make Twitter establish its important role. Mainly, because its live, with no distance between creation and consumption; then because its public, and interactive. “People with Twitter watch a show and build its own at the same time”, said Graver. This is reinforced by the fact that 95% of the online talks about TV happened in Twitter, and the 70% of the generated tweets are created and con-

“The amount of time spent online is eclipsing the one dedicated to television, and we still are in the Golden Age of TV. We want to be a platform for everyone who has incredible content to reach the audience they’re looking for”. With video in its glory time, a search by Cisco established that by 2019, the 80% of the information on the internet will be around the video. Also, they distinguished that peeks in the usage of Facebook and TV happened simultaneously in each country of the world. What’s more, 85% of the people in social media, are Facebook users, and are those that stay online during live broadcasts. Mendelsohn also distinguished the launch of a new feature developed with Star Wars, Vice and Discovery Networks, which allows the viewing of content 360°. “We are absolutely convinced that the main platform is the mobile one, but we still bet on Oculus. We think that it’s what is going to raise the importance during the next decade. In Facebook we are sure that virtual reality will become the mainstream”.

sumed during the broadcast. The most renowned tool of the social media in order to increase content-ads business is Amplify. This feature represents a truly alliance between Twitter, content-owners and sponsors. Amplify allows exclusive content launching with sponsors related to the theme. Through an alliance with Nielsen, Twitter has developed TV Ratings, with worldwide expansion. Live events were the main beneficiaries in Twitter. 672 million tweets were sent during 2014 World Cup, all related with the competition, the highest rate in the social media history, related to live events. According to Graver, social TV brings a unique way to find the audience and increase the commitment with the shows. Continuing with these trends, and with the quick evolution of technology, the audience will soon discover themselves viewing more content in social media than in television. That’s why companies start looking for a way that let the people be part of the shows, in the same way that they have to adapt to OTT and SVOD.

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The beginning of a trend

2012 was the year of second-screen apps. The first generation of Social TV apps let the audience interact with the content they were watching. During those months, the biggest networks were developing specific apps for their most important productions, like ‘The Voice’, ‘The Bachelor’ and other realities with a huge impact in social media. As the time went by, the companies recognized that the investment for the development of each app was too high; and audiences didn’t want to download an special app every time. Productions like ‘Games of Thrones’ and ‘The Walking Dead’ were some of the shows that have started with the creation of full segments - broadcasted right after the episode - dedicated to the conversations in social media. Through Facebook and Twitter broadcasters found the way to get close to their audience, without such kind of investments.

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CONTENTS ALEJANDRA MARANO, OPERATIONS DIRECTOR, CONSTRUIR TV

“At MIPTV we can monetize our portfolio” The Argentinean channel is focused on the social side of work culture. fits the lineal screen and also increases the nonlineal audience.

Which are the main challenges of the market? The challenge is set in reaching a narrative that distinguishes us from the rest of the offer. That is what we are looking for with our content production, mainly the ones oriented to an specific audience. Nowadays a high value production is as important as listening to the audience needs, so as to have a portfolio that

How have evolved Construir TV businesses in the last months? Last months of 2015 were very fruitful, with the sign of the agreement of collaboration with the International Labour Organization (ILO). The agreement meets the actions that have as a main goal the spreading and production of audiovisual material for public goods campaigns. Another big agreement was the one signed with LE Project Imagine that allow us to launch ‘Women and Men’ , Fedérique Bedós’ documentary about gender equality from the social, economical and political point of view.

Which are the main features that stand out Construir TV in the Industry? All our content is thought in order to in-

crease the value of working culture and to establish the point of view of the workers and their families on the screen. We work with all the val-

ue chain through our four main core ideas that are oriented to the people and their story lives, education, industry and social dimension.

The chance to show different points of view “MIPTV is one of our most important markets, because it gives us the possibility to find content for our screen and at the same time it helps us to show our content portfolio so we can monetize it. It’s a great window that allows us to get in touch with an incredible amount of important players that know our offer thanks to our participation in this kind of shows”, says Marano. In this new edition of MIPTV, Construir TV is launching content related to workers, but on the social side of the Industry. ‘Incluidos, trabajar sin prejuicios’ (13x26') is a documental series that describes the disability and work from a different point of view, with the participation of companies, disabled workers and their families. ‘Trabajadores en Riesgo’ (13x26') dives into the stories of people who loses their jobs. The emotional stories of those who have surpassed the challenges and got through it looking for a change in their lives. ‘Deportistas Fuera de Serie’ (13x26') follows the adventures of different amateur athletes that sacrifice everything because of their passion. They are not stopped by strokes or the lack of half lung or a leg.

GRUPO SECUOYA

“We are an unrivalled company” The executive joined the company as a sign of the effort of the company to encourage that important area inside the business model. “From my position, I’ll provide my experience so as to transform the company in a key player out of our boundaries”, said José Miguel Barrera. Grupo

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José Miguel Barrera is the new Head of International of the company. Secuoya wants to close deals with companies

from strategic territories in America, Asia and Europe. “We’ll still work in order to provide our success to different countries and to keep in touch with our partners in countries like Peru, USA, Chile and Colombia”, explained the executive. “Grupo Secuoya is an unrivalled

company. Production, distribution, services to producers and brands join together under the

same roof. We are in the whole audiovisual chain”, added.

Thinking about the future, Barrera assumed that “we had a rough time but we are recovered from it. Now we have to growth even more, evolving and providing the best service. I think that we are a master key in the environment and the future will prove it”.

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CONTENTS TELEFE

Shows its high quality productions The international division of distribution and business of Telefe has a wide range of offers aimed at the international market. The main title for this MIPTV is ‘Educating Nina’ (80x60'), the new comedy

produced by Telefe and Underground, that will be premiered at Telefe primetime in Argentina during April. ‘Educating Nina’ tells the story of two identical twin sisters who were separated at birth and lead totally different lives, ignoring each oth-

Co-productions from Latin America to the whole world. er’s existence. Their story will radically change when they are forced to live each other’s lives. ‘Lioness’ (120x60') tells a love story in the environment of a rundown textile factory that it is about to close down. ‘The Return of Lucas’ (60x60') is a coproduction between Telefe and América TV of Perú, produced in 4K technology Ultra HD. The dra-

ma thriller tells the story of a family who loses his eldest 4-year-old son, on the beach. 20 years later a young man arrives at the family house saying he is Lucas. ‘Story of a Clan’ is based upon the real fact of the Puccio, a traditional Argentinean family who devoted them-

selves to the kidnapping and murder of businessmen they knew, at the beginning of the 80’s. Aired with huge success on Telefe on Wednesdays at 11pm, the average rating of ‘Story of a Clan’ was 11.8 points and a 34.1 % share. ‘Cannibals’ (60x60') is a drama

thriller produced in 4K UHD, directed by Juan José Campanella, Academy Award Winner for ‘The Secret in their Eyes’. It is a story of love, revenge and redemption in the world of politics. Ariana, the protagonist, was raped by a group of young men of power in their teens and 20 years later, she returns seeking justice. For this project and through a strategic Alliance, Telefe co-produces with Monte Carlo TV of Uruguay and FOX International Channels Latin America (now FOX Networks Group).

RAFAEL BARDEM, HEAD OF CONTENT SALES, RTVE

Keeps working on the non-lineal TV offering middle-high standard of production and an established annual volume of content that gives us the chance to renew periodically our offer to the worldwide clients.

Which are the main goals of RTVE for 2016? We will keep on expanding our base of clients. Our offer is wider enough to let us provide solutions that fit with the buyers and programmer needs. We have a

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How have evolved the business in the last months? We are still working on the non-lineal TV offer consolidation process that becomes even better and more refined. MIPTV is a great opportunity for us, behind MI-

PCOM and NATPE. We have the chance to meet new clients and keep in touch with our current partners worldwide. At this edition, we are launching ‘The Department of Time’ and ‘Six Sisters’, our main titles for the show, that are accompanied with other important news like ‘Crime Times’ and ‘Broken Kingdom’ . We are working very hard on this titles in order to be an active player in the new market of SVOD rights.

How do you imagine the company in the future? I think that RTVE will have a stronger position, much more consolidated and will be a relevant player

in the American and European market. We want to take advantage of all the opportunities provided by all the changes on the way of viewing fiction.

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CONTENTS FIDELA NAVARRO, DIRECTOR OF CONTENT DISTRIBUTION AND INTERNATIONAL CHANNELS, TV AZTECA

The reinvention of TV Azteca The new strategy of direct control over the distribution of its content under the brand AZContenidos, is launched at MIPTV.

Which are the main challenges of your new position, now that you’ve added the content distribution? TV Azteca is having a reinvention that thrills everyone. Our business models, the production process and new distribution strategies are changing, so we have to be ready for this new era leaded by our CEO, Benjamín Salinas. My personal goal is to build a diverse sales team, with a more specific control that offers more content and services. Last NATPE was my first market as Director and I was focused in launching our new corporative philosophy. I started talking with other communication groups so we can set alliances and I

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saw the details of the needs and statements of our content clients. Which strategies are you following for the growth of the company in the Industry? We are going to reinvent our structures, processes y corporative culture, and increase and diversify our content. We will establish new partnerships in order to maximize our assets. We want to recover our identity. On the productions side, the successful titles varied depending the territory and clients. I’d like to highlight the continuous success of ‘Lo que callamos las mujeres’ and ‘A cada quien su santo’, the systematic sale of annual telenovelas and formats like ‘La Academia’.

Which were the results of the restructuration of the company, as you have taken the representation and commercialization of your Pay TV channels? The results were very well, on the side of the goals and ways of work. That’s why I’m delighted with the new that my area has two different teams, one focused on the production and distribution of our Pay TV channels, named AZTVdePaga, leaded by Jorge Gutiérrez, and other one dedicated to content distribution, that will be presented at MIPTV, under the brand AZContenidos, run by Ramón Salomón. How could you analyze the recent changes in the Industry? Those fluctuations are inevitable and positives. Although they always come with a dose of uncertainty and a demand of extra work, they also encourage the creativity and competence. We have very clear that we’re going to produce more diverse content, with high quality, under different business models, open to strategic partnership with other companies.

IGNACIO SANZ DE ACEDO, CEO ¡HOLA! TV

“Our brand is a synonym of quality” The number of hours produced by the company will increase by 10%. What’s your opinion about the current situation of content Industry? We’ve seen a strong trend based on VOD and OTT content. The need to have Pay TV content available in different digital platforms it’s becoming more real for programmers and distributors. One of the advantages that we have in the channel is that we do produce a big amount of our content, and the shows that we acquire have the rights for digital platforms, lineal and VOD. We’ve started the 2016 after having our best year in 2015, when we celebrated our second anniversary and fulfilled our goals

of growing in ratings and distribution. The reason of our growth is the undeniable power of the brand. When we talk about ¡HOLA! or any other product of the brand, it is known that we are talking about quality. We offer the content in a serious and elegant way, and we are convinced that there’s no any other similar offer in the market.

Where is going to be the focus of ¡HOLA! TV in 2016? We have some specific goals for this year. On the distribution side, we establish the idea of growing with our channel penetration through the relationships with our partners and with new alliances. On the commercial side, we’ll still focused on increasing strategically our opportunities of advertising sales with our efforts that fulfill our clients’ needs at the same time that help us to get an income from our investment in a creative and efficient way. We are very committed to our own production and we are estimating that we will increase the number of hours by 10% so we can be near the 650 hours of original production.

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CONTENTS MARCELLO COLTRO, EVP, CONTENT DISTRIBUTION, CISNEROS MEDIA

With a reinforced strategy The company provides new services like dubbing facilities and content creative business solutions. sitcoms. In case of the digital platforms

the top viewed programs differ from the broadcast and cable channels list to more edgy original productions like ‘Daredevil’ and ‘House of Cards’ , as audiences’ habits are more segmented than traditional viewing. At the same time, short formats are becoming more common, as MCN’s develops their own

scripted and nonscripted formats. The market becomes more competitive in terms of delivery of authenticity when engaging Millennials audiences and platforms like YouTube become an entertainment option, stealing traditional viewers and becoming a potential competitor of OTT’s like Amazon, Hulu and Netflix.

Co-productions that connect cultures

How has evolved Cisneros Media Distribution in the last months? We have aligned the company’s strategy in different fronts of revenue streams, including the areas of content sales and Pay TV channels, where we manage, program and distribute Venevision Plus and VePlus, our 100% owned Pay TV channels in Latin America, as well as new areas: media services, encompassing the programming management for strategic partners, and the Spanishlanguage dubbing facilities, an alliance

MIPTV 2016

with The Kitchen; and content creative business solutions with Mobius.Lab Productions that translates clients briefs into new formats, using the libraries of Getty Images and RMG News. How do you find the current situation of the Industry? Which are the main challenges nowadays? A major challenge comes to the scripted formats and genres. The highest-rated scripted shows in the U.S. during 2015 continue to be the procedural dramas and 30-minute

“MIPTV is strategically important to Cisneros Media as the event works as a bridge between the negotiations started at NATPE last January and first-time meetings with clients from Europe, Asia, Africa, and the Middle East. We have increased our catalog by offering additional formats in many languages thus expanding our reach and attracting new clients and platforms”, says Coltro. Besides ‘Hotwire, End of Days’ (4x30’); ‘Lil’Genius’ (104x30’); ‘SHÄK’ (2 Seasons, 26x30'), ‘XRC, The Series’ (Seasons 5 and 6, 26x30'); and ‘Separated by Love’ (120x60’), the company is showcasing its first serienovela ‘Just Looking’ (120x60’). As part of Mobius.Lab Productions’ new catalog, Cisneros Media is introducing four co-productions with Getty Images Latin America: ‘Talk The Walk’ (26x30'); the special documents ‘Flame of Passion’ (6x30') and ‘Fields of Glory’ (13x60’) that takes an in-depth look of the most iconic sport venues from around the world. ‘Super Humans’ (3x30’) that showcase the athletes born with an exceptional gift. In addition, CM will be showcasing two shows created by Estrella TV: the reality ‘Rich Famous Latin Women’ (67x60’), and the riveting series about urban legends titled ‘Urban Legends’ (26x60’).

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MIPTV 2016

CONTENTS VALERIE CREIGHTON, PRESIDENT, CEO, CANADA MEDIA FUND

Sales abroad increased by 32% Which are the main features that distinguish CMF in the Industry? The Canada Media Fund is a unique private-public partnership created to support television and digital media production in Canada. Through funding received by the Government

of Canada and Canada’s cable, satellite and IPTV distributors, the CMF can develop policies and funding programs that directly impact the country’s audiovisual production industry. The CMF also relies on market validation to provide funding. A system has been put in place whereby Canadian broadcasters

Co-production is the main practice of its growing strategy. help determine which productions are best suited to succeed. A large portion of funds provided by the CMF goes directly to these productions. How have evolved the importance of Canadian content in the last months? The CMF programs and policies are designed to support the creation of ground-breaking television and interactive digital media content,

and Canadian talent continues to make headways in an increasingly competitive international market. Sales beyond our borders are on the rise and have increased by 32% over the previous year, sharing our stories with the world. Coproduction is a practice of growing strategic importance in Canada, providing new opportunities for Canadian producers and

their international counterparts to share resources and talent and tap into new markets. Canadian content is available through a distribution system, and is also finding audiences on new platforms on countless devices. Our industry is certainly shaped by consumers and their rapidly changing tastes and consumption habits. Which are the main goals of CMF for this year? Will you begin to focus in new genres? Which territories do you want to arrive in? Of the variety of projects the CMF funds, co-productions continue to be a top priority. As consum-

ers have growing access to content from all corners of the world, the production community benefits greatly from working on the international front and sharing expertise, talent and access to markets. Last year, Canadian budgets for Englishlanguage treaty co-productions in the television sub-sector increased by 34%, indicating strong growth. We have been developing coproduction incentives with SP Cine (Brazil), Screen Australia, Wallimage (Belgium), the Directorate General Cinema of the Italian Ministry of Cultural Heritage, Activities and Tourism (Italy) and NZ On Air (New Zealand).

ALEX LAGOMARSINO, CEO & PARTNER, MEDIABIZ

The deal-maker of the Industry The executive highlights the importance of the audience in the change of the market. How has evolved the Industry in the last year? Which is the role of MediaBiz? I think that we are in a turning point of the Industry, and we are in a moment that we have to reconsider some issues,

MIPTV 2016

we are not ready for the next step. That is what we can understand when we talk with our clients and main players. MediaBiz is focused on the business, it can be in order to merge companies for businesses develop-

ments, or launching new services, but also we distribute content. We are really concerned about the dynamism of today business as traditional business models are not giving the results needed. We have to reinvent the way we create de structures. I mean, we have to pay attention when it comes the investment time and how we make it. MediaBiz remains with the companies and people represented, and we continue with the content distribution. The operations time

will be longer, even more in Latin American market. We opened an office in USA and we could distinguished that the companies are producing titles for such a long time as if it were a theatrical project. Which are the main features that distinguish MediaBiz in the market? We are mainly focus on the business, how this business is made. MediaBiz is a deal-maker, a business-agent and that is what the Industry needs. We’ve been in the Industry for ten years and

we have signed deals with Televisa, Pol-ka and different Russian companies. People don’t pay attention to the business, they just only look for the entertainment, the creative side of the show. We want to bring those businesses in US-Hispanic to Latin America, and from Latin America to US-Hispanic. MediaBiz see that US market is looking at Latin America, paying attention to the different formats, and companies they can buy or make a deal in order to develop a co-production.

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MIPTV 2016

CONTENTS RICARDO SCALAMANDRÉ, HEAD OF INTERNATIONAL BUSINESS, GLOBO

“We developed 70 productions for more than 120 countries on 2015”

What are your expectations for the new series ‘SuperMax’? Our new series, which debuts in the second half of this year, is a story of suspense and drama that mixes fiction and reality show in an unprecedented way. It is officially our first original production dedicated exclusively to Latin American and the Hispanics markets. I consider the show like a step forward, an

MIPTV 2016

evolution of what we have been doing so far with our co-productions of telenovelas. It is a very interesting series that features ten episodes. In which way is it different from other contents? In this case, the studios are leading this operation which is a little different from a co-production because in those cases there are

partners who have different interests. For this show we looked for a creative partner like Daniel Burman to be the showrunner, but this process has Globo’s investments, with all its advantages and disadvantages, and we are the ones who are taking the risks. I think we tell stories in a different way, neither better nor worse, but the viewers like it.

The executive also spoke about the company expectations for its new series ‘SuperMax’ and how are the business operations evolving.

What will be your strategy for 2016? The strategy is to analyze each market to know what is the best combination of coproductions, finish tapes and channels to work in that territory. Our slate of Telenovelas for this MIPTV is leaded by ‘Boogie Oogie’ (90x60'); ‘Forever And Ever’ (120x60'); ‘Hidden

and also the sales of finish tape. The finish tapes were sold very well. In terms of channels, today, we have seven worldwide. For example, we have a one hundred percent fiction channel in Angola, which is doing very well and it is the signal with highest ratings in the country. We are very excited about this year.

Truths’ (50x60'); ‘Ambitious Women’ (100x60'); ‘Parts Of Me’ (75x60'); ‘Rules Of The Game’ (140x60'). Our main miniseries is ‘Happily Ever After?’ (8x60'), followed by ‘Dear Death’ (4x60'), and our Feature Films ‘Last Night’ (100'); ‘Good Luck’ (90'); ‘My Mom Is A Character’ (84'), and ‘Tim Maia’ (140').

How are the business operations evolving? 2015 was very important. We grew more than 10 percent, produce a lot of content and we’ve sold it to a lot of countries. We developed 70 productions for more than 120 countries over the past year. Globo’s international area has coproductions, channels

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MIPTV 2016

CONTENTS RICARDO EHRSAM, DIRECTOR GLOBAL ENTERTAINMENT FORMATS, TELEVISA INTERNACIONAL

Distinguishing formats in different platforms Its main show, ‘Pequeños Gigantes’ was sold in more than 20 countries. countries: France and Holland. In Vietnam we are also closing some deals, in the same way as we are doing in Latin American territories”, said Ricardo Ehrsam.

With more than 30 in its catalogue, Televisa Internacional lunches in one of the main TV and Digital Platforms markets of the world, its new formats previously announced, but that will be on air this year in different territories. However, they’re still reinforcing the success of shows like ‘Pequeños Gigantes’ y ‘Stand Up For Your Country’. “This year we present in MIPTV 2016 a mix of successful formats that are still being our main business, with other shows that we are strongly developing in order to be on air in the

MIPTV 2016

next months. One of our strong titles, that is still travelling abroad is ‘Pequeños Gigantes’, a format adapted in more than 20 countries, leading the time slot of Mediaset Italia, and in Poland with a second season. In almost every country it has arrives, it becomes a success; we hope more territories join the list. On the other side, ‘Stand Up For Your Country’ is growing in different countries, although the biggest bet is USA because we are closing negotiations in the Anglo market and to possible European

Which are the news for this 2016? We’ve just launched ‘Los González’, a sitcom aired in Italy during 2015. We’ll be broadcasting it during the last half of the year, and it’s been developed in Russia and commissioned in different parts of the world. ‘The Wacky Old Games’ is a game show that will be launched in Europe. Our dating show, ‘Date my Avatar’, has multiplatform elements that make the show unique. Our whole portfolio is a mix of 30 formats, with 10 of them having an international roll out. Which is the position of the company towards the competition? The current situation of every broadcaster is looking for distinguishing products that can travel through different platforms, not only Free TV. We want to generate content that reaches different targets, universals and multi-

platforms. If we manage to fit the needs with our telenovelas and formats will allow us to increase our presence in every territory we are already established but also to enter in others where we’ve never been before. Which are the main goals for 2016? We want to keep increasing our clients base so we can reach new territories but always with our universal and innovative content, with all the elements that make them available for every platform.

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MIPTV 2016

CONTENTS AVI ARMOZA, PRESIDENT, CEO, ARMOZA FORMATS

“Changes go faster than the industry’s evolution” How important is MIPTV for the company? We have high expectations for the upcoming MIPTV – we are coming with a strong slate of fresh new shows that range from game shows to factual, drama and comedy, and will therefore have something for all of our partners. We will be looking to bring our new formats to key territories and to keep strengthening our relationships with our clients. Our main title is ‘Wrecking Ball’, a competition show where a team of 3 brave contestants will face 4 giant wrecking balls and 9 increasingly difficult questions for the chance to win $250,000. In ‘The Foodies’ we follow several groups of food-lovers as they take over a new

MIPTV 2016

The company has expanded its scripted slate with four new shows. restaurant each week. We are also launching the new docu-reality, ‘Local Heroes’, that follows the story of a city’s defenders. ‘Date in Reverse’ is the new dating show that breaks all the rules. In our scripted slate, we are bringing ‘Vertige’ which follows the story of a young woman who awakens after 3 months in a coma. Also within our scripted drama offering, we are launching ‘The Wordmaker’. Lastly, we are launching the new hilarious Israeli comedy, ‘La Famiglia’ , which aired on Israel’s Channel 10 and raised the ratings by 31% in the time slot.

How has Armoza’s business evolved in the last months? Are you developing new partnerships? We continue to see an increasing concern from broadcasters about losing viewers to new platforms, and this increases our obligation to bring to them a solution to this shift in reality. We are always looking for new opportunities and towards new horizons. In a changing industry, full of new players and platforms, we always aim to have our finger on the pulse and to identify the correct opportunities for the situation and time.

How do you find the current situation of content industry? What are the main challenges that you have to deal with? The content industry is evolving to keep up with the changing consumer behaviors, however the changes are taking place quicker than the industry’s evolution. Therefore the challenges lie in trying to find new and

unique ways of storytelling and to bring innovation to the industry at the same pace as the viewers’ demand for it. This innovation can be through creating new genres, technologies or content, with the focus of appealing to viewers and providing them positive experiences that they can share. What are the main features that distinguish Armoza from other companies? We see ourselves as a dynamic and fast-moving company. The fact that we are independent enables us to take risks where we see the need for them without the red-tape and lengthy processes of larger companies. It is these calculated risks that tend to bring about the greatest rewards. We also aim to be creative and innovative in everything we do and to bring a fresh perspective for our clients, both in our formats and in our partnerships with them.

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SARAH MULLER, CREATIVE DIRECTOR, SCRIPTED, ANIMATION AND CO-PRODUCTIONS, BBC

“We want ideas impossible to be handled by another broadcaster” What kind of trends you can observe in children content viewing? Each traditional children channel is facing a reduction in the amount of time that kids spend at the television, and this is because of the growth of digital platforms. Today in the UK there are more children using the BBC iPlayer through mobile devices, than through a PC. The On Demand consumption is changing because of children using a tablet. Which are the main challenges towards this kind of audience?

The evolution of children´s viewing it’s a key factor for the company. BBC is continuously evolving and we do always change the ways to reach our audience. Today, social media is so important because, even with the lack of regulation, it’s a popular media among our audience, as a communication tool or in terms of content. We work so close to our content development team in order to create new ways of showing

our content, as we have already done with shows like ‘Danger Mouse’. Which are the main goals for 2016? First, we are always looking for something new. New

innovative and particular ideas in each genre and for every platform. That’s why we have to understand what is the audience looking for, and then we work with the content creators in projects that we think might work properly in lineal channels and digital environments. Today, children share their experiences actively in the social media, so each idea have to fit in this context. What kind of features CBBC look for when it has to commission a new project? We are interested in new

ideas that can reach digital audiences who aren’t used to lineal channels. We are looking for fresh and inspiring ideas for animation, factual and live-action series, with a different narrative concept. We don’t want shows in which glamour and selfishness appear as the main feature. CBBC has a great history in the development of hard themes and we are interested in analyzing new concepts that modify the boundaries of the segment, with brave ideas impossible to be handled by another broadcaster.

KESHET INTERNATIONAL

Entertainment as it workhorse The catalog includes 70 properties that attract global audiences. Keshet International has a diversified catalog that includes over 70 tried and tested properties that appeal to audiences worldwide, spanning all genres. For this MIPTV 2016, the company is launching ‘Touch’ a cross media brand, TV and mobile game, based on a simple and visual concept “what’s wrong with this picture?”. ‘Battle of the Chefs’, in which two of the country’s leading chefs go head to head in an international culinary competition.

‘Master Class’ is the music talent show where 16 children (aged 8-14) sing all-time classics with only positive reviews and no eliminations, and the ones with the most promising voices in the country are taught by four leading artists in the music industry. ‘Rising Star’ is the interactive talent format that let home audiences decide who will advance in real time via

the shows free voting app. When the performer reaches the designated voting percentage, the screen rises and the new star is revealed. ‘Boom’ fuses the drama, intensity and thrill of a blockbuster action movie with the high octane fun of a video game to create an explosive trivia challenge. On the scripted side of Keshet International’s catalogue, ‘You Will Love Me’ (16x60') is the main

title. This romantic comedy follows the story of a pretty young girl with a big exciting secret: in real life, Ji-Ho is inexperienced in love having only had one relationship, but in the digital world, is the popular romance guru Dr. Nova. ‘The A Word’ (6x60') is coproduced by Keshet UK and Fifty Fathoms for BBC One. The drama is about an extended family with a child newly diagnosed with autism at its centre. ‘Spy’ (16x60') is set among the conflict between North and South

Korea, and tells the story of a family who have settled in the South and think their past is long behind them. ‘The Writer’ (10x25') is an auto fictional series from Sayed Kashua. It centres on Kashua’s fictional self, Kateb, who like the lead character Amjad from his former series Arab Labor, is an Arab Palestinian living in Israel and struggling with an identity crisis which affects his and his whole family’s sense of belonging and nationality.

MIPTV 2016

CONTENTS MOBILE ONLINE VIDEO VIEWING

The industry is slowing down but is not stopping The rate of growth for mobile online video views is slowing down. According to Ooyala, mobile growth, which had been on a tear for much of the first half of the decade, decelerated during 2015. The reason simple: video viewing on mobile devices has become ubiquitous, commonplace, the norm; it makes up, nearly half of all views worldwide. The research company indicates mobile video views have gone from just 6.3% of all views in 2012, to 45.1% in 2015, an increase of 616% as the world, led by ‘Millennials’, continues to turn away from viewing on traditional screens to watching

MIPTV 2016

New generations are replacing TV with the most convenient screen to watch their shows. content on whatever screen is most convenient, more often than not, a smartphone. Mobile video has grown at a fast rhythm for three years. Now, the share of mobile and tablet plays exceed 45% of all online video. Smartphones continue to be the go-to device for mobile video consumption. The continued growth in

mobile viewing has been driven by smartphones, as tablet share has remained relatively flat

year over year. However, slowing mobile growth doesn’t mean growth is stopping, nor does it indicate a backslide in the adoption of mobile video. Sales of mobile devices continue to be strong, and content companies, service providers and broadcasters continue to pour more content into the mobile ecosystem. Apple sold more than 48 million of its new iPhone 6s only in the third quarter of 2015, Virgin America announced it would make mobile Netflix streaming available on select flights and Verizon looked to leverage its massive wireless

network by launching its Go90 ad-supported video service. Comcast followed suit, rolling out an out-of-footprint play called ‘Watchable’. The company believes the service will provide a temporary respite while it continues to develop a more aggressive out-offootprint OTT play, one that will be more attractive to cord nevers. Globally, the continued expansion of fast 4G mobile networks is seen as another way to make user experiences on mobile devices more appealing. These networks are likely to outpace the expansion of wired networks in emerging markets like

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Latin America, where 4G LTE connections are expected to grow more than 1,500% by 2018. Like Ooyala, Ericsson ConsumerLab research also shows that TV and video content is increasingly being accessed via smartphones. In fact, since 2012 there has been a 70 percent increase in the number of consumers who watch video on a smartphone. When taking tablets and laptops into consideration as well, almost two thirds of the time spent watching TV and video among teenagers is on these devices. In many mobile networks today, 50 to 70 percent of video traffic is from YouTube. Mobile video in general is forecast to grow by around 55 percent annually through 2021, when it will account for around 70 percent of all mobile data traffic. In markets where Netflix has launched services, its

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share of video traffic can reach 10–20 percent of total mobile video traffic. Music streaming is gaining popularity, but functions such as content caching and offline playlists reduce the impact on traffic growth. The relative share of traffic generated by social networking will have declined from 15 percent in 2015 to 10 percent by 2021, mainly as a result of stronger growth in the video category. Consumer preferences are shifting towards more video and app-based mobile use relative to web browsing. Ericsson ConsumerLab has found that smartphone viewing continues to be driven by short video content, with around 30 percent watching user generated content. However, streaming Video-onDemand (VoD) services is also increasing, with

20 percent of viewers now watching longer ondemand content, such as TV series and movies, on a smartphone. For content less than 10 minutes in length, smaller screens remain more popular, with mobile getting 69 percent of the share of time watched, PCs getting 65% and tablets 45%. Connected TV’s share of time watched for content longer than 30 minutes was 61%. The highquality screens commonly found on tablets, meanwhile, had the second-biggest share of time watched, 35%. Not surprisingly, tablets, at 20%, continued to dominate share of time watched for content 10–30 minutes long, the length typical of episodic TV. Tablets have hovered near 20% for several quarters. CTV (11%), smartphones (11%) and PCs (12%) all were

essentially unchanged from the first quarter, dipping slightly in share of time watched from 12%, 14% and 15% respectively. Tablets remain a go-to device for long- and short-form content, with a share of time watched split nearly evenly for each. In a recent study of Americans from 16 to 60 years old who say they watch online video, 50% said they do so on tablets. To a degree, mobile viewing has reached a temporary point of stasis. There remains a shortage of premium content available on mobile devices, specifically the live, linear and other premium content that continues to be in demand. Ooyala estimates that content owners and publishers who can take advantage of that temporary shortage of supply will be wellpositioned to reap the benefits of even more mobile growth. “The core concept of the channel is fragmenting, as audience behavior is changing and broadcasters are adapting to meet evolving viewer needs,” said Ted Hall, Research Director at IHS Technology. “The traditional linear channel will be around for a long time to come, but it will become increasingly marginalized by a plethora of online services, from catchup TV to TV Everywhere, pay TV channels’ streaming offerings and YouTube multi-

channel networks.” As for the consumption of digital video in Latin America, the report “Digital Future in Focus 2015: LATAM”, developed by comScore, shows that Brazil is the country of the region where each user spends more time watching online videos. In the territory people watch on average 13.7 hours of content monthly, followed by Colombia and Mexico, with 10 and 9.2 hours, respectively. Argentina has the highest reach over the total population as regards to this service (48%), Chile and Brazil follow the country on the podium with 40 and 38 percent, respectively. In the region while there are more content generators, the benefits for the video audiences increase. These users get involve through more diverse categories. While there are more content generators, benefits for video audiences increase. These users get involved through a greater number of categories. Improved connection speeds and more powerful devices with bigger screens are easing the quick growth of video, including long content format. In addition, IMS and comScore published the study “Video in Latin America” which reveals that there are more people who use VOD (81%) than free television (70%), reflecting a demand for alternative content in the territory that it is constantly growing.

MIPTV 2016

CONTENTS MARIA ESTRELLA, INTERNATIONAL SALES EXECUTIVE, CARACOL INTERNACIONAL

“We are distinguished for our pioneering ideas” ‘The White Slave’ was already sold in 21 countries worldwide. platforms, non-traditional media and different territories. Additionally, we are expanding our portfolio with new genres and innovative productions that allow us to satisfy all our clients’ needs.

Which are the main productions for this MIPTV 2016? MIPTV is a market distinguished by the participation of different companies from Africa, Asia and Europe, providing us the opportunity to show our biggest productions to the rest of the world. For this market, we are proud to launch two big productions like ‘The White Slave’ (60x60') and ‘Sinu, River of Passions’ (60x60'). We are also distributing the Arabian adaptation of our famous series ‘La ronca de oro’ , named ‘Tariqi’ (30x60'). How have evolved the business of the company in the last months? During the first months of 2016 our sales have increased mainly because of our mega-pro-

MIPTV 2016

duction ‘The White Slave’. The show was already sold in 21 countries worldwide, to big networks like Telemundo, Turner, Startimes and 1TV. In 2015, Caracol Televisión had near 120 time slots all over the world, mostly during the primetime. During that year we’d expanded our distribution through Africa and Asia. We could understand that in those territories there are more opportunities to explore, that’s why we want to meet more new clients there. What’s your opinion about the current situation of the Industry? This is a market that is still growing and at Caracol TV Internacional we are constantly taking advantage of this opportunities to arrive at new

Which are the main goals of Caracol Internacional for 2016? The main goal for this year is keep expanding our international presence and we are sure that with our diverse portfolio of innovative productions of different genres we will manage to do it. Caracol

Televisión is focused on producing shows that have impact in the families. We will do this thanks to our Series, Telenovelas, Entertainment Formats, Documentaries, Clips and Films. Why do you think that Caracol is different from other companies? Through all the years, Caracol Television has been distinguished thanks to its big innovations in the Latin American market and its pioneering ideas. We are also known for having develop ambitious and renown stories, that are made with excellent production values that includes recordings 100% outside and cinema optics. We are also exploring the chance to offer new contents in 4K.

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BARBORA SUSTEROVA, SALES & ACQUISITION DIRECTOR LATIN AMERICA AND IBERIA, ECCHO RIGHTS

“We have a privileged position in the industry” Which are the main features that distinguish Eccho Rights from the other companies? I believe that we have a privileged position in the industry. Not only we have access to some of the best Turkish dramas, but we also distribute important European content. Having offices in different strategic locations helps us to reach our clients in a more personal way, and together with the wide scope of our catalogue, we can sell our content more effectively. How have evolved the businesses of Eccho Rights in the last months? Eccho Rights is in a very interesting growth phase. We represent some of the most innovative and best producers around the globe and are focusing on launching strong titles in the best possible way. For MIPTV we have signed up ‘Winter Sune’, which is our first series from Endemol Shine Turkey, as well as ‘Black Heart’ from Aka Film. These are two great producers, which we are representing for the first time. As well as these new titles, we are hiring staff to ensure the best possible service for our clients. At Eccho Rights we constantly look for new part-

The company has acquired the first series from Endemol Shine Turkey, ‘Winter Sune’. nerships. Our goal is to establish relationships with important producers all over the world in order to focus on top titles for our catalogue. How important is MIPTV for the Company? Which are the main products for this edition of the show? MIPTV is one of the essential markets for us. Spring is premiere season, especially in Turkey. Therefore this market gives us the opportunity to meet most European buyers / channels and present the most recent additions to our catalogue. It’s also a point when the clients can acquire content for their autumn season. How do you find the current situation of the content Market? Which are the main challenges? Currently the market is developing very rapidly, a lot will change but the role of strong independent producers has never

been better. I believe that more and more content becomes available every day, therefore the main challenge is the competition in the industry. Whilst Turkish content has been a trend for the past few years, and I strongly believe it forms a solid part of the programming for most countries in the world, buyers are now looking at content from Korea or India. At Eccho Rights we try to keep up with the trends and we are looking for new content and “trendsetters” in the industry. Which are the main goals of Eccho Rights for this year? We will have a very strong line-up this year. We are

coming to Cannes with two new Turkish dramas, two new dramas from Western Europe and two new Ukranian comedy series, as well as with various entertainment formats. So our essential goal is to ink new deals for these productions and of course to maintain and cherish the relationships with our clients. Another area of focus for us is getting the best out of our content on digital platforms this year. We are already closing the first worldwide deal with one of the biggest platforms, but we would like to have more presence on others as well. This way we can assure that our quality content reaches the widest possible audience across all countries.

MIPTV 2016

CONTENTS NADAV PALTI, CEO, DORI MEDIA

“The demand of scripted formats is increasing” How have evolved Dori Media’s businesses in the last months? Dori Media’s business in the last few month was very well due to several reasons. First, the general interest for scripted formats, drama and comedy, by potential clients has increased dramatically in the international market. In addition, a large number of our formats that were sold in the past to a small number of countries, have been extremely successful and therefore created a very large wave of demands. How important is MIPTV for the company? As we want to strengthen the relations with our partners and clients of

habits. People are more than before watching binge, and therefore there is an increase in demand for scripted formats. That’s why Dori Media is aiming constantly, to always be one step ahead, offering our clients the best content available and trying to leave up to this standard.

The company provides a full 360 package with marketing activities, and apps. all regions, we have to be at MIPTV. Our sales team from all around the world, focusing on the different territories, will be meeting both current buyers and new ones in the market. In addition MIPTV is a platform for launching our new programs and offering them to our clients. Which are the main titles for the new edition of the show? ‘El Marginal’ (13x45') is

a drama about an excop who entered as convicted in a prison under a false identity and an invented case. His mission is to infiltrate within a mixed band of prisoners and jailers who operates from within the prison. The other show is ‘Invisible’ a reality stared by the mentalist Nimrod Harel who takes the viewers on a fascinating journey into the mind of an illusion artist. The entire program is shot through special glasses camera that allows viewers to experience the amazing phenomena from the other side. Under which strategy will you be looking to achieve your main goals? The demand for scripted formats, romantic comedies and dramas is increasing. The main reason for this change is the change in the viewing

MIPTV 2016

Which are the main features that distinguish Dori Media from other companies? Dori Media’s sales teams from around the world sell to clients worldwide offering our unique and diversified catalogue including all genres: dramas, comedies, entertainment, reality and factual as well as kids, so all buyers can find content that is suitable for their needs, culture and time zone. In addition, we support our buyers in different stages. Our assistance vary from format to format but our goal is to supply our clients with the total value package, the full 360 package, like marketing activities, apps and more. We support our clients with more than the basic elements of the format and support through the process in order to produce a wining format.

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CONTRARY TO GLOBAL TRENDS

Free TV still rules in Mexico According to many people in the Mexican advertising industry, Free TV is dying and OTTs and Internet are taking over. However, a recently research of Nielsen reveals that an average Mexican 4+, watches daily television during 4 hours and 43 minutes. The investigation also highlights that people that have Pay TV watch a daily average of 2.4 hours of Free TV, so that, people spend almost 20 years of their lives watching Free TV if they donÂ´t have Pay TV and 11.5 years if they have. Every day, Free TV has a reach of 52.5 million people, that means half of the population watching Free TV on a normal day. This numbers came to the conclusion that, in a month, almost the whole country (101.8 million) watched it. Television has a special role in Mexican citizens. According to INEGI, 85% of the households have a fridge, 69.5% have a washing machine and

Half of the population, 52.5 million people, watch it on a normal day.

subscribers representing 6% of the total households in Mexico. Internet a 30% penetration and Broadband is less than

15%. Nowadays the real challenge for the Free TV networks is to keep on producing relevant and interesting content. Audience fragmentation

is a reality, but for high volume brands that sell millions of products, Free TV is, still, the more efficient media.

93% have a TV set. The TV set is the gravitational center of the family living together, so it becomes another member of the family. The two major networks in the country, spend a lot of money and talent to understand and produce the type of content people like. Even in special events like the Superbowl, they know how to add a Mexican flavor. In the last SB, 92% of the people who watch it did it in Free TV, although it was also available on Pay TV. Other entertainment options are growing and the fragmentation of the audience is a fact, but still there is a long path to walk. Netflix has 2 million

MIPTV 2016

CONTENTS M4E ENTERTAINMENT

“We’ll need to find answers about how to leverage our catalogues” At MIPTV 2016, the company exhibit its franchise ‘Mia and Me’ in order to meet the needs of the industry.

How have evolved m4e’ businesses in the last months? We are very happy with the current status of our business. We have a number of shows in production, new developments and new co-productions were signed. ‘Mia and me’ and ‘Wissper’ perform well in L&M and soon we will see first results from our new co-production and distribution venture with Planeta Junior. Next, we will be able to announce an output deal for our new shows and feature films.

Why is MIPTV so important for the company? MIPTV is still a very important market for us because we can introduce our new shows and give broadcasters first rating

MIPTV 2016

results from our new shows. On top, we are able to do our follow up work from Kidscreen Summit and discuss coproduction activities. Which are the main products for the market? For this edition, we are exhibiting the ‘Mia and me’ franchise, including the new 3rd season. Also we have available our preschool show ‘Wissper’ and ‘Iggi’ (26x22'), our latest development with Hahn & m4e Productions,

for which we are looking for co-producers to close the financing. A new season of ‘Tip the Mouse’, our successful preschool CGI-show. ‘Me, Mum and Mystery’, being our first live action production.

Hans Ulrich Stoef, CEO

Where do you think is going to be the focus of the market in the next months? I guess the market is looking for high quality shows with new story and design concepts and book related shows. The spin-off of these shows into multiplatform business will be the key to launch new shows. The competition for timeslots will continue and we will need to find answers how to leverage our back catalogues. What do you think is the most important feature of the company? We believe in quality content and are convinced

that our shows are better than the basic offerings on the market. We are one of a few independent production companies who are able to deliver 360 and on all aspects of the business from development, production, financing, L&M up to the ready finished consumer good out of one hand. Which are the main goals for the market and for 2016? Of course, we want to maintain and increase the reach of our iconic brand ‘Mia and me’, succeed with the launch of the L&M program for ‘Wissper’ and exploit the huge possibilities our venture with Planeta Junior offers.

CONTENIDOS

@ newslinereport

TELEFILMS

Great names to break the boundaries MIPTV 2016 is a big opportunity for Telefilms to show their recent acquired content for all the territories. Through its distributor companies, Diamond, the most renowned titles will be available for everyone. ‘The Forest’, directed by Jason Zada tells a story about an American woman who braves the mysterious, uncharted terrain of Japan’s Aokigahara forest to search for her missing sister. ‘The Hateful Eight’ is one of the most distinguished movies of Telefims. Quentin Tarantino’s last movie picks up a decade

after the Civil War, and charts the journey of a group of bounty hunters, outlaws and fugitives after they all wind up seeking shelter from a blizzard in the same cabin, where they get involved in a plot of betrayal and deception. Ryan Gosling, Matt Bomer, Russell Crowe and Kim Basinger are the main protagonist of ‘The Nice Guys’. Directed by Shane Black, the movie is situated in a smoggy 1970s Los Angeles where a muscle-for-hire, recovering alcoholic and a private eye, practicing alco-

holic are brought together by the suicide of a fading porn star. The problem is that the dead girl’s aunt is convinced she saw her niece alive, after the highly publicized incident. Babak Najafi’s ‘London Has Fallen’ happens after the British Prime Min-

ister passed away under mysterious circumstances and all leaders of the Western world must attend his funeral. But what starts out as the most protected event on earth, turns into a deadly plot to kill the world’s most powerful leaders and un-

leash a terrifying vision of the future. The President of the United States, his formidable secret service head and an English MI-6 agent who trusts no one are the only people that have any hope of stopping it. Last but not least, ‘The Boy’, by William Brent Bell, follows the adventures of an American nanny who finds out that her new English family’s boy is actually a lifesized doll. After violating a list of rules, disturbing events make her believe that the doll is really alive.

PEACE POINT RIGHTS

New 4K Food Series and Scripted content Peace Point Rights, the Canadian distributor initiates partnerships with broadcasters, and online content producers, with its catalogue of over 1,000 hours of lifestyle and scripted series, sports specials and feature films. For this MIPTV 2016, the company has chosen the 4K series ‘Inspired with Anna Olson’ (10x30') in which Anna will be learning the range of signature dishes throughout Southeast Asia so she can adapt the techniques in her own

North American kitchen. Also in 4K it’s ‘Bake with Anna Olson’ (20x30'). ‘SuperBodies’ (Summer: 12 x 2’ + 1 x 60’, Winter: 11 x 2’ + 1 x 60’) is the award-winning series that matches science and art through cutting-edge forensic computer-generated, and reveals what truly happens inside an athlete’s body. In the scripted slate of Peace Point Rights, ‘Muse Mystery Movies: Aurora Teagarden Mysteries’ (6x120’) tells the story of a small town librarian

who becomes a master murder solving sleuth; and ‘The Gourmet Detective’ (3x120’, plus 2x120’) about a culinary whiz who uses his mastery of food, drink and cooking to solve crimes in the culinary world. ‘The Kennedys: After Camelot’ (4x60') is a ground-breaking miniseries that takes an unflinching look at the family’s life in the years following the murders of President John F. Kennedy and his brother Bobby. The third season of ‘Shack Attack’ (13x30')

follows the adventures of the Colin McAllister and Justin Ryan who transform their lakeside holiday home into a rural sanctuary worthy of Hollywood stars. On the other side, ‘In Space 2: Next In Space’, (1x60' or 2x30') picks up after Rosetta’s

lander Philae reach the comet and begin its scientific work. Scientific advisor Matt Taylor from ESA will reveal the findings of the mission based on the data received from Philae after it travelled a distance of 500 million kilometers to Earth. MIPTV 2016

CONTENTS FRANCISCO VILLANUEVA, VP, COO, SOMOS DISTRIBUTION

“The audience take quality as a reference”

Francisco Villanueva

For the executive, each day, more and more content worldwide renowned content will replace the regional hits.

MIPTV 2016

How have evolved Somos Distribution businesses in the last months? At the end of 2015 and beginnings of 2016, Somos Distribution has have a great rise. Both, sales and promotion of Turkey telenovelas and other contents were amazing. Also, we managed to close and identify new products in order to keep on going with our strategy for this 2016. This year, we launched ‘Hasta que te conocí’ , a coproduction of SOMOS Productions, Disney Latin America and Juan Gabriel. The story is the bio-pic of Juan Gabriel, one of the most important singers in México and Latin America. Other important titles from our portfolio are ‘Mercy’ (Kanal D), ‘Poor Boy and The Rich Girl’ (TRT). Which is the focus of the company for MIPTV? MIPTV is one of our key markets because this represents the continuity of our effort made during January, the generations of new opportunities and the contact with our

partners that allow us the offer of new content, the heart of the independent distribution. MIPTV is an essential market for the whole industry, because we know they have geographical strengths. What’s your opinion regarding the current situation of content industry? Content market has the same characteristics as the whole industry in general. The impact of new media has affected all the formats and generated new opportunities for all size and genre producers. Now we can see the cohabitation of both platforms, with audiences consuming content in different ways. On the other hand, the content offer has experienced a significant growth because of the industry globalization and a bigger knowledge of the audience that takes quality as a reference. Superseries and Turkish dramas are a clear example of that. Finally, at the bottom we have all the economical situation

in Latin America and the rest of the world, that’ll impact in the market during 2016. Which are the main goals of Somos Distribution for 2016? Our strategy is focused on selling our available content and, at the same time, take advantage of all the opportunities and in this way, of course we are opened to offer new genres, as the globalization of content let us reinforce our position in the industry. How do you see the company in five years from now? At SOMOS Distribution we direct our efforts towards the growth and it’s because of all this thing that our main territory is Latin America, with Europe and Asia in our near future. This is an effort associated with our portfolio. In five years, we want to have a continuous presence in every territory and with a growth thanks to international companies, independent producers and related companies.

CONTENIDOS

@ newslinereport

KATRINA NEYLON, EVP SALES AND MARKETING, STUDIOCANAL

“Our content transcends cultures” After an important year for the company, which are the main goals for this 2016? STUDIOCANAL is continuing its global expansion by developing, producing and distributing new projects, from our own production companies and thirdparty partners around the world. We want our clients to rely on seeing exceptional content in the STUDIOCANAL’s catalogue which transcends cultures and has a global appeal. The increase in our premium content and the steady growth of our TV business means we have recently expanded our sales team in London. This move will allow us to engage with even more broadcasters around the world and to help them find a first class solution for their drama programming needs. Which are the main challenges and opportunities in the current market? How do you deal with them? We are working hard to develop relationships with broadcasters and content platforms throughout the Latin American region. This is a thriving market and TV continues to be an influential medium

to enjoying better television than ever, they are expecting this new level of quality in their viewing content and are receptive to diverse stories from everywhere.

New political dramas to reinforce its worldwide position. across the continent with hundreds of channels. We know Latin American consumers are always seeking out high quality content to fit all types of screens and ways to watch to suit their busy lives. Of course home produced series rate better than the imported ones but

The key of its success we believe a series with a great story at its core, with interesting and developed characters, has strong appeal regardless of where it is set. And, as audiences are become accustomed

“Our international drama series, full of stellar talent both in front of and behind the camera, put us in a very strong position”, says Neylon. The main title of STUDIOCANAL for this MIPTV is the eightpart drama ‘Section Zero’, a dark political sci-fi thriller from Olivier Marchal, produced by EuropaCorp Television, Bad Company and Umedia for CANAL+. ‘The Five’ is an original drama for Sky 1, produced by RED Production Company. This is the first original story created by Harlan Coben, exclusively for the screen. ‘The Five’ is a gripping ten part thriller starring Tom Cullen, Geraldine James and Michael Maloney, poised to be a not-to-be missed television event for Coben’s millions of fans around the world and will introduce a completely new audience to his unparalleled blend of suspense and

humour. Produced by Kwaï for CANAL+, ‘Baron Noir’ is the epic drama of the portfolio with the story of French politician Philippe Rickwaert who thirsts for revenge against his political enemies. With his career in a shambles after he is sacrificed by the presidential candidate in order to save his election; step by step, Philippe, as deceitful as he is sincere, plots his vengeance while cultivating diverse friendships from the police to the criminal underworld. ‘Midnight Sun’ is thriller from Märlind & Stein and produced by Atlantique Productions and Nice Drama which is focussed on a French police officer who travels to a small community in remote northern Sweden to investigate the brutal murder of a French citizen. Launched at MIPCOM 2015, ‘The Last Panthers’ (6x60'), is based on real events inspired by the notorious Balkan jewel thieves. It was produced by France’s Haut et Court TV and the UK’s Warp Films and commissioned by Sky Atlantic and CANAL+ with co-production partner SundanceTV.

MIPTV 2016

CONTENTS ORF-ENTERPRISE

Documentaries and Ultra HD 4K programs

est’ (x52') is another Nature & Wildlife documentary about Kalkalpen National Park which was a commercial timberland since the Early Middle Ages. The forest managers stepped down and let Nature’s own management team take over. Some other titles of the same genre are: ‘Transhumance – Europe’s Last Nomads’ (x52'), in which Europe’s Last Nomads show the adventurous as well as exhausting journey of herdsmen and

which might also be the rarest animal on earth. Camus-Oberdorfer says that one of the company’s main focus area is, more than ever, the ongoing production of Ultra HD 4K programs. The executive highlights the scripted slate of the company for MIPTV. ‘Suburbia – Women on the Edge’ (20x48') is the TV-Series, Comedy. Five women, whose biggest challenge so far has been surviving their daily hourlong luxus shopping tours burning up their husband’s credit cards, are taken by complete surprise when suddenly one of them is divorced by her husband and thrown out of the house. ‘Backwood Crimes’ (7x90') are ORF-TV Movies in which crime doesn’t

music, ‘The Vienna Boys’ Choir – A Polyphonic Youth’ (x45') shows a very special point of view; from the perspective of a Choir Boy, the viewer experiences very closely his daily life. ‘L’Elisir d’Amore – St. Margarethen Open Air Opera’ is the tumultuous

their animals crossing the Alps, and ‘Turtle Hero’ (x52'), about the Yangtze Softshell turtles, the largest freshwater turtles on the planet,

steer clear of the countryside, au contraire, every movie of the Backwoods Crimes series tells another thrilling story in another idyll region. Related to

of sound is very much in keeping with the current spirit of the times, since the desire for deep inner balance and harmony is everywhere.

Nature, Music and Science are the main themes besides TV Movies.

Marion Camus-Oberdorfer, Head of Content Sales International, says “ ‘Suburbia: Women on the Edge’ goes in a second round, with a new season of the ORF-series, that created phenomenal market shares in Austria. The new ten episodes live up to resounding success and will not fail to attract both, male and female viewers”. Moreover she rejoices in ABC’s order of a 30-minute pilot film, based on the ORF series ‘Braunschlag ’. The US adaption called ‘Hail Mary’ will be a comedian half-hour single-camera project. ‘The Canary Islands’ (2x52') it’s a documentary that shoes the unique diversity of terrain and climate of each island. Additionally one of this year’s UNIVERSUM highlights –’The Secret Life of Snakes’ (x52')– presents astonishing and exceptional insights into Europe’s most stunning snake-species and guarantees goose bumps. ‘Making an Ancient For-

MIPTV 2016

new production of Gaëtano Donizetti’s melancholically romantic comic opera, presented for the first time as part of the St. Margarethen Opera Festival. ORF is also launching ‘Healing Tones’ (x54') its Science show. The subject

NEWSLINE REPORT

MIPTV 2016