Newsline Report International - Edición Especial MIPTV 2017 by IQ Publishing

NEWSLINE REPORT

MIPTV 2017

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MARCH 2017 YEAR XXV /SPECIAL EDITION MIPTV www.newslinereport.com

SAM TOLES, SVP AND GENERAL MANAGER, VIMEO

Audiences are becoming more and more platformagnostic How is evolving VIMEO’s business? VIMEO started as a video-sharing platform, as YouT ube ouTube ube, where the main difference between both is that YouTube might provide a lower quality content, despite VIMEO, that is the home of people who aspires to be content creators. We monetize VIMEO in several ways. As for YouTube, advertising is its main resource, we have always used the subscription of people that use our

platform, and share their content, pay a monthly fee or annual fee in order to have access to the platform and to store all the content we have available. This let us decide what the user or producer watches as we do not have advertising on any of our products. On 2013 we launched VIMEO on Demand, the largest open-access transactional service and now is open up to members in order to be able to sell their own content with the price they decide. They can pick one territory or display their content worldwide, and we get 90% revenue share. This is what makes us successful.

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On its 13 years, the platform evolved from a fans video service to a digital TV store.

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MIPTV 2017

How did it come the idea to launch a new digital TV store? Over the last couple of years, all the original content that we produce especially for the platform show as the need to launch a special product for content. That was the beginning of the last service we presented on 2016, with Starz and Lionsgate Lionsgate, at the beginning, and then we included BBC and all3media all3media. This platform was never created before, as iTunes, Google and Amazon are only able to sell television content in six countries.

MIPTV 2017

Co Covver Stor Storyy 2007

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Is founded by Jake Lodwick and Zach Klein.

Starts to support highdefinition video.

Presents VIMEO Plus to the market.

Creates the free app for IPhone. Introduces the PRO account type for business and commercial use.

Launches VIMEO on Demand. Attracts more than 100 million unique visitors per month and more than 22 million registered users.

Releases an update which will see 4K streaming technology.

Launches the first digital video store with Lionsgate, Starz, BBC and All3media.

Allows video 360° on the platform.

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VIMEO subscription product (launch estimated by third quarter of 2017) where we can get the very best content of the open-side platform, combine with the traditional content from studios and broadcasters.

Which is VIMEO’s investment on original content? Original content is the most important element on any business whether it is transactional, ad supportive or subscription business. Obviously, the content is available in all shapes and sizes and basically every piece of content that is created is available in one or more services. The only way for a new service to differentiate itself is by creating original content that is unique, with an incredible customer response. We are really excited to explore a big number of series and feature other kinds of formats that will appear on VIMEO during 2017.

How has evolved the monetization of digital market and how will be addressed in the future time?

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I believe that advertising monetization is going to be much more difficult in digital media, because the interruption of advertising is been viewed negatively by the consumers, so the new brands products won’t have to include this kind of monetization, because they will lose their audiences. Interrupting the programming is going to be more and more negatively viewed by the consumers, so advertisers need to find the way to include its brands into the content, not interrupting the consumption. Also, I think there’s going to be a growth in the amount of people subscribed to different platforms. There will be a big number of new players that will try to capture the market place. Transaction will continue to grow slowly, but it will definitively grow at the end.

MIPTV 2017

How will VIMEO be working in order to maintain its relevance as a key player of the Industry?

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Personally, I have installed a mission here in VIMEO that is to build a brand new channel. Obviously it started as the transactional video-sharing platform. We are conscious that with Netflix, HBO, Amazon, and all those services are a competition for us, but we believe that this is a huge opportunity for VIMEO, as users are leaving the traditional broadcasters and they are choosing the digital subscription platforms. VIMEO wants to be part of that mix. We have an incredible team creating the original content for the platform, in an open-side which seems a tremendous success for those people selling the content on the transactional side and now we’re looking for further distribution by creating a

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With 20 years of experience in the Industry, which is going to be the focus of the Industry towards digital media?

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the next day they’re available for purchase in VIMEO. The TV Store is available in over 180 countries, with the exception of China, Indonesia, Iran, Cuba and North Korea.

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We are really excited to see transactions happening all around the world, which are accelerating in a diversify world. I think that the issue that we are bringing to the market is that if you have a successful TV series and that show is being watched in a well-known TV broadcaster, and that show is only available on iTunes or Google in six or seven countries, and you’re in one of those countries, you only have two choices. There’s so many people that choose piracy in this environment, and we offer a solution for this. If audiences can decide where they want to consume the content, there’ll be a smaller presence of piracy in the market. With our service, the shows are launched on TV and

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How can you describe de deployment of the service?

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The most important feature that VIMEO has is the people and users that everyday upload amazing content. An example of this is our first original series that became from users that upload short films and we automatically committed an additional season of six episodes of this series ‘High Maintenance’. I think that we as a platform, if we remain into that, and really acquiring the most highlighted content of the people and invest on that, and lean on this for our special programming strategy, we will see a tremendous success. Other services, like Netflix, should have to go in a more traditional way, like a Hollywood agent and traditional producers to find their content, while we have grown big advantage that is being based on our users and their content. We build a relationship with them, and then we can bring the productions to our original programming on VIMEO.

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MIPTV 2017

Co Covver Stor Storyy That is why we are focus on content that appeals them. It doesn’t matter where the content is, the audience will find it, and we have to facilitate that search. Today, the focus needs to be on finding specifically audiences to show our content. One example can be the extreme sports programming that has a super selective audience. The difference now is that in previous time people was looking to do broadcast and now people are looking to narrowcast. Audiences are looking for content specifically engaging to them, meaningful to them and relevant to them.

Which are VIMEO goals for this near future?

How can you describe the evolution of the audiences and their consumption? Audiences are becoming more and more platformagnostic. They are seeking for content that matches their interests instead of a platform that reunites it.

Our main goal is to make VIMEO the home of the most talented creators, and to find the bests of those creators. We also want to commission original programs and work on making that programming successful. We have to show the people all the ways to keep using the platform with all the work they are doing, and for our team to identify most high quality and compelling more engaging content from that community and for those shows we have selected in order to be our ambassadors on making programming on VIMEO for our audiences. We want those shows to be successful and drive the virtual circle back to the beginning, finding more people buying our content and having an audience that response to that product.

LIONSGATE

Offers innovative business models “With so many ways and opportunities to screen all types of content, viewers across Latin America expect to be entertained wherever and whenever they choose. At Lionsgate we create innovative business models that work across multiple platforms and territories, and are fortunate to have a constant flow of high quality, relatable programming that truly resonates with global audiences. This enables us to offer our clients

MIPTV 2017

throughout the region a diverse range of programming that has strong and wide appeal which is so important for platform owners in today’s competitive marketplace”, explains Maryann Pasante Pasante, SVP Sales, Lionsgate Lionsgate. At MIPTV, Lionsgate is showing its newest primetime competition: ‘Candy Crush’. This show brings one of the most popular gaming apps to life. In this interactive game show, four teams of two competitors each

are tasked with conquering the unique challenges in our larger than life Candy Crush arena. On the scripted slate, ‘Ten Days in the Valley’ (10x60’)

leads the portfolio, with a story in which an overworked television producer and single mother in the middle of a separation. Her life is turned upside

down when her young daughter goes missing in the middle of the night. Just like her controversial police TV show, everything is a mystery, everyone has a secret, and no one can be trusted. Celebrating its 30th anniversary in 2017, Lionsgate presents the adaptation of the beloved 1987 romantic drama and instant movie classic ‘Dirty Dancing’. The three hour TV event is produced by Lionsgate TTele ele vision in elevision association with Allison Shearmur Productions Productions.

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MIPTV 2017

INCOMPANY

STAFF Year XXV MIPTV 2017 Edition

Viacom International Media Networks named David Lynn as CEO. The executive was president of the subsidiary of VIACOM in UK, directing the activities in North and Eastern Europe, reaching 30 territories. Now, Lynn will supervise all the properties of VIACOM outside the US, international distribution of content, VOD platforms and TV Everywhere. ○

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Laura Fleury is the new SVP International Programming of A+E Networks, where she’ll be responsible for the growth of the portfolio outside the US, including History, H2, Lifetime, A&E Network, FYI, Blaze and Crime + Investigation. The executive will oversee the global programming teams in the development of original content, co-productions, programming and acquisitions. ○

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Gerardo López Gallo became the VP Programming, Marketing and Research of Televisa, so these important areas will be supervised by the same executive. López Gallo has a successful career of 20 years in media, with a vast experience in TV, marketing and publicity. On his last position he was VP Content of Discovery Networks México. ○

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Fernando Sugueno will be responsible of the programming direction of Discovery Networks in México that includes the selection and acquisition of shows, and the administration of the time of channels on air. He will also be Head of Content in the regional office with positions in the areas On Air Promotions, Marketing, Digital, Media Planning and Communications. ○

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The ex-Content Manager of Pol-ka, Jimena Hernández, is the new Content Director of Mediapro Argentina. The Group continues hiring talent for its content area that follows the goal of international expansion, with the arrival of Laura Fernández Espeso during 2016, responsible for the international content area, and Ran Tellem, for the development of scripted content. ○

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JP Bommel is the new president and CEO of NATPE. The promotion of the executive, who was the managing director and COO of the association, was made by Andy Kaplan, chairman of NATPE. From now on, Bommel will have to establish the new levels of membership, create new experiences for the members all over the year, and the expansion of NATPE Budapest. ○

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Gaumont Television chose Vanessa Shapiro as president of global distribution. On her new position, the executive will be responsible of global sales and distribution of all the portfolio of the company, including drama series, animation titles and French series. Also, she will oversee the development of new businesses, and all the sales, presales and co-productions. ○

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Beatriz Setuain, who was the Sales Manager of Imagina International Sales, has been promoted to Head of International Distribution, reporting directly to the director of International Content area, Laura Fernández Espeso. With a strong experience, Setuain was previously leading the international sales of Boomerang TV. ○

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Once initiated the retirement of Ricardo Scalamandré, Raphael Corrêa Netto takes the reins of International Businesses of Globo. Into the obligations of the executive it is included the gesture of a new business model and operation of the channels abroad. Also, the promotion of partnerships and the development of international co-productions. ○

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Ben Pyne leaves his role as president of Disney Media Distribution, after leading the company for the last 10 years. Even though his substitution wasn’t announced yet, he will still assist the distribution department during transition. Pyne’s exit is the most recent, on a large list of movements on Disney and ABC. Pyne joined Disney in 1992 and represents the company in the Board of Directors of Hulu. ○

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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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Viacom announced the new executive structure of Telefe

After the exit of Tomás Yankelevich, the company will be coleaded by Guillermo Campanini, General Director of Operations, and Darío Turovelzky, Director of Global Content; team that mix with the portfolio of Viacom in Argentina, including MTV, Nickelodeon, Comedy Central and Paramount Channel. This new structure will support the strategy of growth in Argentina will direct reports to the main offices of VIMN Americas in Miami, that will assure the incorporation of the main strategy of Viacom, elevate Telefe to new levels of a global company. The team of directors also includes Paula Guerra, who will drive the area of Content Distribution of all the brands, and the Legal Affairs, Human Resources, Institutional Relations, Corporative Communications and Trade Marketing. Tomás Yankelevich, ex-Director of Global Content of Telefe, left the company for personal and professional matters. Turner admited his joint to the offices in Miami.

Whit Richardson, new president of Turner Latin America The Executive VP of Distribution Joel Whitten ‘Whit’ Richardson III was promoted as president of Turner Latin America, substituting Juan Carlos Urdaneta. The announcement was made by Gerhard Zeiler, President of Turner International. With more than 23 years on the company, Richardson will oversee the executive level and on his new role, the regional portfolio of the general brands of entertainment, kids, sports and Free-TV of Turner; the distribution and advertising sales of those brands; the distribution of CNN services and licenses and merchandising activities in Latin America. “The industry is a moment of quick changes, and Turner is exceptionally able to lead the transformation of the media businesses in Latin America. We will give priority to the collaboration, innovation and change, as we evolve aggressively to position ourselves for a continuous growth and success”, said Richardson.

DIXIT “It doesn’t matter on which screen the content is distributed. Now we have to optimize our work on generating products 360°. That’s why we, the producers, are creating multiplatform content, including solutions for the advertising: from a traditional spot on television up to the adaptation of a specific way for a mobile or online experience”. Adriana Cisneros CEO y VP of the Board of Directors, Cisneros Media

Televisa and Univisión generate synergy in order to look after their audiences Grupo Televisa and Univision Holdings will look after their audiences in a joint way, in order to support a combined audience of more than 175 million people in the US and México, and they will generate possible synergies in cost of production. The News and businesses of each company will still be independent. As part of the initiative, Isaac Lee takes the role of General Manager of Content on Televisa and Univision. His new position will unify the leadership and strategy direction of the content production for consumers in the US and México. Lee reports directly to Randy Falco, president and general manager of Univision, and Emilio Azcárraga Jean, president of Televisa. Additionally, José Bastón Patiño will be in charge of the presidency of Televisa International, so as to be the responsible of the expansion of Televisa beyond México and the US.

MIPTV 2017

CONTENTS MAARTEN MEIJS, MANAGING DIRECTOR, TALPA GLOBAL

“The ‘must see’ factor is more important than ever” How can you describe your participation in MIPTV 2017? Why do you find this market attractive? MIPTV offers us a chance to present the formats that are doing well this winter in our home base territory, the Netherlands, as well as some brand new formats that are about to launch. This MIPTV, we’re thrilled to introduce new formats that awaken your inner adventurer. A Whole New Beginning for example, is a social experiment unique in its kind, in which three families embark on the journey of a lifetime by packing their bags and moving to the other side of the world - for a year. No script, no interference: just real reactions to a new life everyone has dreamt of. It has launched with fantastic ratings in The Netherlands. Around the World with 80year-olds, one of our other brand-new introductions this MIPTV, is what feelgood TV is all about. Eight senior citizens who have never traveled further than their own backyard, are about to take off and take a trip around the world. The show is touching and at times downright hilarious: these seniors are anything but a bore. How have evolved the businesses of Talpa in the beginning of the year? In 2016 alone, we’ve

MIPTV 2017

Talpa had an increase of 25% in 2016, and its content lab is developing new formats for 2017. closed over 120 format deals, an increase of almost 25 percent compared to the previous year. And we’re still growing: our creative content lab is continuously developing new formats. Last MIP we launched several successful shows, among which the innovative game show 5 Gold Rings : a unique co-creation with ITV’s Possessed. The show has already been launched in the Netherlands and the UK, with great results. A pilot has been commissioned in the US and many more territories are currently in negotiation. We have also expanded our factual entertainment catalogue, with the adorable The Wishing Tree and the recently introduced The Story of My Life, giving celebrities a unique sneak preview into their own future. The Story of My Life has been commissioned in close to ten countries since the last MIPCOM.

How do you find the current situation of the industry? People are watching more content than ever, and that is great news. However, this changing media landscape requires new thinking: we reach out across all touch points, in order to reach an audience that is more and more scattered over different platforms. That’s why our content lab has evolved: together with our current formats we now develop tailored content plans across multiple platforms. 5 Gold Rings is one of the best examples so far: the game contains pure play along DNA, and thanks to the state of the art app the viewers can play along during the TV broadcast, with a miniature version of the studio floor in the palm of their hands. How will you drive your business’ strategy during 2017? At Talpa, we do more than just create new formats. As a multi-faceted media

company we are ready and capable to offer tailored content plans across multiple platforms, for our current and future partners. The Voice is still an important driver in our catalogue, and we continue to refresh the format and support the brand, with new features in the app and other activations. But besides The Voice and The Voice Kids, we’re increasingly rolling out new titles and building strong international brands. Which are the features you look for in a project, when it comes to the time to produce? We believe there will be a big focus on live entertainment. The ‘must see’ factor is more important than ever. Besides unique elements, a project needs to contain strong storytelling and live elements. Of course, every project also needs to have global potential. In these uncertain times, it’s even more important to focus on the positives, on what’s real - on genuine emotions.

Which are your goals for the first half of the year? How will you be working on this? Our goal is to expand our focus portfolio with titles like 5 Gold Rings, Story of My Life , The Next Big Band, Cannonball, The Voice and The Voice Kids. We offer tailored content for these formats, for different channels. We’ll keep expanding on YouTube: we currently have 120 channels worldwide, with over 27 billion views. The Voice Global YouTube Channel for example, contains performances from local adaptations of the show, which airs in 180 countries.We also want to extend our commercial partnerships in the field of events, gaming, gambling and merchandise & licensing. Last but not least, we are always looking to integrate new technologies in our show, like we are doing with LIVE VR in The Voice, augmented Reality in Dance Dance Dance and live play along in 5 Gold Rings.

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MIPTV 2017

CONTENTS EDWARD SABIN, EXECUTIVE MANAGING DIRECTOR, INTERNATIONAL, A+E NETWORKS

“The demand of content increases every year” Asian expansion in one of the main goals for this year.

After your promotion in the company, how will you be addressing A+E Networks’ strategy? Last year I was responsible for the Latin American, Canadian and the US market for the International area. I do also looked after the commercial affairs worldwide. Over the past months, I have added to my business the operations in Asia, India, Australia and New Zealand. Latin America is one of our most important territories, but we are trying to definitively install our brand in Asia. Our businesses in Latin America are very big partnerships, with our channel ranked into one of the most important channels in the world for us. With the expansion of my duties, we have decided to launch two new channels in Korea, a History Channel and a Lifetime one. Also, we

MIPTV 2017

bought the majority of our partnership in Japan, with TFC, whose 80% is now a property of A+E Networks. Of our channels in South East Asia, Crime Investigation is the N°1 signal in Singapore. In India we have History and FYI, which is the latest brand of our portfolio, as it’s more focused on local productions. How do you see the current situation of the Industry? I feel really confident about the market as the demand of content increases every year. We have the advantage of having important brands, which is the content that companies are looking for. We have been having a business model that make us be the owner of 100% rights distribution, for everyplatform and everyformat. Our main advantage is having all rights, as we have to think on the future and the changes in the way of consumption. The monetization of content is something

necessary as the market changes makes it an obligation.

recently commissioned the second season of our last hit ‘Six’. As we are 100% owner of our content, we can totally

Which are your main goals for this 2017? How will you be working to fulfil those goals? Of course, we want to strength our channels and to see how they can adapt to the way of consumption of the viewers. But also we need to sell worldwide ‘Knightfall’ so we can show the potential of our A+E Studios. We need to show what are we able to do, and how we can be highlighted in the Industry. We have a Hollywood studio, with a huge success and the leading executives of the Industry. We do also want to

decide about the content. That is another advantage of A+E Networks, compared to any other company.

install worldwide our format sales team, a very important area for us, as this brings new ideas to the market.

How can you describe the participation of A+E Networks in MIPTV2017? ‘Knightfall’ is our most important title for this show. Produced by A+E Studios, this scripted show revolutionized our portfolio. We have just

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MIPTV 2017

CONTENTS NATPE 2017

The market of digital co-work There were 72 countries represented by 5000 participants with more than 1000 buyers. edition, but on January it was told that the series is ready to be shown on screen. Raphael Correa Netto had his first NATPE Last NATPE edition was built on three main pillars, highlighted by the assistants and exhibitors. Latin American programmers and buyers established that coproduction projects, original content and the digital peak were the most important business lines of the market. The first pillar begun with the announcement, made by Disney Media Networks, about the production of the third biopic of the company, ‘The Secret of Selena’, a coproduction with BTF, LatinWE and Moconoco. The company guarantee Azteca Mexico as the first FreeTV window, and Turner on the Pay TV market. During the show, Fox Networks Group also announced its main titles for Latin America. Mariana Perez and Edgar Spielmann, who lead the content area of the company, explained: “all our developed projects are for our channels, working on a base of its needs. This doesn’t mean

MIPTV 2017

that productions can be seen on different platforms. We are the player with the biggest bets on highly budget original productions”. On the original productions, exclusively for digital media, Nadav Palti, CEO of Dori Media Group explained: “We are focused on MeMeMe Studios, and the productions of short clips between three and fifteen minutes, only for YouTube. We test 25 channels, and chose four, now with more than 100 million of views. We hope to have 16 channels with a billion views on 2018”. The first edition of the new-Natpe, with new rules and less facilities on the Fountainbleau lobby, make people find new places to meet. A diversify Market Floor attracted new audiences, and the way to the suites was easier than before. Also, the maintenance of the Conference activity on the Eden Roc was a plus for the exhibitors, which

could make their meetings on time.

The big players’ show NATPE 2017 distinguished itself for being the home of Latin America big players’ parties. The beginning of the show was established by the annual breakfast of Globo when the Brazilian producer let people know that 2017 focus is going to be on the production of very dedicated non-traditional content, like OTT, as ‘Nothing is going to be than before’ and ‘Justice’. ‘ Supermax’ was announced on the previous

as Executive Director of International Business of Globo, and exclaimed: “It is about the renovation not only of genres but of the language and conflicts. ‘Justice’ and ‘Supermax’ (in Spanish) were unthoughtful years before, and now they are flagship products”. Telemundo Internacional brought its artists to the Fountaibleau to show its main titles, but Marcos Santana, said: “we provide content that generate its own environment, because innovation is not an option. The one that doesn’t risk, won’t have profits”, and presented ‘Idols War’ the

first drama-musical of the company. The big player that has its most important performance was VIACOM. Few months before NATPE, the Industry was revolutionized by the news that Viacom International Media Networks acquired the Argentinean FreeTV channel Telefe. VIACOM had more than one issue to celebrate, as its Kids’ channel Nickelodeon was celebrating its 20 years. Tatiana Rodríguez and Migdalis Silva commented: “Nowadays, the pillars of children content are the 360 development, short content will lots of episodes. Nickelodeon has content that became iconic. Several generations grew up with Sponge Bob, and we are very proud of that”. On its big party, situated on VIACOM studios in Miami, Bob Bakish, CEO of the company distinguished that the acquisition of Telefe is going to be a key factor in the future of the company as a worldwide entity. “Is one of the best Latin America broadcasters and it has a world-class team that we’ll keep”. A few weeks later came the news that Tomás Yankelevich who was responsible of the International Business and Global Content of the Telefe left the company, and Guillermo Campanini and Darío Turovelzky will together lead Telefe.

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Dario Turovelzky, Sofia Recca, Tomas Yankelevich.

The international presence KOCCA, the association that promotes Korean content, organized its third ‘K Contents Screening & Launcheon’ in Miami, where the main broadcasters of the territory offered its content to 70 buyers: animation, documentaries were the offer of EBS, JTBC and KBS said present with its dramas, and MBC did its things with romantic comedies. The entertainment appeared in NATPE thanks to CJ and SBS. Chul Min Kim, director, Kocca USA, highlighted: “Korea does not only grow in drama, but also in formats that we’ve successfully adapted in USA, Germany and France”. The main international point was the presence of Benjamín Salinas, CEO, TV Azteca. “This is a very special moment, because after 23 years, we are leaders on the dramatic prime time in México, and started bringing content to the two biggest networks in the US Hispanic, Univisión and Telemundo. We launched a new era of fictions, with shorter stories and incomparable budgets per episodes. Overall, we are

MIPTV 2017

nounced the Temporary Download to its offer, breaking the standards of rights and windows. Another worldwide OTT confirmed its arrival on the region: Amazon had specific buyers visiting suits and stands of the Fontainebleau. With the ‘temporary download’ the user can download content on its Netflix app and can consume it offline, in every device,

turning the company in a real way. Alliances and international coproductions become a priority, as we are looking to become a production hub for the world”. The European presence was occupied by RTVE from Spain. Enrique Gonzalez, General Corporative Manager, described: “We are on a moment of stability (financial and audience) and of growth expectations. We are going to add more contemporary pro-

ent bought on a specific territory with specific rights, it blocks when the user reconnects the account abroad. Executives of the US market of Amazon were promoted also for Latin America, as it happened on Netflix. Amazon approach was on the acquisition of a strong beginning on México and Brazil. There were other OTT confirmed for the future

Azteca team.

months: Multivision MVS of México will launch its own SVOD on the next months and it is acquiring content. Olympusat with is OTT platform Vemox entered on Amazon TV Fire and promoted its area of original content. VIVOPlay did also get into the service, and fulfill its plan that began with Roku and AppleTV. Pierluigi Gazzolo, Bob Bakish.

posals to the historical series that will enrich the analysis of our reality”.

The digital growth The biggest news came from the Digital business, as Netflix an-

place in Miami, from January 16th to 18th. The next big challenge is the Smart change. The monetization of the new ‘Golden Era’ in digital, without fighting with the traditional business. That was one of the topics discussed on the Latin American panel of the market, were there was a debate on the generation of new fresh content with lower costs, and that the

with periods that go from 48 hours to a month. It leaves the concept of SVOD and begins to be a possession of products, versus buys on iTunes. The system limits the consumption depending on the countries: if the cli-

There was less people, but more business. The original content, produced with partners seems to be the key for broadcasters and PayTV traditional players, as digital peak brought new players to the market. It was confirmed that NATPE 2018 will take

new media environment offers so many combinations that it could be different and win on the try. On this, Marcos Santana, said: “the consumer wants the change, to be surprised. We have to innovate constantly. Following this statement, Frank Smith, EVP Distribution and Media Development, HBO Latin America added: “We have to follow the way that audiences draw, that is the multi-platform; and giving them original contents that couldn’t find anywhere else”. Adriana Cisneros, CEO, Grupo Cisneros, mentioned the example of ‘Narcos’ that became a success in Netflix, but it didn’t work at Univision. “The media makes the

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Telemundo Talents.

background”, resumed. Cris Abrego, President, Endemol Shine Americas claimed: “Netflix is becoming a big network,

with a huge focus on original productions”. At the closing ceremony, JP Bommel, now the President and CEO of NATPE,

and Andy Kaplan, Chairman of the Board, highlighted that 2017 was the best edition of the market since it arrived at Miami

in 2011. “There’s a strong natural demand and work on strategic and international partnerships. From China became 20 produc-

tion companies, as the association of Brazil arrived with six lead producers. The Domestic US is also growing, bringing more members from Los Angeles, New York, Miami and Chicago”. The last thought came from Alex Marin, Alex Marín, SVP Distribution Latin America, USH & Canada, Sony Pictures Television: “The average of delivers on Amazon Prime is 23 minutes all over the world. We are on the edge of a more sedentary life, where we can obtain anything near us from home. That’s why we need to think on a more detailed entertainment on this sense”.

MANUELA CAPUTI, HEAD OF SALES, MEDIASET DISTRIBUTION

Offers ready-mades and formats for local adaptations New drama ‘The Final Act’ and provocative sexy format ‘The Phone Secrets’ are the highlights for the market.

“We are thrilled to offer lots of scripted and unscripted titles available as ready-made and as a format for local adaptations. We also have an immense library with classical movies and new releases. In terms of entertainment we are

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launching new unscripted formats and we’d like to open new markets”, said Manuela Caputi. Mediaset Distribution is presenting new titles: crime drama ‘The Final Act’ (8x80’) with famous actor Gabriel Garko, a comedy titled ‘Beauty Center- A few years later’ (8x80’), spin-off of a fa-

mous series broadcasted a couple of years ago and we are in production with season two with crime series ‘Code Name Solo’ (4x100’) a drama that achieved a very good result with 4,5 million viewers on our flagship Canale 5. Also, the Italian company is presenting an unscripted format ‘The Phone Secrets’, a game show that already got interest before the Market. The format sees three couples sitting around a table with their smartphones connected to a LED wall. One person per couple then unlocks their handset and hands control of it to their partners who has two minutes to go to their personal messages, photos and

chats. The players accept to share their secrets with the aim to win an exotic holiday. From Latin America to CEE and MENA, Mediaset is developing a global strategy to build new business opportunities. “We are focused in all territories with the support also of our precious partner. In Latin America we are working very closely with our good partner Marcel Vinay, CEO at Comarex who represents our catalogue in South America. In MENA, we have a Turkish agent and we are developing important business deals in Arabia. Instead the Rome-headquarter is more focused on Europa”.

“We would like to increase the volume of sales in Eastern Europe of drama series and movie feature, as we have a very important library. At the same time we are trying to open the market of unscripted format with our own creativity. We are launching the quiz show On Your Skin, a success with more than 500 episodes broadcast in access time and we have a list of paper formats like the factual entertainment Breaking Love, Jail, the reality contest The Bodyguard, the factual swapping pilot Shock Therapy and factual entertainment My DNA. I really believe that we can push them and find new producers outside Italy”.

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

“Our series follow the same international business model” How can you describe TV Azteca participation on MIPTV? We are announcing the next Super Series of the end of the year, which will be a huge surprise. In addition, we are showing the first materials of the series that will be on air soon and that are currently on production.

The Mexican company has extended its partnerships with Sony, Disney and Globo in Latin America.

How have evolved your businesses in the first months of the year? TV Azteca series have evolved in a great way. ‘La Fiscal de Hierro’ (The Iron Attorney) is on air in México, and it is already sold to Univision, Netflix and different Latin American broadcasters. ‘Nada Personal’ (‘Nothing Personal’) that will be broadcasted on May, has Telemundo as its first client. We are close to launch the series ‘Mujeres’ (‘Women’). We have closed very important sales to Africa, and soon we will be announcing new partnerships in Latin America.

How will TV Azteca address its business strategy in 2017? TV Azteca is really focused on the presale of the big series that will be launched periodically and on big international co-

How do you find the current situation of the industry? It is well known that there are more platforms, but there is also more competition and content than ever. That’s why we are strengthen our international vision, when it comes the time to look for coproductions and territories.

MIPTV 2017

productions (for example, there are new agreements with Sony, Disney and Globo). We are also focused on the formats adaptation and on the maximization of a diverse portfolio in new territories. What kind of features do you look for on a company when you have to choose new partners? We need to find companies that are similar to us, on the innovation way, as we are working on the development of scripted and

entertainment. We need to share the vision on the international business and a cultural similarity that helps in the search of formulas in common. Where do you think is the focus of the new productions of the international industry? Personally, I think that the industry is address to a better quality content that will require a higher inversion, and that will be able to travel to different windows and territories. However, the biggest challenge is the production of scripted formats for the new OTTs and mobile devices. In which stage of development are situated your latest projects for the international market? In this moment, TV Azteca has two series on production that will be on air in May and October; and other one on development for the last term. All of our series follow the same international business model. Which are TV Azteca goals for this first half of the year? We have to manage the launch of three new series which sales goals are already fulfilled thanks to the strategy of the presales.

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CONTENTS AYSEGUL TUZUN, VP SALES & MARKETING, MISTCO

Turkey starts investing in sci-fi drama The distributor has also enriched its portfolio with several formats, besides the dramas. How have evolved the businesses of Mist Co in the beginning of the year? 2016 was a very productive year for us as we closed several deals in existing and new territories and also global deals with major players for various titles. We’re happy that we’ve started 2017 with same momentum. The Last Emperor is our assertive brand new series and pre-sales for this series is over expectation. How will you drive your business’ strategy during 2017? In 2017, we are producing projects to develop new partnerships as well as maintaining our existing ones. TRT’s strong ambition for high quality dramas eases our job. Besides historical dramas, TRT is planning to launch new titles from different genres such as teens’ drama. But the big surprise is that TRT will

MIPTV 2017

start broadcasting the first Sci-Fi Drama in Turkish TV industry, called ‘Code: 2150’ in Fall 2017.

In addition, we’ve enriched our portfolio with a new genre, Formats. We will add

two different 100% Turkish Formats in our portfolio in following days. How can you describe your participation in MIPTV2017? Why do you find this market attractive? Although there are many local markets around the world, MIPCOM and MIPTV are still protecting their charms for the buyers and sellers. MIP markets are always ideal for the launches of the new contents. How do you find the current situation of the Industry? The demand for Turkish drama is really high for the last 10 years. The reason for that is the

high-quality and serious production in Turkey. I believe that this demand will continue to grow in parallel with the aggressive production. Where do you think is going to be the focus of new international productions? As a result of all the success Turkish dramas achieved all over the world, co-productions became inevitable. And we have several ongoing discussions on this matter. Which kind of reception is having ‘The Last Emperor’ on the international market? ‘The Last Emperor’ is receiving great interest from every corner of the world. The fact

that it is a real life story of the strongest Ottoman Emperor in the 19th century is the main appeal for international buyers. Abdulhamid Han was the most modern and innovator Sultan of all. He had many projects concerning the future of his state. He even planned a Sub-sea Tunnel Project which was able to be built in 2017. He was visionary and philanthropist. Of course he was having difficulties in achieving his projects due to traitors inside the palace and even in his own family. We believe the audience will love his intriguing story and the way it is told in the series.

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CONTENTS VALERIE CREIGHTON, CEO, CANADA MEDIA FUND

“We offer fast-disappearing borders” How will you drive your business’ strategy during 2017? The Canada Media Fund is operating in a rapidlychanging media landscape. Our strategy for 2017 reflects the global reality in which we operate: fast-disappearing borders and new and exciting platforms disrupting long-held practices. At the CMF, we’re enthused by these changes. We expect revisions to the Canadian audiovisual funding ecosystem, the depth and breadth of which we’ve not seen in decades. The opportunity for the CMF will be in finding the right balance between adapting to the changing environment, while remaining a source of stable and predictable funding for the industry. We are confident that our content-centric, platform-agnostic approach will ensure that Canadian and global audiences will continue to access Canadian content on the screen of their choice. However, in an age of so much abundance of content, promotional efforts are key in helping drive our strategy in 2017. This will ensure that the content we fund will continue to be discovered, consumed and enjoyed by audiences around the world. Other key elements of our 2017 strategy include the implementation of initiatives to improved gen-

MIPTV 2017

The organization ensures that its content will continue to be discovered, consumed and enjoyed by all the audiences. der balance in Canada’s audiovisual industry, as well as the creation of an Indigenous-led screen office, the goal of which will be to support Canadian Indigenous content creators through a more comprehensive approach. In addition to funding content, we provide research that contributes to Canada’s competitive advantage, and we promote the success of our industry at home and abroad. We intend on pursuing this important work in 2017. How can you describe your participation in MIPTV2017? At MIPTV, we are presenting three VR projects, all financed by the CMF, showcasing the diversity and expertise of the genre in Canada. At a VR Innovation Seminar entitled “Discover how Canadian VR and AR give a new dimension to this Artform”, we will showcase Quand la foule devi-

ent cirque by Ingrid Ingrid of Montreal, MultiSensory Virtual Reality Historical Vignettes by SimWave Consulting of Ottawa and Welcome To Wacken, a Secret Location and Banger Films project hailing from Toronto. Prior to MIPTV, we are also taking part in MIPDOC, where the CMF and our partners will showcase three extraordinarily captivating Canadian documentary projects at a session entitled “Canadian Documentary: When creative talent takes over”. These are, Abandoned, by Vice Canada, Rhino’s Cry of FairPlay and Rumble: The Indians Who Rocked The World, a Rezolution Pictures project. How do you find the current situation of the Industry? Our industry is certainly shaped by consumers and their rapidly-changing tastes and consumption habits. Looking

ahead, we must ensure we continue to support the development of platform-agnostic content that will allow it to reach growing audiences accessing content on various platforms. While we realize Canadian talent continues to make headway in an increasingly competitive international market, and Canadian content continually punches above its weight, we also understand that coproduction is a practice of growing strategic importance. This provides new opportunities for producers from different countries to share resources and talent and tap into new markets. Content is increasingly available through emerging distribution systems, and is also finding audiences on new platforms on countless devices. Adapting in the face of this changing environment is key to the continued success of all in the industry.

Where do you think is going to be the focus of new international productions? The CMF is looking at several options for partnering with other countries. Canada has over 50 coproduction treaties in place that we can leverage to implement dedicated funds for codevelopment or coproduction. These treaties cover television and feature film production, but digital media has become an important component of our industry since the treaties were signed. Our incentives with agencies similar to the CMF and other interested parties, explore new means of bringing digital media producers closer together with their international counterparts. As consumers 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. The CMF understands the future of international production lies in the establishment of productive partnerships. At the same time, it’s important to focus on emerging and media-hungry markets in Asia and Latin America, two regions with vast opportunities.

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CONTENTS HANS ULRICH STOEF, CEO, M4E AG AND STUDIO 100 MEDIA

“Now we are able to finance and coproduce new projects” How will you drive your business strategy during 2017, now that Studio 100 has acquired a big per cent of m4e? In February 2017 the Studio 100 Group acquired the majority interest in m4e AG. Now both companies will use their synergies concerning their national and international activities – from the very first idea to a kid’s smile in one of Studio 100’s theme parks. The combined library of both Studio 100 and m4e offers now more than 17,000 episodes of kids and family entertainment programs, and many new shows besides the core properties ‘Mia and me’, ‘Wissper’, ‘Maya the Bee’ and ‘Vic the Viking’ . Among the new shows and feature films are ‘Maye the Bee’ - the 2nd TV season as well as a second movie, ‘Arthur and the Minimoys’ and five more new animated TV-shows, as well as three feature films. Our combined activities are now a totally different ball game with a big line-up of high quality shows and feature films. By combining the strengths of two successful companies such as Studio 100 and m4e, we will be the leading company groups for kids & family entertainment worldwide.

MIPTV 2017

The joint-business represents the association of two of the biggest Kids’ content players. We are now working on finding the right balance between the two teams, changing Studio 100 Media’s business from a pure distribution-driven to a content & production-oriented company which delivers a true 360° approach. What does Studio 100 add to the company? The mother company Studio 100 brings in its strong production entities (Studio 100 Animation, France and Flying Bark, Australia), distribution experience, together with integrating their theme parks business, live action productions and studio capacities to the new company constellation. Now we will be able to finance and produce many new projects that both companies already have in their pipelines. Of course, the classic properties of Studio 100 plus the new brands from m4e are a perfect match and create a fantastic portfolio of rights.

How can you describe your participation in MipTV 2017? Why do you find this market attractive? Honestly, the MipTV market becomes more and more a problem. Many important players from the broadcaster’s side are not participating anymore and we have much less appointments in Cannes. But our stands are booked and we are

prepared. Nevertheless, there should be a critical analysis from all sides, if this market might not be redundant while having MipJunior and Mipcom as the more important events for our industry. How do you find the current situation of the industry? Where do you think is going to be the focus of the new international productions? The current situation is absolutely encouraging, especially with the new possibilities that digital

players are adding to the industry. For our company, with its extensive and high quality of productions, the market offers very exciting opportunities for extending existing brands into digital distribution. Triple Play and multiscreen services offer consumers more chances to find valuable content to consume, bringing them a new way of entertainment, no matter where they are, no matter which device they use. In the area of kids and family entertainment, m4e and Studio 100 will definitely be among the key players there and additional exploitation via live entertainment, Theme Parks and own pay-tv outlets offer attractive possibilities to extend our brands and control them in the best possible way. Which are m4e’s goals for the first half of the year? How will you be working on this? First of all we want to deliver the best possible strategy for the new relationship and constellation with Studio 100. Which means, optimizing and trimming sales and marketing forces, deliver a balanced slate of new TVshows and movies and using all existing and evocative synergies within every department of both companies in order to reach a new level for our business.

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CONTENTS TELEMUNDO INTERNACIONAL

Latin American content for the world Telemundo Internacional is showing on this MIPTV its new original series. ‘Fame has a Price’ (75x60’) its Telemundo’s first original music drama series. Julio Cesar Solar is music’s number one star, and his younger brother Mateo Solar is one of the industry’s most important composers and producers. They have fame and power, but an unexpected tragedy will shake everything they’ve built and lead Mateo to embark on a search for answers. What he’ll find is an unimaginable network of mafias linked to the music business – all of which he will now have to face. At the head of this network is the popular music singer Rafa Zabala and the corrupt businessman Amado Matamoros. ‘The Fan’ (120x60’) is the story of Valentina Perez, a fun, kind-hearted woman of humble means, who proudly presides as president of the Lucas Duarte Fan Club. An unexpected twist of fate places her idol, the famous telenovela star Lucas Duarte, directly in her path. Even though he pays little attention to her at first, with time, he’ll realize he can’t live without her. In coproduction with Argos Television, Telemundo developed ‘Lady Altagracia’ (120x60’), a story of revenge, betrayal and ambition, but also of

MIPTV 2017

From its booth P4.C14, the company is exhibiting its first original music series: ‘Fame has a Price’. redemption, justice and love, which follows the life of Altagracia, who lost her parents to a fatal car accident, and who at a young age suffered the abuse of a group of young men. Since then, Altagracia becomes a ruthless and ambitious woman, an unfeeling mother who abandoned her daughter at a young age and uses her charms to amass an empire that allows her to impose law and take justice into her own hands. As part of the agreement, there’s also ‘Chema: The flight of the Scorpion’ (78x60’) that follows the beginnings of Jose Maria Venegas “El

Chema” and his fight to earn a place and a name in the world of drug trafficking. This is the story of his way to organized crime, the story of his first loves and of how he began a war to gain control of the cartel led by his worst enemy, Aurelio Casillas, The Lord of the Skies. Only for distribution in EMEA and Asia, Telemundo represents Sony Pictures Television’s ‘Hugo Chavez, El Comandante’ (60x60’). This is the story of the late leader of Venezuela’s Bolivarian revolution, a man of humble origins, who defied all odds to become the most controversial and powerful Latin American leader of his time. The company signed different agreements with Chilean companies for the distribution of its portfolio. This is the case of Mega Chile, whose series ‘Amanda’ (70x60’) and ‘Ámbar’ are offered by Telemundo. ‘Amanda’ (70x60’) is the story of a young nurse recently hired by the Santa Cruz

family to work on their ranch. This unsuspiciouslooking woman’s professionalism and charm quickly helped her gain the family’s trust and affection, without anyone suspecting or imagining her true intentions: to impose justice upon those who inflicted the greatest sadness she ever had to endure. On the other hand, ‘Ámbar’ (67x60’) narrates the life of Matilde, an apprehensive single mother who loves her daughter, Ambar, above all things. With little time on her hands, this working woman has no alternative but to entrust Dany, the local school bus driver, with the task of taking her young girl to and from school. At work, Matilde discovers that her new boss is Cristobal Moller, the man who left her more than eight years ago without knowledge

that she was pregnant. The other Chilean channel associated with Telemundo is TVN Chile, whose ‘Esa no soy yo’ (75x60’) describes the story of Judith and Anahi are twins who only have one thing in common: their physical appearance. When Judith learns that her ex-boyfriend Brian, who wants to kill her, has been released from prison, she desperately plans a meeting with her estranged sister to talk. When Judith arrives to their meeting place and finds Anahi dead, she finds Brian surrounding the place. Overcome by fear, and believing that Brian killed her sister by mistake, she decides to take on Anahi’s life in order to save herself and do justice. Little does she imagine the turns her life is about to take.

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GUILLERMO BORENSZTEIN, HEAD OF INTERNATIONAL BUSINESS, TELEFE, A VIACOM COMPANY

“The key is the capitalization of the knowledge of every experience” Which are the titles that will guide the efforts of Telefe in 2017? We trust on having a great year, strategically presenting a unique offer that combines different genres. From romantic thrillers like ‘Amar después de Amar’ and ‘El Regreso de Lucas’, Premium content like ‘Sandro de America’ and ‘Un Gallo para Esculapio’, familiar Entertainment content like ‘En qué mano está?’, to the evolution of the genre of reality-shows like ‘Despedida de Solteros’. We’ll have a new classic telenovela for the next market, a family comedy that represents Telefe. This is added to a successful and diversify portfolio, but there’re so many territories to reach yet. Which is the current situation of the different production units? Telefe defines itself as a multiplatform producer, that is also has the luck of having the most successful TV screen of Argentina in the last years.

Naturally, our main market is Argentina, but our focus is global. We do not only bet on increase our production capacity to the ideas of Viacom in Amer-

On 2017, the Argentinean company will be focused on expanding its worldwide presence. ica, but also for the whole group. The idea is to keep positioning the producer company with established production companies or with some point activated just only for a project. We had the first experience of international co-production with América Televisión de Perú (‘El Regreso de Lucas’), and we have started working with them in the future projects that allow us to guarantee a continuity of the production in Peru. In which territories will Telefe be focused to expand your titles presence? All these years, Latin America has been the most important market for our content. Fortunately, we work a lot, invest and finally manage to enter into the US Hispanic market (‘El Regreso de Lucas’ was acquired by Unimás) with our own content. Now we want to increase our position and maintain it through the

time with more volume and presence. The same happens in Europe and Middle East, where we are gaining positions and generating new strategic relationships. We feel now that with the strength of Viacom and the distribution structure that we are developing, not only we could be able to reach more territories, but also increase the business volume. We are proud to have the first Latin American fiction format (‘Sres Papis’) beginning its production in Slovakia, opening new doors for the industry. We try to be always one step ahead, not only generating content but also in the way of doing business. In your opinion, how is it going to be address the industry in a near future? The idea is to promote our

catalog with our own content, with coproduced projects in a local and international level, and with third-party content that allow us to conclude long term agreements. We need to establish the company in a high level, and improve strategically the distributor area. We are going there: volume, quality and diversification. Which is the role of new technologies in the international market? Obviously, new platforms and technologies are giving us an incredible opportunity. It is about expand our presence, and increase our profits with a clear windowing strategy that allow us to maximize opportunities. The key is the capitalization of the knowledge of every experience.

MIPTV 2017

CONTENTS OZGE BULUT MARA_LI, EVP INTERNATIONAL AND CORPORATE STRATEGY, KANAL D

ARIEL TOBI, PRESIDENT, SNAP TV

“Nowadays, “2017 is the a year Netflix can’t of our reorganization be considered and restructuring” a new player” How can you describe your participation in MIPTV2017? Why do you find this market attractive? As we do every year we have two sponsorship in MipTV. Platinum Sponsorship and MipDrama Lunch Sponsorship. Other than that we’ll be located at our booth which we have been using for the past couple of years. Also we have submitted our new dramas to Fresh TV also. MipTV is a great hub for us, since it is providing us high profiled European buyers. How have evolved the businesses of Kanal D in the beginning of the year? 2017 is the year of reorganization and restructuring of Kanal D’s International Business. The first steps of these projects have been taken in the first quarter of this year. We will be announcing some of the results in the upcoming days of MipTV. How will you drive your business’ strategy during 2017? We have two main business strategies in 2017; co-production and format selling. We are negotiating with possible co-production partners in dif-

MIPTV 2017

During MIPTV, the Turkish company will announce the results of its new business strategy.

For the executive, films will have less presence in FreeTV, and will start growing on PayTV.

ferent regions. As for format sales, we already are selling our formats, however we want to grow our format selling revenues. How do you find the current situation of the Industry? It is the golden age of dramas, we can say that. There are a lot of new genres and new dramas. Local stories, big productions, and adaptations anything you can imagine is available in the industry and which is very good. OTT platforms are also growing their space in the industry. This makes pro-

ducers to make special dramas for OTT platforms. We will see its real impact in a few years. Co-production is a hot topic for everyone, especially in LATAM, new tech-

nologies, 4K, VR and Original Content for OTT and digital platforms. Last, VR technology is in front of us and this can be a real game changer, we’ll see. Which are the features do you look for in a production? First of all good content. A story that will make the audience a bond with their own lives. Then high production quality comes forward. But, high quality comes with a cost. Therefore co-productions are widespread all over the industry. I’ll go back to the story, it has to be both authentic and universal. Because you don’t just produce for your own audience but whole word.

How have evolved the businesses of Snap TV on the first months of the year? We are dealing with new things, as the launch we did in NATPE of a new genre on our portfolio: the high quality independent animations. This kind of content has a great potential in Latin America. We are still working with the offer launched last year of action titles, and we are focused on several co-production deals that will be announced at LA Screenings. How do you see the current situation of the Industry and the irruption of new digital players? I think the industry is evolving very quickly. Nowadays, Netflix can’t be considered a new player. It is already installed and is buying content in an aggressive way. Now is competing in the search of Premieres and first windows with traditional Pay-tv channels. Also, I consider that it is more notorious the leak of the film genre of the open screen and there is more aggression on the Pay-tv screens. I don’t know if there’s a compensation, but it is happening. The Free TV channel won’t stop showcasing movies, because it is a very programmable content and it is useful to complete idle spaces, like weekends and less-profitable slates. That is still a chance to offer content at cheaper prices. Where do you think is the focus of the new productions of the market? The main Latin American industry will look for new productions on México and Colombia. Players fighting for original content will try to work on territories where the product could travel. Unfortunately, Argentinean content is considered a much more segmented content than Mexican o Colombian ones. Besides, México and Colombia work much better on US Hispanic, so that is a huge advantage.

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WWE

Named Sal Siino

as SVP, Global Content Distribution and Business Development WWE announced the appointment of Sal Siino as Senior Vice President, Global Content Distribution & Business Development. Siino, who previously held senior leadership roles with WeMash, Bedrocket Media Ventures, T3Media and Westwood One, will report directly to Tandy O’Donoghue, WWE Executive Vice President, Strategy & Analytics. As WWE’s Senior Vice President, Global Content Distribution & Business Development, Siino will be a key member of WWE’s leadership team, responsible for the manage-

He will be responsible of business across all platforms and will report to Tandy O’Donoghue, EVP Strategy & Analytics. ment of WWE’s worldwide content distribution business across all platforms. Siino will also manage business development initiatives and partnerships, and provide relat-

ed support to WWE’s business units. Prior to joining WWE, Siino was Co-Founder, President and Chief Operating Officer of WeMash, where he connected premium content owners including movie studios, news organizations, sports entities, music labels and publishers with video artists, filmmakers, and musicians to re-

imagine content beyond its original context. Before co-founding WeMash, Siino was Executive Vice President, Partnerships & Chief Revenue Officer of Bedrocket Media Ventures, where he partnered with established brands and category leaders including Univision, PGA Tour and Major League Soccer, to develop pioneering online destinations and branded YouTube channels to reach audiences on all screens. Previously, Siino was Chief Content & Revenue Officer at T3Media, a company that represented the largest library of

licensable video content in the world. He also served as Executive Vice President, Sales, Marketing & Operations at Westwood One, a sports and entertainment content syndicator and the top domestic provider of traf-

fic and news reports to television and radio stations. Siino practiced law with Kelley, Drye & Warren in New York and worked as an investment banker in Merrill Lynch’s Mergers and Acquisitions group.

VIACOM18

Launched Colors HD in the UK India’s entertainment network Viacom18 has launched its flagship Hindi general entertainment channel, Colors, to Sky TV subscribers in UK in HD. The SD version has been

available for seven years BT Media and Broadcast is managing the channel’s distribution into London’s BT Tower via its dedicated, high capacity Global Media Network

The SD version has been available for seven years on Sky TV. (GMN), and fully manage the uplink and downlink of the signal to and from the satellite. Viacom18 broadcasts more than 36 channels in India, including Colors, MTV India International, Rishtey, News 18 India, 5 Colors regional Services and ETV Telegu. Commenting on the HD

Sudhanshu Vats.

feed, Sudhanshu Vats, Group CEO, Viacom18 said, “Over the past few quarters we have been focused on accelerating the expansion of our global footprint. Our maiden as-

sociation with British Telecom will take our flagship channel Colors HD into the homes of Sky TV subscribers, providing them with access to not only the best of Indian content but also

an enhanced viewing experience.” BT Media and Broadcast is very active in the AsiaPac region, where the bulk of its business involves carrying local TV channels across it GMN for distribution to people of Asian origin in UK, Europe, USA and Canada, where they are broadcast to air by companies such as Sky, Comcast, DirecTV, Dish and Rogers Cable. Currently, BT Media and Broadcast carries more than 100 TV channels from India for this purpose alone.

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CONTENTS MARIA BONARIA FOIS, GENERAL MANAGER, MONDO TV IBEROAMERICA

“‘Heidi’ will have two more seasons” Company’s main objective for the future is to focus on combining distribution with original production.

Maria Bonaria Fois and Dimitri Papanikas.

How have the operations of MondoTV Iberoamerica evolved during these first few months of the year? 2017 has started very positively for Mondo TV Iberoamerica. As of December 23rd, we have entered negotiations with Spanish Mercado Alternativo Bursatil, a result of our continued efforts and exceptional growth recently. Being listed on the MAB highlights our commitment to investing in new projects as well as offer the image of transparency and reliability. This, we hope, will give investors and potential collaborators confidence in the team and the desire to continue co-producing content with us. One of our biggest achievements at the beginning of the year has been the agreement we have reached with Alianzas Producciones to co-produce two more seasons of the live teen series, Heidi.

MIPTV 2017

A modern adaptation of the popular story of Heidi, the two new projects will consist of 60 episodes, running at 45 minutes each and will carry forward the tone and messaging of the successful first series. We are both proud and very pleased to have secured this agreement, particularly with such an important partner. We have very high hopes for the success of this property and its brand extension. How will business strategies be focused in 2017? Looking at 2017 and beyond, we are focused on live-action and various co-production projects. In general, we have a number of plans to increase the number of productions, expand our capacity and grow our product ranges in order to reach even more target audiences. The South American markets will be a key focus for us in the coming

years. Argentina is a key market for this segment, as well as Brazil and Mexico, where we already have a number of very exciting projects underway. We will be able to talk about these in more detail soon. Meanwhile, we will continue to develop the business surrounding the popular live teen series Heidi. This will be a direct response to the growing demand for television series of this kind across the region. Are you analysing the beginning of new original co-productions? In what stages

are your most recent releases such as Heidi, Bienvenida a Casa? We are placing a lot of focus on co-produced live action content this year. By the second half of 2017 we will start the production of the second season of Heidi, with the aim of building brand awareness to deliver a unique, stand-alone and live-action show for the whole family. The first season of ‘Heidi, Bienvenida a Casa’ has already launched across Latin America via Nickelodeon Latin America, who has also fuelled a major marketing campaign for the property. Meanwhile, following the introduction of Julia Gutierrez as our new licensing manager for Latin American markets, we expect to see our wider licensing plans grow stronger and stronger. We have a strong network of market leading companies across Latin America

already on board with Smilehood covering the Argentina, Uruguay, Paraguay and Bolivia. Agosin will look after the Chilean and Peruvian markets. We are now busy planning a big Summit to present at this year’s Licensing Expo in Las Vegas, presenting the property to all partners and licensees attending the show this May. What are the objectives of Mondo TV Iberoamerica for the first half of the year? How will you be working to achieve those goals? Based on the quality of our offering, our objective for the future is to focus on combining distribution with original production. This is the most valuable asset that we can generate both in Latin America and internationally. We will, of course, continue to launch new products and strategic alliances in the coming months.

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