Revista Newsline Report International - MIPCOM2019

2019 april  1

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Fernando Rovzar @ElRovzar Lemon Films

Fernando Barbosa @BarbosaBox The Walt Disney Company

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History and Azteca 7 will launch ‘Hernán’

2.

Azul Siete: “We’ll develop 70 projects in 2020”

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Telemundo acquires Underground Producciones

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VIACOM and RGB Entertainment sign an strategical deal for live events

Rosy Ocampo @RosyOcampo Televisa

Video Interviews Adriana Cisneros @cisnerosadriana Cisneros Media

Jaime Schouela @jschouela Blue Ant Media

Paul Robinson @PaulRobinsonPR Creative Media Partners

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Francisco Ramos Netflix

Tomás Yankelevich Turner Latin America

OCTOBEr 2019

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2019 april  3

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in company

in

company

VIMN hired ITV international exec Maria Kyriacou as President across the UK and Northern and Eastern Europe, with the overview of all its media networks and related businesses.

A+E Networks has named Steve MacDonald President, Global Content Licensing & International, it was announced today by Paul Buccieri, President, A+E Networks Group, to whom he will report.

“It’s a whole new world starting in November when Apple is set to debut its Apple TV+ subscription service and Disney launches Disney+. A few months later NBCUniversal will debut its Peacock streaming service.

And there are still Hulu and Amazon’s Prime Video to compete with. It’ll be tough competition. Direct-toconsumer customers will have a lot of choice.”

REED HASTINGS CEO, Netflix

DIXIT

Hirsch upped to lead Starz to president and CEO of the company.

Hirsch joined Starz in 2015 as president of global marketing and product development, before being promoted to the role of chief operating officer in 2016.

Blue Ant Media continues to shore up its North American presence with the appointment of Laura Michalchyshyn to Chief Creative Officer and Co-President, Content Production, Blue Ant Studios.

360 Powwow announced that Adrián Santucho joined the company as Chief Creative Officer.

The executive was part of Fremantle and Univision Studios teams, and now will be focus on the leadership of creative teams.

Sony Motion Pictures Group Chairman Tom Rothman informed Josh Greenstein and Sanford Panitch were named to the new shared position of President Sony Pictures Motion Picture Group.

Comcast CEO touts NBCUniversal’s Peacock as AVOD service Comcast Chairman and CEO Brian Roberts touted NBC Universal’s upcoming OTT platform Peacock as mainly an ad-supported, direct-to-consumer offering (AVOD). The OTT launch is scheduled for April 2020.

During the Goldman Sachs Communacopia Conference in New York City, he said NBCUniversal’s Peacock would be offered to Comcast’s existing customers for free, especially in the traditional cable TV space, in part to retain their loyalty in a cord-cutting era. Consumers who do not want ads or who have no Comcast subscription will be able to pay for the service.

“If you do that, advertising with a light ad load, with the premium content that will be on this network, this will be unlike any advertising inventory available,” Roberts told the investors conference. He added that advanced advertising will be key to Peacock as a direct-to-consumer offering set to battle Netflix, Disney, Apple and WarnerMedia in the streaming space.

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OCTOBER 2019

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Staff NENT Group has new organization and operating model Nordic Entertainment Group (NENT Group), the Nordic region’s leading streaming company, moved to a new operating model from 1 October.

The new set-up is based on specialities that operate across the Group in areas such as people, sales, content, marketing and technology. This will lead to a smaller, more focused, more integrated and more operational Group Executive Management team of eight leaders.

NENT Studios, the company’s production business comprising 32 companies across 17 countries, will be split into three units covering the Nordic region and central and eastern Europe, the UK and the US. The new structure will enable NENT Group to take decisions faster, work smarter, simplify areas of responsibility, and ensure even better strategic alignment across the business. It will also create skills hubs where talented employees can develop and grow.

BBC Studios Production appointed Tom McDonald as Head of Factual, reporting to Ralph Lee, Head of Content.

McDonald will be responsible of the factual strategy, leading creative teams and increasing the portfolio.

BBC Studios named Karina Dolgiej as Vicepresident of Content Sales reporting to the Vicepresident Senior & General Manager, Latin America and USH James Wilbore, Dolgiej came from Armoza Formats and Keshet.

José Luis Gascue left his position of VP Sales, Latin America at 20th Century Fox, after 11 years in the company and in the middle of the reestructuration as a result of the merge with Disney.

Maria Arroyo joins Red Arrow Studios International as Senior Sales Manager for Italy and Iberia. Also, the executive will handle the operations in Turkey and Israel; and will report to Tim Gerhartz, SVP Global Sales.

#MIPCOM OCTOBER 2019 Year XXIX Directors Rafael Val María Pía Pazzaglini STAFF Pablo García Rocío Scapolan Noelia Santillán Carlos Aguillón Ochoa Rafael Aboy Javier Fiorellino Diego Tagle Ángeles Pérez Aguirre

HBO Max has solidified its executive structure ahead of the spring 2020 launch of its direct-to-consumer video offering. The team will be headed

by Otter Media CEO Tony Goncalves.

WarnerMedia Names New Heads of Distribution WarnerMedia has named veteran executives Sofia Chang and Rich Warren to lead the company’s distribution business.

The two will have the title of president, WarnerMedia Distribution and oversee distribution for all Turner channels, HBO, Cinemax and the forthcoming HBO Max streaming platform, bringing together what had been two separate units. They’ll report to Gerhard Zeller, WarnerMedia’s chief revenue officer and president of WarnerMedia International Networks. “We will have two hugely experienced leaders who know our business inside out,” said Zeller. Over the last few months I have worked closely with both; Sofia’s experience and success in driving HBO’s digital subscriptions has been of great value as I have looked to understand the U.S. HBO business in greater depth and detail, and Rich has brought his strategic skills to the table as we have sought this way forward. Working together both will provide the strategy and direction needed to enable future growth.”

Chang has been with HBO since 2000 and was most recently executive vp global digital distribution. She has helped drive subscriber growth to HBO’s digital platforms since taking over that portion of the business in 2015. Warren has been with the company for 19 years and was president of content distribution at Turner.

He was responsible for multiplatform distribution of linear networks, digital brands and on-demand content.

Design Adrián Rivanera adrianrivanera@ gmail.com Printing Gráfica Pinter info@graficapinter .com.ar

Newsroom Moreno 769 5th floor ZIP C1091AAO Buenos Aires Argentina T. (5411) 5353.0471/2 redaccion@newslinereport.net www.newslinereport .net

Newsline Report is a monthly publication free of charge for distribution dedicated to the media industry: TV, cable, cinema, video, production, services, satellite, advertising and media.

Printed in Argentina.

2019 OCTOBER 5

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insight The industry keeps evolving and in this edition of Newsline Report’s insight can be appreciate the evolution of amazon share of advertising in comparison to the duopoly conformed by Facebook and Google. Jeff Bezos’ company keeps gaining space while the other two giants decrease its time. However, it will take several years until this numbers turn equal.

Also, Prime Video turns to be the US streaming platform with the biggest catalogue size, as it reunites 49.000 hours of content; followed by Hulu with 43.000. If we are talking

about Original Content, the biggest budget comes from the new company ViacomCBS, with USD 10.2 billion invested on the area, followed by NBC / Sky with USD 8.5 billion. What we’d like to highlight, however, is that the chart leader are different companies with budgets stablished for each part before any merger.

Another key point, that is still remaining significant for the industry is that News are still gaining the attraction of TV consumers, with the 44% of the market; while a 34% of the market looks for information online.

6 october 2019

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2019 julho  7

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october 2019

CONTENTS

rocío ailín Scapolan Editor rocio@newslinereport.net Website https://contenidos.news

CAnAdA

tIme Spent on dIgItal SurpaSSeS tHe tradItIonal medIa Digital video reaches nearly one-third of total daily viewing time Media consumption in Canada has reached a tipping point. This year, for the first time, adults in Canada will spend more daily time with digital content than with traditional media, according to eMarketer’s latest forecast on time spent with media.

In 2019, adults in Canada will spend an average of 4 hours, 55 minutes

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on digital devices, compared with 4 hours, 54 minutes with traditional media, such as TV, radio and print.

Consumers’ time spent with digital media, which includes all online activities, will grow 2.6% this year. This growth has been

in steady decline since 2011, when eMarketer began its forecast.

Conversely, traditional media consumption will drop 2.5% in 2019, the eighth consecutive year of declines.

Video is a major driver of growth in digital

consumption. In fact, video time is directly replacing TV time. Average daily video time this year will jump by 5 minutes to 1 hour, 32 minutes, reaching nearly one-third of total (digital video and TV) viewing time.

Traditional TV

time will drop by 5 minutes to 3 hours, 4 minutes.

“More than any other country in our global forecast, digital video time is greatest in Canada in relation to TV time,” said Paul Briggs, eMarketer’s senior analyst on Canada.

“This is due to the immense popularity of Netflix and YouTube among Canadians.”

Mobile devices and rich experiences in apps are also key drivers of increased digital time. Media consumption on mobile now exceeds 3 hours daily, on par with TV. “Mobile’s ascent is

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2019 october

68 billons the number

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During 2018, five territories reached the 71% of global incomes of the OTT industry, and the full revenue from movies and TV shows online reached USD 68 billions, compared with the USD 51 billions of 2017. USA and China USD +38 billions. The SVOD participation reached the 53% last year with incomes reaching USD 36 billions, meaning a growth of 44% during that year.

Apple TV Plus

Might head original movies to cinemas first not just a device story, it’s a services story,” Briggs said.

“Digital services like social feeds are inherently mobile, and video platforms now deliver highly watchable content on smaller screens like smartphones and tablets.”

Advertising dollars are following eyeballs. Digital ad spending in Canada surpassed traditional for the first time in 2018.

This trend—up from less than one-third of all spending in 2014 (30.8%)— shows no sign of slowing down, due to high levels of brand activation

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and engagement in digital advertising formats.

The increase in digital advertising has come at the expense of traditional formats, which show slight annual declines. TV remains a large and stable ad market at CA$3.21 billion ($2.48 billion), or 19.5% of all ad spending. This represents modest growth—0.7% this year—though we expect TV spending to decline slightly in upcoming years, as brands divert brandbuilding budgets in TV to more targeted and measurable advertising via digital channels like social media.

People may not need an Apple TV Plus subscription to see some of the company’s biggest upcoming original films.

According to Variety, Apple will reportedly start rolling out its original films in select theaters nationwide, weeks before they’re slated to arrive on its forthcoming streaming service, beginning in October.

The three films Apple is set to release this year all spell possible Oscar contenders.

Highly anticipated documentary ‘The Elephant Queen’ is the first Apple original film to hit theaters on October 18th. It will then be available to stream on Apple TV Plus when the service

launches. ‘The Elephant Queen’ will be followed by ‘Hala’, a film about a Muslim girl trying to reconcile her life with her family’s religious ideals, which hits theaters on November 22nd. Finally, ‘The Banker’, about two real estate giants living during the Jim Crow era, will be released on December 6th, and reportedly later streamed on TV Plus in January.

CBS Corportation

Opened CBS Stages Canada CBS Corporation has opened ‘CBS Stages Canada’, a 260,000 square-foot space located in the city of Mississauga, 18 miles (29 kilometers) from downtown Toronto. This is a multi-use production facility that includes six soundstages, production offices, support facilities and auxiliary services for large-scale television and film production. CBS is the first major U.S. media company to open a branded production entity in the country.

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Contents Newsline Report James Wildbore

“We need to identify and nurture partnerships” The SVP & General Manager, BBC Studios Latin America & USH, continues to grow the broad catalogue of the company with quality productions and bold narratives.

How do you see the Industry and the evolution of consumption?

The industry has seen consumer consumption habits evolve drastically over the past few years, but what is interesting is the change in consumer expectations when it comes to content. More than ever, consumers are looking for entertainment with deeply engaging, relevant storytelling. This growing demand will require continued innovation from program makers and distributors. As the industry evolves, we continue to grow our broad catalogue with quality productions and bold narratives that resonate around the world and allow for shared viewing experiences.

Creative storytelling is in BBC Studios’ DNA as we’ve been doing it for 60 years with our iconic Natural History programming - telling the story of our planet from the most unique perspectives. We are bringing this creative storytelling to other genres like science with shows like The Planets, which uses groundbreaking visual effects to tell the story of our solar system and the eight planets that inhabit it.

Which are the features that distinguish BBC Studios in the international market?

BBC Studios is the most awarded British production company and the number one distributor outside the U.S. studios. In the markets where we operate, there continues to be a strong demand for premium, inspiring content, which we are able to meet.

Some of the features that set us apart are our high production quality, bold and creative storytelling and our award-winning writers, producers and actors. We are also well known for our premium dramas and our unrivaled natural history content.

With forthcoming series like Seven Worlds, One Planet, which takes viewers on an eye-opening journey around the world telling each continent’s unique story using the latest technologies, we continue to raise the bar in this genre and continue to provide our audiences with compelling stories that turn into shareable experiences.

How are you working on the alliances with your international partners?

Identifying and nurturing partnerships is an important part of our work. For example, our relationship with Discovery in the region includes a first window pay TV option for our unrivaled Natural History output (including landmark series such as Planet Earth II, Blue Planet II, Dynasties and the eagerly anticipated Seven Worlds, One Planet). Last spring we announced an extension of this partnership that will see BBC Studios supply Discovery’s SVoD service with content from our factual catalogue and natural history titles.

As far as our formats, we partner with Endemol Shine in Brazil and have recently finished the fifth season of ‘Dancing Brasil’ for RecordTV. We have also partnered with Turner to produce the first Spanish language version of the hit Love Productions format ‘The Great Bake Off’ in Argentina. Following the success of the first season, the second season has recently been commissioned and we extended the partnership to produce ‘Bake Off Chile, El Gran Pastelero’ which aired on Chilevision last year.

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Contents Newsline Report Lisa Godfrey

“We have almost double our catalogue” Vice President of Original Content, Corus Entertainment/ Corus Studios, admits exploring partnerships in both the co-production space, formats and its catalogue of originals.

In your opinion, which kind of content is the most demanded by the industry?

I think with new streaming platforms as part of the equation, is an opportunity for all genres to succeed if you have topnotch content. In my opinion, these new services will need to build out a broad-based spectrum of content from scripted, kids, comedy to lifestyle and unscripted and that is where Corus Studios comes in. We have been creating stars and making hits for a long time and as leaders in lifestyle, we are well-positioned to help build a lifestyle strategy with these new media giants.

How has evolved the business of Corus Studios?

At Corus Studios, we have focused on what we do best as leaders in lifestyle and unscripted content. We have built our content with three strong verticals in mind, which include food, home and unscripted. The volume of our content has almost doubled this year, building our catalogue from 11 to 20 series.

We have renewed great content that is already gaining traction internationally, including the sale of grilling competition series, Fire Masters, to Discovery in the U.S. and cash-conscious renovation series, $ave My Reno to A+E’s FYI. In addition to our renewed content, we continue to invent new original series in the home and food space. This year, we introduce The Big Bake, a seasonally themed baking competition series, along with additional food competition formats that we feel will resonate internationally as the appetite for food content explodes. Our factual slate also continues to grow, developing docu-series focused on niche industries with character driven storylines.

Car restoration series, Rust Valley Restorers, garnered massive attention this year domestically ranking as a Top 5 series on HISTORY and internationally, sold globally to Netflix.

How do you see the evolution of consumption?

To me, I see the industry as forever in motion. Trends and viewing habits change constantly and it’s staying in step and thinking beyond that will keep you relevant in the content game. As for consumption, we see that there is a voracious appetite for entertainment. It’s evident that people want to consume content anywhere anytime and that’s not going away.

Ultimately the game hasn’t changed that much, consumers will determine how much they want to spend on their entertainment and curate from the vast choices now available of what that bundle will look like. Lifestyle and unscripted content will be a necessary part of that offering for consumers.

How are you working on your alliances with international partners?

We are always having conversations with our international partners on how we can explore a variety of opportunities. From exploring partnerships in both the co-production space, formats and our catalogue of originals, we also have strong channel partnerships that we always examine when there is an opportunity to complement their program offerings with ours. We are in the midst of meeting and discussing opportunities with streamers to find the best fit and platform for our content globally.

12 october 2019

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Banijay Rights

Sony Pictures Television

Unveils first look at ‘Alex Rider’ series From Eleventh Hour Films, the series is compound by 8 episodes.

Sony Pictures Television (SPT) and Eleventh Hour Films (EHF) unveil first-look at the Alex Rider TV adaptation, SPT’s first spec series, which they are distributing worldwide.

The eight-part coming-of-age series centres on Point Blanc, Anthony Horowitz’s second novel in the Alex Rider collection, which will celebrate their twentieth anniversary next year.

Filming has completed after an intensive six-month shoot that commenced in March, in a location so remote that cast and crew had to ascend snowy mountains in skidoos to access the Point Blanc exterior set. The initial weeks of filming involved action-packed stunts, including the iconic moment

of Alex snowboarding down the mountain on an ironing board. It was then back to London for the remaining five months of shooting.

Filming took the international cast and crew all over London and the South East, making use of locations such as; Bermondsey, Crouch End, Millennium Mills, South Bank, The Shard, Greenham Common and Osterley Park.

Wayne Garvie, President, International Production at Sony Pictures Television; “We wanted Alex Rider to have cinematic scale, a true premium drama for international audiences, to be enjoyed by all ages. Eleventh Hour have delivered a series that does justice to Anthony’s iconic books.

The direction, the soundtrack, the performances, they are all fresh and unique, we think we have something very special.”

Viacom International Studios

Starts production of ‘Los Internacionales’ The series coproduced with The Mediapro Studio, Telecom and Olympusat will premiere in 2020.

Viacom International Studios (VIS), The Mediapro Studio, Telecom and Olympusat announce the start of filming ‘Los Internacionales’, a true crime drama series based on the Argentinian crisis of 2001 and the band of thieves that took advantage of a country in trouble. The series will be seen on Telefe and OnDemand by Flow, the multiplatform of Telecom.

‘Los Internacionales’ tells the story of notorious Colombian criminals who decide to travel to Argentina to carry out robberies and dismantle the assets of a society on fire. In 2001, many Argentines were forced to remove their savings and belongings from banks in the face of deep political and economic crisis. The band of thieves take advantage of the chaos to carry out their robberies throughout the country coveting money, jewels, destroying families and their possessions, and in their wake becoming infamous crime legends.

Looks for the recognition of British content The distributor offers two renewals and a special release.

Caroline Torrance, Head of Scripted, is presenting the latest adds to the scripted portfolio of Banijay Rights. In this MIPCOM, ‘The Gulf’ is the main release, about the moral disintegration of Detective Jess Savage, who finds herself in exactly that place as she investigates crimes on her home patch of Waiheke Island, New Zealand. After losing her memory in a car crash that killed her husband, Jess becomes determined to bring the killer to justice.

Convinced that someone is trying to kill her because of something she has uncovered in a recent investigation, she in effect begins investigating herself, retracing her steps over the weeks prior.

On the other side, the company is showing the third season of two series like the award-winning series, ‘The Restaurant’, begins on Peace Day 1945 and centres on the Löwander family who run a prestigious restaurant in Stockholm. Season one covered the years 1945-1950, and season two moved the story on to 1955-1962; while the new third season kicks off in 1968, a progressive era for the community at large, as well as for Stockholm’s nightlife. The era of the nightclub is introduced and the rivalry between the Löwander siblings is once again highly present.

The other series is ‘Occupied’, produced by Banijay’s Yellow Bird Norge for Viaplay and ARTE. The third season is concentrated on the post-war era.

A new parliamentary election is due, and the campaign reignites old conflicts between the Norwegians. Seeing himself as the liberator of Norway, interim Prime Minister Jesper Berg is confident of winning the election. But the public is divided.

2019 october 13

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Contents Newsline Report Netflix

Posts major profits boost in UK but warns of increased competition The company increased its profits by over 37%, reaching €48M in 2018.

Netflix increased profits in the UK by over 37% over the last twelve months as revenue by 44% at the SVOD service also soared.

The company, which has produced a raft of British series out of the UK including The Crown and Sex Education, has posted its financial results to the end of 2018, showing significant growth. However, the numbers are only a small portion of its total subscription revenue – Netflix has around 10M subscribers in the UK – as its international headquarters are based out of the Netherlands.

Revenues from the UK totaled ER 48M ($53M) in 2018, compared to ER 26.9M the previous year, while profit hit ER2.34M, compared to ER 1.5M in 2017. The company also received an income tax credit from the British government of ER57,656.

The company has around 50 live original projects out of the UK including recent London gang drama Top Boy and forthcoming soccer drama The English

Game from Downton Abbey creator Julian Fellowes. It has recently stepped up its ambitions in the country, hiring former Sky drama exec Anne Mensah as well as a raft of nonscripted execs.

However, the digital platform warned that these figures may be hit if competition increases in the UK with a vague warning about British rivals teaming up to compete ala Britbox.

“Traditional providers of entertainment video, including broadcasters and cable network operators, as well as internet ecommerce or entertainment video providers are increasing their internet-based video offerings.

Several of these competitors have long operating histories, large customer bases, strong brand recognition, exclusive rights to certain content and significant financial, marketing and other resources.

They may secure better terms

from suppliers, adopt more aggressive pricing, and devote more resources to product development, technology, infrastructure, content acquisitions and marketing. New entrants may enter the market or existing providers may adjust their services with unique offerings or approaches to providing entertainment video. Companies may also enter into business operations or alliances that strengthen their competitive situations. If Netflix is unable to successfully or profitably compete with current and new competitors, the business will be adversely affected and Netflix may not be able to increase or maintain market share, revenue or profitability,” it noted in its results.

“Management believes that the risks, when combined with efforts to mitigate such risks, are within the existing risk appetite of the business, suitable for a business in an investment phase to grow the business,” it added.

The company also warned of facing potential changes to government regulation, as called for by Wolf Hall creator Peter Kosminsky, who said that there should be the introduction of a levy on the SVOD services.

14 october 2019

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2019 october  15

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Contents Newsline Report Javier Méndez

“In a world that is changing so fast, flexibility is critical” The Mediapro Studio was able to confirm up to 34 series and produce more than 3,000 hours of TV a year.

Which were the latest businesses of Mediapro?

The launch of THE MEDIAPRO STUDIO is the confirmation of the determined commitment of the group for content. Supported by the consolidation of the areas of rights management and audiovisual services, THE MEDIAPRO STUDIO is facing the challenge of facing a golden age of demand for content that has allowed to confirm up to 34 series, produce more than 3,000 hours of TV a year and movies with the best talent like Woody Allen.

How would you describe the evolution of the industry and the consumption of different audiencies?

The emergence of global SVOD platforms has caused an earthquake in the content industry. We are witnessing a cultural change similar to the invention of radio, TV or home video. The viewer has all the power to access whenever and wherever to a giant number of projects of all kinds: series, movies, documentaries, entertainment, and at affordable prices.

This new scenario is a unique opportunity for content producers to help meet this growing demand.

What is Mediapro’s focus for this last part of the year?

Definitively, we’ll be working on the consolidation of THE MEDIAPRO STUDIO as one of the most important players in the content production industry.

For this, we must complete the productions that we have underway that allow us to configure our own label, generating stories that inspire and generate debate in society.

What are the characteristics that distinguish Mediapro from its competitors?

We have the ability to identify and attract the best creative talent; and also, we can allow ourselves to take risks needed in order to find a success. We have the opportunity to invest in new talents, such as we are doing with the launch of MEDIAPRO LAB and the Master of Script.

Why do you think it is that companies around the world choose Mediapro content?

We have been able to generate franchises recognizable by the public around the world (Los Serrano, El Chiringuito de Pepe, El Barco, El Internado, Vis a Vis). We have our own stamp thanks to the talent with which we are fortunate to work. Our contents are a guarantee of quality.

As there is no established model, we are a group where we try to address the projects individually, adapting to their needs. In a world that is changing so fast, flexibility is critical.

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Can Okan, Inter Medya

“We have expanded our content to 120 countries” The distributor and coproducer from Turkey celebrates its 27th anniversary.

The Turkish distributor, that turned itself into co-producer, has sold its content in more than 120 countries worldwide. Can Okan, CEO and President of the company, explains that “in addition to distributing series and feature films, in recent years, we began to create

and produce entertainment, reality and game show formats. In 2019, after more than two decades in content distribution and business development, we kicked off our own production business by launching 9 new episodes of the Turkish cult series ‘Behzat Ç’ and we continue to work on new production projects both locally and internationally.”

Inter Medya is celebrating its 27th anniversary in the business, and Okan believes “we have managed to earn our clients’ trust and loyalty by providing them with an updated

catalogue and a satisfactory and sustained service record. By making sure to always understand the global transformations and follow the changing dynamics within the industry, we continue to search and internalize new business models, concepts and techniques, basing our services on a solid technological ground that can provide the most accurate and punctual services”.

As a conclusion, the executive admits: “Following our first production experience in Turkey, we certainly want to grow our business through high quality products in cooperation with major international production companies. We are about to sign pre-production and co-production agreements with a number of global producers, which we will announce shortly”.

GRB Studios

“The industry is pivoting and creating varied lengths of content” “GRB started over thirty years ago as a producer/distributor with a keen passion for International and has evolved as both a prolific creator global hit series, such as ‘Intervention’ for A&E and ‘Untold Stories of the ER’, in its thirteen season on TLC, and a distribution powerhouse. We have evolved with a vertically coordinated strategy in the digital space, working with streamer FAANGS such as Netflix and Amazon”, explained Sarah Coursey, SVP International, GRB Studios.

Regarding the evolution of consumption, the executive admits that: “is happening more and more via digital means, be it on an SVOD or a VPMD on an MCN, and this means less eyeballs on network and cable, domestically, increasing

Sarah Coursey, SVP, International, celebrates ‘Intervention’ for A&E and ‘Untold Stories of the ER’ in its thirteen season on TLC. competition for space, and the biggest or loudest voice in the choir usually wins that race. Consumers are also watching smaller segments or episodes, reflected in the new elephant in the room, Quibi. The industry is pivoting and creating varied lengths of content, to fit the new consumption needs”.

Based on the possibility of new alliances during MIPCOM, Coursey concludes: “GRB is working on unscripted development and production

alliances with producers in key markets, to be announced between now and the end of 2019. We are constantly looking at packages that we can put together for our buyers and working closer with their needs in mind as we acquire new programming.”

2019 october 17

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Contents Newsline Report Red Arrow Studios International

Brings cults, crimes and carnivores to MIPCOM Red Arrow Studios International is heading to this year’s MIPCOM with a diverse slate of high-profile new shows across scripted, formats and factual, from a host of awardwinning creators.

Red Arrow Studios International’s scripted line-up includes ‘Dignity’ (8x52’), a haunting thriller produced

by Chilean production company Invercine & Wood and Germany’s Story House Pictures for Joyn (Germany) and MEGA (Chile).

Further scripted highlights include ‘The Bank Hacker’ (8x50’) a highstakes, character-driven thriller produced by De Mensen for VTM (Belgium) which sees a teenager join a team of expert con men and commit a daring bank heist. Alongside this is crime drama ‘Vienna Blood’ (3x90’ or 6x45’), produced from acclaimed screenwriter Steve Thompson

New scripted, formats and factual shows include ‘Dignity’, ‘The Bank Hacker’, ‘Dog’s Most Wanted’ and ‘Meat the Family’.

(Deep State, Jericho, Sherlock). The non-scripted show roster features factual entertainment series ‘Dog’s Most Wanted’ (10x45’), produced by Dorsey Pictures and Entertainment by Bonnie and Clyde for WGN America, which sees legendary bounty hunter, Duane ‘Dog’ Chapman, go after his biggest targets yet.

Red Arrow’s MIPCOM format launches include topical new reality series ‘Meat the Family’, a production by Spun Gold TV, based on a format created by Rise Films for Channel 4 (UK). Also, in the company’s format

line-up is the hit new primetime entertainment series, ‘Beat the Channel’, which boosted ratings in every demo by up to 122% and a second series has been commissioned. Alongside this is fun and hilarious entertainment format ‘Block Out’ which is created by Nippon TV and Red Arrow Studios for Channel7 (Thailand). This entertaining new physical gameshow challenges contestants to stay on the wall – or have a great fall.

ORF Enterprise

Expands the volume of ORF Universum Armin Luttenberger, Head of Content Sales International, explains the importance of having international partners.

“ORF-Enterprise has been improving the output of titles for its exciting fiction line-up with long-running series and awarded TV-movies in addition to the already well-known wildlife & nature catalog from ORF’s Universum brand – the natural history unit of the Austrian Public Broadcaster has been producing

blue-chip factual content for more than 30 years. With a tidied-up catalog and a precise content profile in various program genres, we aim at serving the programming needs of our buyers working in all media with fresh content as well as our rich back catalog”, explains Armin Luttenberger, Head of Content Sales International.

In terms of the international alliances, the executive describes: “In the last decades ORF has been able to build a network of national and international top-class partners and we are fortunate enough to rely on

existing, well-performing alliances with independent producers and co-producing partners. Our ORF Universum highlight for this year’s MIPCOM “Empire of the Vineyard” is a co-production with Kwanza, Interspot Film, France 2 and SWR. The 4K wildlife and nature documentary “Wild Way of the Vikings” was produced for ORF by Maramedia in co-operation with BBC, PBS, France 5, National Geographic Channels and SVT while the recently awarded program “Cuba’s Wild Revolution” was produced in collaboration with our long-standing partners PBS, BBC and France 5. The sales experience of the ORF-Enterprise team and our long-lasting relationships with our international partners ensures our continuing ability to anticipate the demand of the global market and our clients”.

18 october 2019

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2019 october  19

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Contents Newsline Report Raphael Corrêa N.

“We are responsible for the annual production of 3000 hours of entertainment” The head of International Business at Globo celebrates internationally the opening of MG4 Studios in Rio de Janeiro.

How has evolved the business of Globo?

Globo is one of the most important communication companies in the world, creating, producing and distributing multiplatform content, it is responsible for the production of 3000 hours of entertainment content every year.

Being a leader in this market demands agility to keep up with the changes in the industry and being on the same wavelength with those who watch us, with creativity, professionalism and content investments in quality and innovation.

This tireless pursuit for innovation is carved on important movements we have done this year, which include the recent opened MG4 studios in Rio de Janeiro, a pioneer project for the audiovisual industry, developed with innovative solutions never seen in any production center in the world and which will bring us more efficiency, productivity and better logistics to Globo content production. MG4 has three 1500m² studios, with a usable area of 4500m² and 26 thousand m² of built area.

The new studios are part of Globo Studios, which now has 13 recording studios with the most modern equipment for capture, lighting and sound, and have become a pole of arts and intelligence for the new models of creation and production we have been developing in the past few years.

Which is the main focus of Globo for this last part of the year?

We have invested a lot in developing top-quality diversified content and also in creating new formats. We want to arrive with our content – telenovelas, series, limited series, super series, movies, variety shows, reality shows and original formats – which our audience is focused on. And we have expanded our licensing agreements to markets such as Europe, Asia and Emirates. We have also kept our focus on diversification and the pursue of new business and distribution models. The series ‘Aruanas’ is an excellent example of this movement towards new business and partnership models. The coproduction of Globo with Maria Farinha Filmes has started an unseen distribution model, firstly presented on a digital environment and now as part of our catalog.

How are you working on the alliances with your international partners?

Regarding business, the experience of creating, developing and producing enhances us to execute more ambitious plans, both in the national market and via international partnerships. One example is the one with Sony Pictures, announced in the first semester, to produce three English-spoken series spoken.

We have also expanded our partnerships in the licensing area. We have closed licensing agreements with the French company M6, Greek company Telecomplex, M-RTL ZRT from Hungary, besides renewing agreements with our partners Mediaset and Prosiebensat. We have also licensed our product to streaming services such as AMC Networks, Shudder, M6 Web and Walter Presents. They are significant partnerships that endorse the quality and the penetration of our products on several platforms.

20 october 2019

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French broadcasters

Can change their business model to compete on a global SVOD stage?

Besides investing 2.16 billion on originals, Netflix is also targeting the local audience with 15 new shows. Iconic companies should be reconsidering the strategy so as to keep their local impact.

As more global OTT players have pushed into France with libraries of new content, the nation’s largest broadcasters have begun to follow a similar lead – pushing out highvalue original – local – content. And, it’s not just content targeting the French market. The new content is designed to play on an international stage, creating new incremental streams of revenue to further fuel the new content push.

France Télévisions, Canal+, TF1, M6 and Orange spent ER 2.16 billion ($2.44 billion) on originals, 40% of their overall ER5.4 billion content spend, according to researcher Ampere Analysis. But Netflix, which has more than five million subscribers in France, also is pushing local development, with 15 new programs targeting the French audience. The market also has seen an influx of content from OTT companies like Amazon Prime Video, BeIN Sports and Mediapro, among others.

More content, a younger audience, global distribution Among the new strategies that broadcasters are using to evolve their business models: Pay-TV group Canal+ has launched a new SVOD service Séries targeting younger users and, in the process, has cut costs elsewhere to invest in content; Broadcaster TF1 is

planning to enhance its catch-up platform MyTF1 with new advertising inventory and new exclusive content, hoping to create new ad revenue opportunities; in an effort to support its own local content initiatives, public broadcaster France Télévisions is focusing on international partnerships with other broadcasting groups; and, in a move intended to accelerate its ability to get premium content to its premium TV operations, Orange’s OCS launched Orange Content, a new joint venture – of sorts – with Orange Studio. It’s first production debuted in March. The group plans to invest ER100.9 million ($114) million in original series over the next five years. OCS also has an agreement with local film guilds to spend ER125 million ($142 million) on local content in the next three years. The goal: “To create a synergy and combine resources to be more competitive for acquisitions and strike multi-territory deals,” Guillaume Jouhet, CEO of OCS, said in January.

Like US content, French content tends to travel well. Broadcasters and operators have turned significant attention – and resources – to growing global markets to create larger revenue streams.

The bottom line France’s subscription video-ondemand (SVOD) market is smaller than either the UK or Scandinavia, but it is seeing rapid expansion. In 2018, SVOD made up just 3%, about ER420 million ($474.6 million) of the industry’s ER14 billion ($15.9 billion) in revenues.

But the potential for growth in the market is a real one – especially as French broadcasters look to create more original programming to compete with other SVOD players in the market, like Netflix, BeIN Sports, Amazon Prime Video and Mediapro.

Broadcasters France Télévisions, TF1 and M6 plan to roll out a new SVOD play, “Salto,” later in 2019.

It will stream alongside their free channels and include exclusive French and European content.

Taking a page from content owners in the US that have pulled their content back from Netflix to stream it on their own platforms, France Télévisions says it has signed an exclusivity time period on digital rights for the shows it co-produces or commissions that will keep them off Netflix. Of course, the question there is will it earn more from its exclusivity than it might licensing the content to Netflix?

2019 october 21

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Contents Newsline Report Hat Trick International

Sells ‘Rich House Poor House’ to more broadcasters worldwide The 46 episodes of the acclaimed series will be available in five new territories.

Leading independent distributor Hat Trick International has sold both the finished series and format versions of its critically acclaimed series, Rich House Poor House to a raft of international broadcasters.

The popular series, which has proved to be a ratings hit in the UK and The Netherlands, has now been commissioned by Medialaan in Belgium, ProsiebenSat1 in Germany (now in its third series), Polsat in Poland (two series) and Nelonen in Finland. Meanwhile, SBS in the Netherlands has now commissioned three series of the show, totalling 46 episodes.

This timely factual format, which follows two families from opposite ends of the wealth divide as they trade places to find out if money really does buy happiness, has also been picked up as a finished version by Medialaan in Belgium, AMC for Central Eastern Europe, Virgin Media Television for Ireland, Sky Italia in Italy, SBS in The Netherlands, TVNZ in New Zealand and Polsat in Poland. Sales for the finished version of the Rich House Poor House have also been secured by ITV in Africa, Asia and the Middle East.

Sarah Tong, Director of Sales at Hat Trick International, commented, “Rich House Poor House has been

a fantastic success in the UK, capturing a defining zeitgeist of inequality in modern Britain, an issue prevalent in many countries around the world. Looking at both ends of the financial spectrum, the series examines the very human issues of how we live together, how we spend our time, what our dreams and priorities are and whether money really makes you happy. These themes are of course universally relevant, and it is exciting to see how the series is being met with the same enthusiasm and interest worldwide as it receives in the UK.” In each episode of Rich House Poor House, one family from the richest 10%, another from the poorest 10%, trade homes, budgets and lives for a week, following each other’s spending patterns and weekly schedules.

The two families don’t meet until

after the swap and after a week in each other’s homes, they discover they have common ground even though they’re worlds apart financially. At the end of the week, how will they have reassessed their own day- to-day lives? And how much will they think money matters? Rich House Poor House is about much more than money: it’s about families, parenting, relationships and dreams so the stories of the two families chime with anyone watching, however much money they have.

This is a thought-provoking and insightful format, whilst also being warm, entertaining and uplifting.

The UK version of Rich House Poor House received wide critical acclaim, winning TV Moment of the Year at the Edinburgh Television Festival and making the Grierson Award shortlist for Best Constructed Documentary Series. Originally produced by Hat Trick Productions for Channel 5, it is now a co-production with Hat Trick’s sister company, Emporium Productions.

22 october 2019

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2019 october  23

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Contents Newsline Report Sally Habbershaw

The offer of a flexible business model “Our goal is to continue to be the partner of choice for the best creative talent”, admits the EVP Americas of all3media international.

Which is all3media international working on the co-pro strategy?

From a US perspective, our scripted co-productions will continue to be a cornerstone of our business. The appetite for premium drama is stronger than ever, and we are achieving huge successes as we expand our collaborations in this arena, working with clients such as Showtime, Masterpiece and Amazon. Our current portfolio features some of the hottest names in the business, such as Phoebe Waller-Bridge in ‘Fleabag’, which recently won three Emmys, including for Outstanding Comedy Series, and Kate Beckinsale in ratings-winning drama ‘The Widow’ on Amazon. We’re also answering the call for a diverse variety of scripted sub-genres, including gripping near-future psychological thriller ‘The Feed’, an iconic slick detective drama series, ‘Van Der Valk’, starring Marc Warren (‘Mad Dogs’), captivating international titles such as ‘Blinded’ featuring Matias Varela (‘Narcos’) and Julia Ragnarsson (‘The Bridge’) and elevated period dramas such as Ruth Wilsons biographical drama ‘Mrs. Wilson’. As we head into 2020, we’ll be looking to extend our co-pro success into non-scripted factual, collaborating with new and existing partners to create tentpole docuseries that will appeal on the global stage. Our extensive network of production expertise certainly gives us the capacity to do this – with over 30 companies under the all3media umbrella, including our own production studios based in the UK, Europe, US and Australasia.

Which kind of titles can be suitable for a co-pro alliance with all3media international?

We co-produce across all genres, so to us it’s about the quality and originality of the project, as well as its international potential, rather than it fitting into a pre-determined requirement. Our goal is to continue to be the partner of choice for the best creative talent – which will, in turn, allow us to continue to be the leading destination for broadcasters and platforms looking for award-winning, buzzworthy programming.

Which are the features that distinguish all3media international from its competitors?

It’s the work of innovative, creative producers that drives the supply of high-quality original content – in scripted and non-scripted - and we’re proud to be the best-rated distributor with independent producers, as per the recent Televisual poll and other key trade publications. Our flexible business model, understanding of the market and willingness to invest is what distinguishes us from the competition. We allow producers to retain their commercial and creative freedom on projects, while having the support and expertise of a trusted and globally renowned partner behind them. We will look at all different levels of investment – whether producers are seeking backing during development, help to access talent, deficit funding or co-commissioning, for example.

24 october 2019

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Mediaset Distribution

Signed a deal with Antenna Group for two succesful contents of MGE Mediaset Distribution, the distribution partner of MGE in Europe, has signed a deal in Greece with the international media and entertainment company, Antenna Group, for two of the most successful telenovelas of MGE’s catalogue: ‘Amanda’ (109x45’) and the scripted format of ‘If I were rich’ (105x45’).

“We are very pleased with this new deal, not only because our contents will be available through one of the top channels in Greece, but also because it confirms the boundless power that currently have highquality productions and innovative stories, as a final product or as a format to be adapted. ‘Amanda’ and ‘If I were Rich’, are both Mega’s contents and have been successfully aired

‘Amanda’ will be aired this year on Makedonia TV and the scripted format of ‘If I were Rich’ is currently being produced by Kapa Studios. not only in Chile but internationally, so we are very confident they will captivate Antenna’s audiences as well”, commented Manuela Caputi, head of Mediaset Distribution.

‘Amanda’ narrates the story of Amanda Solis, is a young nurse who has just arrived to work in the farm of the Santa Cruz family. Her professionalism and charming allows her to quickly earned the appreciation and trust of the whole family,

without anyone suspecting about her true intentions: take revenge on the Santa Cruz brothers who destroyed her life when 14 years ago they raped her as a teenager. On the other hand, ‘If I were Rich’ is a dramedy that spot the life of a group of people will change after winning a coveted lottery.

MGM

Brings a Bond movie and TV hits

The biggest focus of MGM during this last part of the year will be established on its feature films. ‘No time to die’ is the action film in which Bond has left active service, but his old CIA friend Felix Leiter asks for help on a rescue mission that leads him to a mysterious villain armed with dangerous new technology. Also, on the animation side, ‘The Addams Family’ is the first animated comedy

about the kookiest family on the block. Funny, and completely iconic, the Addams Family redefines what it means to be a good neighbor.

In terms of horror, ‘Candyman’, producer Jordan Peele’s spiritual sequel to the 1992 gothic horror film, starring Yahya Abdul-Mateen II, Teyonah Parris, Colman Domingo, and Nathan Stewart-Jarrett.

On the TV series slate, the

The animation of ‘The Addams Family’ looks for international partnerships, so as to reach a new generation of fans. company will be offering ‘Four weddings and a funeral’ (10x60’); ‘Fargo Installment 4’ (10x60’) and ‘Perpetual Grace LTD’ (10x60’).

Last but not least, the formats slate is headed by ‘Are you smarter than a 5th grader’, where kids help adult contestants put their knowledge to the test with questions taken directly from an elementary school curriculum; while ‘Generation Gap’ is a comedy quiz show in which family members of different generations answer questions about each other’s generations. This family show features a wide variety of popculture trivia and challenges.

2019 october 25

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Contents Newsline Report Telefonica & Atresmedia

Create Content Factory Behemoth

In a game-changing move for Spanish-language production Telefonica, Europe’s third biggest telco, and Atresmedia, the original co-creators of “La Casa de Papel,” are uniting to create a new joint contents production giant.

Aimed at gaining more scale and uniting talent relations – writers, directors and producers – the 50/50 joint-venture will produce both series and feature films, focusing on fiction, the new partners announced Friday.

The partners have taken the first move towards the creation of the new production force, signing framework agreement, they added.

Both a product and distribution alliance, the new contents factory will look to bring in further co-production partners on many projects and create titles for third partner companies.

The agreement, which has to be approved by a Telefonica commission, was sealed

by Atresmedia CEO Silvio Rodríguez and Emilio Gayo, president of Telefonica Spain.

The move has been made to face off with global streaming platform, established and set to launch, making the partners“more competitive to face up to large international players which continue to emerging in a globalized sector.

Atresmedia and Telefonica, via Atresmedia Studios and Telefonica’s pay TV unit Movistar in Spain, have already linked to produce “The Pier,” created by “La Casa de Papel’s” Alex Pina and Esther Martínez Lobato. The new agreement will take their collaboration to another level, however.

Thanks to a massive statement buy of soccer rights, both LaLiga and Champions League, Movistar is Spain’s No. 1 content player,

investing 841.1 million ($925.2 million) in programming this year, according to IHS Markit estimates. Atresmedia ranks third, with a 607.3 million ($668.0 million) investment.

For Telefonica, the Atresmedia alliance goes a long way to furthering its strategic goals as it faces off with a far larger number of global competitors.

One priority for Sergio Oslé, Movistar Plus president, is to “take bold steps in gaining scale more rapidly by collaborating more closely with both international and local content providers.” Another is to “experiment more purposefully on different windows, especially (but not only) for movies.”

“As an industry we haven’t quite figured out the optimal release time for each screen,” he added.

“In Movistar+, we’ve been very rigid when it comes to windows. Should we release movies or even series in cinemas? Should we consider a free-to-air window at some point?”

Partnering with Atresmedia, Telefonica now has the opportunity for joint series to play on the broadcast network’s free-to-air and SVOD services in Spain plus possibly its cable network in Latin America, the biggest of any company in Europe.

For Atresmedia, producer of multiple milestone Spanish series which have already grown audiences for Spanish series abroad -“Grand Hotel,” “Velvet,” “Vis-a-Vis” (“Locked Up”) – the agreement will allow it to ramp up scale as top players are producing at ever higher production ambition – evident in Netflix’s “La Casa de Papel” Part 3, which is set in three continents, and boasts a far more full-on action impact compared to the first two parts.

26 october 2019

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2019 october  27

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Contents Newsline Report Nadav Palti

“Dori Media is the largest, integrated, media company in Israel” The CEO of the company assures that “buyers in different territories are looking for different content and the demand varies between territories and clients”.

How has evolved the business of Dori Media and which is the main focus of the Dori Media for this last part of the year?

2019 was, and still is. a great year for Dori Media. We continue focusing on sales, production and co-productions.

Buyers in different territories are looking for different content and the demand varies between territories and clients. Dori Media continues to offer the best solutions that can fit each territory according to its needs. The many and different formats that we are launching along with our track record formats provide our clients solutions to all needs.

We are always aiming to balance opportunities against the situation of the market, and the market is rapidly changing.

We are always exploring the future and trying to understand the new trends in order to manage the risks. But of course we don’t always win.

In addition, our goal is to focus on increasing co-productions and distribution collaborations worldwide, following the past success. Dori Media is currently exploring co-productions in different territories on top of those we have in Argentina.

We are always seeking for new opportunities and interesting content, and we will be happy to expand our co-productions to more countries.

Co-productions allows us to split the risk. But when splitting the risk, you also split the opportunities. In some cases we are only distributors and there we have none of the risks of production, but we do have the risks of the distribution business, which is very expensive. We need to be experienced, understand the market and have good long-term relationships with all the players, the old and new. In other cases we co-produce and split the risk. In other cases we produce 100% by ourselves, as we do in Israel and Argentina.

Which are the features that distinguish Dori Media from its competitors?

Dori Media is the largest, integrated, media company in Israel, known internationally, located in Israel, Switzerland, Argentina, Spain and the Philippines and is active in the entire value chain of content: Production, Distribution, TV Channels, Digital and Technical Services.

The group produces and distributes TV and New Media content, broadcasts various TV channels and operates videocontent internet sites. The group owns the biggest catalogue in Israel with approximately 7,500 Episodes, more than 7,000 3 minute clips, 120 - 9 minute webisodes and around 556 1-5 minute cellular episodes. Our catalogue contains weekly and daily series, reality and entertainment and kids formats that we sells to a wide variety of audiences in more than 100 countries.

Dori Media’s catalogue consist of almost 100 titles, both scripted and non-scripted (Daily Drama, Weekly drama, Telenovela, New-Vela, Comedy, Reality, Game show, kid’s content & Feature Films). The huge number of titles, booth track record titles and new formats enable us to offer each client the best solution for his needs. In addition the catalogue consists titles in various languages from Argentina, Spain, Russia, Japan, China and more.

28 october 2019

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Turner Latin America

Bets on the internationalization of its original The company is showing its latest productions from Argentina, México and Brazil.

‘Bronco’ (13x60’) narrates the story of one of Mexico’s longest-lived-successful bands. With many international hits and platinum records to their credit, they have sold over 30 million albums to date and remain so popular that they still fill venues across the country. The series tells the story of the band led by Lupe Esparza.

‘The Cleaning Lady’ (8x60’) tells the story of Rosa’s life that revolves

around her sick son and her many cleaning jobs to make ends meet.

When she is forced to clean up a murder site and leaves the place spotless erasing all criminal evidence, her life changes. She becomes the most valuable witness to the most heinous crimes. A key asset to both the crime mob and the cops.

‘Love Spells’ (10x60’) is a romantic drama in which Ana does not know how to live without love. That’s how she ended up with three kids, from three different husbands, and not married to any of them anymore, creating her own modern family, Mexican style. After an accident sends her into a tailspin of debts but also sends her two new lovers – Ana

finds herself forced to take on a family tradition she ran away from her entire life: performing love spells.

‘Freitas Brothers’ (8x60’) revolves around the dispute between the brothers Luís Claudio, the eldest, and Acelino, the youngest, for the love of their mother, Mrs. Zuleika.

‘The Tiger’ (12x60’) is an Argentinean thriller drama about the busy life of Miguel Verón that suffers a turn when his mother dies in a traumatic and unexpected way. Miguel ‘Tiger Veron, is a powerful, self-indulging and unscrupulous union leader who will risk everything to do better for his people.

‘My End of the Deal’ (8x60’) will be released during the Q1 of 2020, and tells the story of casual sex and a pact between Carlos and Patricia: help each other get rid of the people they hate the most, an act inspired

by Hitchcock’s dark dealings in “Strangers on a Train”.

Boat Rocker Studios

Announces international sales for ‘Mary’s Kitchen Crush’ Boat Rocker Studios has announced that its standout new CTV cookery series, ‘Mary’s Kitchen Crush’, produced by Proper Television and starring ‘Canada’s culinary sweetheart’ Mary Berg, is already cooking up a success with a raft of tasty sales.

Headlining the new sales is leading US streaming network, Tastemade, which has acquired the entire 30 x 30’ first season premiered October 9th. The award-winning and burgeoning food travel and lifestyle platform is already reaching over 120 million viewers in the US, 15 months after the launch of its streaming TV network.

Jon Rutherford, Managing Director and President, Rights of Boat

Proper Television Series was sold to Tastemade US, and premiered October 9th.

Rocker Studios said: “Since winning Masterchef, Mary’s career and popularity have skyrocketed. Mary’s Kitchen Crush is a huge prime time hit and her first cookbook became a best seller in its first week of release. We are thrilled to be bringing Mary to Cannes; with her quirky, warm character and delicious, creative dishes we think she has all the ingredients to become a globally renowned cookery personality. These

first international TV sales show there is already a great appetite for her passionate and inspiring style, and we are sure she will gain many new fans in Cannes.”

‘Mary’s Kitchen Crush’ is produced

by Proper Television, part of Boat Rocker Studios, in association with Bell Media.

2019 october 29

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Contents Newsline Report Alejandro Rincón

“The focus is always on the original” The CEO of Endemol Shine Boomdog highlights the importance of the allowance of failure so as to understand the needs of each territory.

How have Endemol Shine Boomdog operations evolved in recent times?

We’ve a constant growth. The challenge is to grow and maintain quality. It is exhausting, but at the same time rewarding, because it allows us to size the level of talent in the region to generate high-level content and productions and with great success.

How would you describe the evolution of the industry and therefore of consumption?

Everywhere we hear that we are in a bubble which may have some truth - but here what we see is that the consumer, having more options, becomes more demanding. That makes us strive to raise the level of what we offer, not only to us but to the entire industry. Quality will always be what determines success, to bet on good ideas with a lot of quality, which are not just production values, is to create good, original, daring products that catch the attention of the audience.

What is the focus of Endemol Shine Boomdog for this last part of the year?

The focus is always on the original, the new. We know why customers prefer to leave with safe and proven brands. We believe that Mexico is in the position to innovate, to create new brands that are born here and around the world. The focus is to find those partners who want to venture together. We want to build that kind of relationships.

What are the characteristics that distinguish Endemol Shine Boomdog from its competitors?

It is always a difficult question, because the truth is that we know that our competitors are a mirror of ourselves. I think that the best thing we can do is share an idea that we try to promote in our teams and that we know gives good results: The idea of learning ​​ to embrace failures, not hide them, or understand that they did not happen. Because celebrating success is easy, but failure is where there is more learning. As we give ourselves and our partners the opportunity to fail, we can guarantee the growth of this industry.

With the release of ‘The Masked Singer’ for Televisa, how are you working with your international partners in content development?

We are very proud of ‘The Masked Singer’ (‘¿Quién es la mascara?’). The quality of the program is something that gives us a lot of pride and that the audience has reacted in that way, breaking audience records in the country, is the reward. We love knowing that this show has a clear message that in Mexico and Endemol Shine Boomdog, we can deliver this level of production and success.

30 october 2019

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2019 october  31

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Contents Newsline Report Solange Attwood

“We offer distinctive series and formats in five key genres” The EVP, Blue Ant International describes the growing slate of over 3,500 new hours of premium content.

How can you describe the evolution of your business?

Blue Ant International, the distribution arm of Blue Ant Media, offers a full-service, boutique approach to our production partners by adapting to global markets, be it acting as a commissioner, co-producer, or financier with a growing slate of over 3,500 new hours of premium content. We offer distinctive series and formats in five key genres; factual entertainment, specialist factual, high-impact documentaries, kids and family, and scripted.

Always on the forefront of the latest global content trends, we are early adopters of new technology, such as our investment in the largest offering of UHD/4K natural history globally.

How are you working on the expansion of your sales department?

The main focus for the sales division, Blue Ant International, has been adding even more premium, high-quality content to the sales catalogue across several categories, including high-impact documentaries, factual entertainment, special factual series, scripted and kids and family content. At MIPCOM, Blue Ant International is debuting 330 hours of new premium content. The division is also actively pursuing more co-production opportunities.

In which way the evolution of consumption is changing the business?

The way audiences consume media has opened up the barriers of entry in content business and disrupted the traditional ways that people can engage in the media business. This means that creativity, uniqueness, talent and exceptional execution are the keys for success in such an increasingly competitive market. Just as producers invest in new creative development, distributors need to allocate some percentage of their investments towards new and experimental storytelling and be open to creative deal-making.

How does Blue Ant International differ from its competitors?

Blue Ant International sets itself apart by actively prioritizing diversity and premium fare in our offering. We utilize our market intelligence and experienced sales team to assess returns for our partners and we actively look for long-running and returnable series. We are open to all ways of doing business, ranging from traditional commission/fee-based representation, gap financing, co-production partnerships and fully commissioning new ideas, but the key to our investments is to ensure we have a content offering that will appeal to all of our buyers across platforms.

How are you working on the alliances with your partners on the coproduction of unscripted titles?

Blue Ant International actively shares market intel with all of our partners in terms of what we’re looking for editorially and what will sell internationally, allowing for clear commercial discussions with all involved. We offer access to a global production network as well as support through financial investment and co-production and pre-sale services. We also attend approximately 25 markets annually, so producers will get a lot of exposure for their shows.

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Kew Media Distribution

Studiocanal

Explores the American cinema with ‘The Movies’

Kew Media Distribution is currently presenting ‘Cold Call’ (4x60’), a brand new psychological thriller drama series produced by Chalkboard for Channel 5 and starring Sally Lindsay (Scott & Bailey, Coronation Street). ‘Cold Call’ is directed by Gareth Tunley (The Ghoul) and produced by Rebecca Davies and Steven Ross. Executive producers are Mike Benson for Chalkboard and Sebastian Cardwell (Bad Girls) for Channel 5.

Kew Media Distribution is also presenting two one-hour dazzling,

modern adaptations of the hugely popular classic ‘Worzel Gummidge’ at MIPCOM. Inspired by the renowned novels from author Barbara Euphan Todd, Worzel Gummidge is the treasured tale of a witty, mischievous scarecrow who mysteriously comes to life. Now reimagined for a modern audience, with CGI technology bringing the characters back to the screens, Worzel Gummidge is a comedic, magical fantasy for all ages.

Brand-new documentary series The Movies (12 x 60’ or 6 x 120’) is another highlight for Kew Media Distribution this MIPCOM. From executive producers Tom Hanks and Gary Goetzman, in association with HBO and producer Mark Herzog, CNN Original Series ‘The Movies’ explores American cinema through the decades and the cultural, societal and political shifts that framed its evolution. Combining archival footage and interviews with leading actors, directors, producers, critics and historians, this mind-blowing series showcases the most pivotal moments in film that have stirred the imagination and influenced our culture.

Lionsgate

Highlights three new dramas

Adds a new Canal+ Creation Originale series Studiocanal is heading this MIPCOM with ‘Savages’ (6x52’) a high-end, glossy thriller that has an exceptional global storyline with universal themes of power and family, set against a backdrop of contemporary political change.

The series tells the story of the first presidential candidate of Algerian descent is on the brink of power.

But on the night of the election, he is shot, bringing turmoil to two

families and the entire nation.

The award-winning producers are Marco Cherqui for CPB Films and Joëy Faré for Scarlett Production and the series is directed by Rebecca Zlotowski.

Also, the new Canal+ Creation Originale series ‘On Death Row’ (4x60’), is a true crime drama series set in January 1994, three bodies are discovered in Miami, and a police officer thinks Pablo Ibar, a young man who got arrested for minor theft, is one of the murderers seen on the video. ‘On Death Row’ shows Ibar fight to get a fair trial from the day a triple murder was committed to the day of final sentencing. The series is adapted from the book ‘En El Corredor De La Muerte’, commissioned by Movistar+ and produced

by Domingo Corral, Movistar+ and Bambu Producciones, part of STUDIOCANAL.

Agapy Kapouranis, President of International Television & Digital Distribution, Lionsgate, describes company’s offer for this MIPCOM. ‘Zoey’s Extraordinary Playlist’ (12x60’) is a joyous and celebratory drama about Zoey Clarke, a whip-smart computer coder forging her way in San Francisco. The series is written and executive produced by Austin Winsberg, alongside executive producers Paul Feig, Jessie Henderson, Eric and Kim Tannenbaum, David Blackman and Daniel Inkeles. ‘Zoey’s Extraordinary Playlist’ is produced by Lionsgate Televison and Universal Television in association with the Tannenbaum Company, Feigco Entertainment and Universal Music Group. ‘Manhunt: Lone Wolf’ (10x60’), a co-production with Spectrum Originals, is an anthology drama series that chronicles one of the largest and most complex manhunts on U.S. soil – the search for the 1996 Atlanta Olympics Bomber, Eric Rudolph. Also, ‘Ambitions’ (18x60’) explores the machinations of love, power and politics in America’s hottest urban mecca, Atlanta, Georgia. ‘Ambitions’ is a gripping soap drama created by executive producer/writer Jamey Giddens and produced by Will Packer Media in association with Lionsgate and Lionsgate-owned distributor Debmar-Mercury.

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Contents Newsline Report Lenneke De Jong

“We have been expanding our ‘TCB Originals’ repertoire” The Sales Manager, TCB Media Rights describes the evolution of the company after doubling the revenue in 2 years.

How has the business of TCB Media Rights evolved?

The business of TCB Media Rights has gone from strength to strength this year. Business wise, we have doubled our revenue in the last 2 years. This reflects not only our growth as a business but also the appetite for quality factual content globally.

As ever, we are working closely with producers to respond to market demands. We have also been expanding our “TCB Originals” repertoire to include a wide variety of programmes, from exposing a cult leader in ‘How I Created a Cult’, to exploring the psychology behind some of the most notorious murderers in Making a Monster.

These are programmes which we have commissioned with no lead broadcaster as yet, so it is an exciting opportunity for channels worldwide.

Which is the main focus of TCB Media Rights for the Q4?

In an ever-changing landscape in the distribution industry, we are proving to be a successful company and greatly value our professional relationships with clients and producers. Our main focus for the last part of the year is to build on and reinforce what has already been a strong 2019. We are also focusing on 2020 so ensure that we continue to provide a high standard of service to our clients. Our TCB Originals reflect an increase in programming for which we have editorial input, which allows us to be mindful of channels’ requirements internationally.

Which are the most highlighted titles for MIPCOM? We are launching 40 titles and over 300 hours at MIPCOM, including returning series, with a strong and varied line-up.

We have new series such as ‘Hitched in Vegas’, which follows couples as they get married in Las Vegas, and a fantastic feature documentary ‘$50 Million Art Swindle’, revealing the extraordinary story of a faux art dealer. We have commissioned ‘How Did They Build That?’, celebrating some of the most incredible feats of engineering around the world.

We are also launching further series of programmes already launched, showing the continued demand for some of our brands, such as: ‘Abandoned Engineering S4’, ‘Extreme Love Stories S2’, ‘Giant Lobster Hunters S2’ and ‘Massive Engineering Mistakes S2’.

How do you see the Industry and the evolution of consumption?

The industry is thriving at the moment. Viewers are becoming more demanding and discerning, which means producers and distributors have to keep up with the quality expected. They are also insatiable, watching programmes everywhere: while travelling, while at home, in waiting rooms, with friends or family, on their own. The appetite for premium content and series continues to be strong.

I do not think that consumption will decline for good quality programming. People want to learn something new and also to switch off from their daily lives. So, there are programmes in the market to suit every taste.

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Tech vs. Media

Which TV Streaming Strategy Is Better?

The merits of ‘bingeable’ and weekly release schedules for TV shows.

Disney confirmed that its forthcoming Disney Plus streaming service will release episodes of original series on a weekly schedule, “ditching” the binge-watching model of Netflix, as some put it.

Rich Greenfield, a veteran media analyst, noted that the release strategy of current and forthcoming streaming platforms seems to be split squarely across “tech platforms” following bingeable schedules and “legacy media” companies releasing episodes of their original content on a week-to-week basis, as they traditionally had.

Greenfield and others on Twitter positioned this divergence of strategies as “consumer first vs. business model first.” They posited that releasing every episode of a TV season at the same time, allowing viewers to watch them on their own schedule, is a better consumer experience, while a weekly release schedule, which requires viewers to sustain their subscriptions to watch the same show over months, is a better corporate business model.

It’s true that Netflix has prospered and disrupted legacy media companies with the bingeable model that it pioneered with its original series, House of Cards in 2013. It was a completely novel experience for consumers to have access to an entire season of a TV show at the same time. Instead of watching a show across months, viewers could watch an entire new season in a week (or

a weekend!) if they so desired.

But perhaps the enjoyment of this novelty overlooked the merits of traditional weekly TV schedules. Is it possible that weekly episodes aren’t just a better business model, but can also foster a better viewing experience for consumers as well?

Appointment viewing, “watercooler” discussions, and community Before Netflix, Hulu, DVR, and TiVo, the only way to watch TV shows was live, on a weekly schedule. If you happened to miss an episode one week, there was no way to catch-up unless you recorded it on your VCR or happened to catch it in syndication years later. DVDs and electronic sell-through (EST, e.g. buying episodes on iTunes) would eventually present an alternative, albeit at a much higher cost to already high cable bills. “Appointment viewing” was therefore the default for watching TV — and it was more of a hostage situation than a choice that consumers could actively make.

The streaming world of 2019 and beyond is very different than the broadcast TV era. If you don’t watch an episode of a show on HBO, Hulu, or Showtime (and soon to be Disney Plus) immediately, it’s still there, waiting for you when you’re ready.

Some viewers let an entire season become available over months before choosing to binge-watch it, as they do with Netflix series. Others choose to participate in the advantages of a weekly release schedule,

particularly for heavily serialized dramas.

The fan experience of a show released weekly goes beyond just viewing the episodes in quick succession. It’s communal, and it lasts longer. Below is a comparison of tweets-per-day for two shows back in 2015: Empire on Fox, which aired weekly and the bingeable Orange is the New Black on Netflix. For OITNB, there’s a short spike of social conversation when a new season is released that quickly dies down, at least partially because fans aren’t on the same viewing schedule. Of course, tweets don’t equal viewership, and despite a lack of sustained Twitter conversation, Orange is the New Black is the longest-running Netflix original series to date and has been viewed by more people than Empire. But it still isn’t a shared experience. In a time of rising loneliness and isolation, perhaps the community of TV fandom is a positive asset for mental health. Some studies have even linked binge-watching to depression and loneliness.

Familiarity and sustained exposure over time Although the examples above primarily concern serialized dramatic content, weekly release schedules can also benefit TV comedies. As I’ve written about before (“How Binge-Watching Doomed Comedy”), a key ingredient in TV comedy is a familiarity and relationship with characters that can only be developed through sustained exposure over time. Familiarity allows expectations to be subverted, running gags to land, and affection for characters and their relationships to develop.

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Contents Newsline Report Cecilia Gómez

“We’ll release 3 Tondero Movies in 2020” The General Manager of Tondero Distribution admits: “We have evolved since our management has diversified within our industry, as we are buying film material”.

After the alliance with América TV, how are they working on the offer of production services?

América TV, Peru and Tondero signed an agreement to offer their production services to international clients. América TV has the most modern and equipped studios in the region, which occupy 4,200 square meters on a modern complex of 5.4 hectares. The studios have the ability to perform multiple productions in parallel in quality up to 4K. The space has dozens of editing islands, music studies with the most modern acoustic treatments, colorization and online rooms, as well as make-up rooms, costumes, props and carpentry.

How have Tondero Distribution operations evolved in recent times?

We have evolved since our management has diversified within our industry, as we are buying film material, distributing in national and international films, managing projects, and our international representation of TV America has joined the international representation of TV Peru. Additionally, we are collaborating in promoting production services in our country.

How would you describe the evolution of the consumption and therefore of the industry?

Production opportunities are opened for new platforms that are opening and therefore there is a greater possibility of generating content and representing them. Today the consumption of material of various formats is more aggressive and penetrates any everyday environment, you can see the products not only on TV, you see it on the computer, on the smart phone, on the IPad; at the time that you want, in the subway, on the bus, plane, trains, hotels, cruises.

What is the focus of Tondero Distribution for this last part of the year?

We are focused on the production side with 3 Tondero films that are released in 2020 and in the production service of a large young-infant series, in which we will be involved in its distribution. As for film premieres, the first “Enchufe TV” movie of which we are coproducers with Touche Films, Dynamo, and Sony will be released in November.

What are the main releases of Tondero istribution for MIPCOM2019?

We are bringing new films in our catalog: “The Rapture”, “Yuraq”, “We Are Not Alone” and “Sebastiana the Curse”. The great Chilean Animation project “Flinfo” and the series of the IPE channel “Ciudad Jardín”, “Martina and Rigoberto” “Viajes de Papel” and finally the epic series “The Last Bastion”.

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Contents Newsline Report A+E Networks

Looks for the expansion of ‘Marrying Millions’ On the heels of the recently announced 16-episode Season 2 of the unscripted hit ‘Marrying Millions’ on Lifetime in the U.S., A+E Networks has optioned the format to Seven Studios UK, it was announced today

by Robyn Hurd, Vice President, Content Sales, EMEA, A+E Networks.

The new deal marks A+E Networks’ first collaboration with the recently launched UK production arm of Australia’s Seven West Media and follows successful versions of A+Es trailblazing formats Bride & Prejudice and Seven Year Switch, on the Seven Network in Australia.

“We are thrilled to be partnering with Damon and his team at Seven Studios UK to bring Marrying Millions to the UK” said Hurd, “We all want to believe improbable love stories are possible, but, if we’re honest, everyone can be

The format was optioned for Seven Studios UK after announcing its second season. slightly cynical about their chance of success. Who isn’t fascinated by a real-life Cinderella story?”

“We are delighted to team up with A&E on the UK version of Marrying Millions. The series offers a unique insight into the lives of the super-rich through the lens of love and questions whether money really does make you happier. You are compelled to watch to discover whether it is a rags to riches love story or gold digger’s dream.” said Damon Pattison, Creative Director, Seven Studios UK.

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Martin Krieger

CEO, Studio 100 Media

“We are always pushing diversity in our upcoming productions” Studio 100 will remain true to its claim: producing high-value and non-violent family entertainment while meeting the needs of its co-production partners.

How has evolved the business of Studio 100 Media?

We are continuing to strive to make the best use of all the Group’s synergies. We have been and are extending our development slate and our production output of series and feature films significantly over the next couple of years, by creating a variety of shows and feature films for diverse audiences.

At the same time, we will keep looking for partnerships with other creators and experienced producers who have projects in later-stages of developments, whether for distribution or co-production of

their content. Establishing strong licensing programs for our brands worldwide by cooperating with strong local partners will be a key goal for future growth as well.

Of course, our own TV channels will continue to play an important role in our business model.

Studio 100 will remain absolutely true to its claim: producing highvalue and non-violent family entertainment while meeting the needs of our co-production partners and any other different requirements.

And we are for sure pursuing our goal, to leverage the full potential of the whole company group in terms

of development, production, distribution and licensing by increasing a content output of highly commercial and high-value programs which will turn into long-lasting brands.

Which is the main focus of the company for this last part of the year?

Our distribution, licensing and creative teams research and observe the market very closely in order to develop a production slate that is geared towards meeting the current needs of international broadcasters and platforms. At the same time, we are carefully listening to our audiences

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cover story around the world, identifying trends and ideas to create suitable shows for our markets. And certainly, we are always pushing diversity in our upcoming productions. Everything in line with our credo: diverse shows for a diverse audience.

The new year will be absolutely thrilling. We will present our exciting new brand ‘100% Wolf’ to

Season 2 of the ‘Heidi’ CGI series with 18 new episodes to MIPCOM, which will be completed by midNovember this year - just in time for the launch of the ‘Heidi’ toy range from Playmobil. As part of this extensive license agreement, Playmobil will launch ‘Heidi’ figures, various playsets and more product innovations around the CGI series from

“The biggest challenge for the industry is a topic we see in the news almost every day: the backlash on plastic products” theatrical as well as to TV audiences around the globe. Our studios Flying Bark Productions and Studio Isar Animation are working on the third ‘Maya the Bee’ movie and we have started production of season 4 of ‘Mia and Me’. Our digital activities were substantially expanded in 2019 and we will continue extending this business in the coming years. In terms of licensing we are looking forward to seeing the ‘Heidi’ toy line

by Playmobil on shelves in early 2020. And finally, we will continue to work on a very promising production slate with projects which we will push forward during the rest of 2019 in order to start production in 2020.

Which are the most highlighted titles for MIPJunior and MIPCOM? With ‘100% Wolf’ we are bringing a brand-new production to MipJunior and MIPCOM. This series was developed and produced by Flying Bark Productions and we are presenting first episodes at the market.

In addition, we will bring

January 2020 onwards. In order to push the brand even more during the toy release, we are producing two ‘Heidi’ CGI specials for social media and broadcasting activities in close cooperation with Playmobil, featuring the ‘Heidi’ characters in the typical Playmobil toy look.

And finally, we are introducing 26 new adventures of ‘Tip the Mouse’.

Season 3 of this preschool CGI series will be available by December 2019.

How do you see the Kids’ Industry and the evolution of consumption?

The L&M industry is also seeing a continued move towards digital channels, although here it is more of a mixture since most products are still physical. But more products are emerging offering target groups a digital component, mainly in connection with mobile phones or tablets.

The biggest challenge for the industry is a topic we see in the news almost every day: it’s the backlash on plastic products, which has not

reached the toy industry as it has in other parts of our daily lives. It is becoming increasingly important in the near future to consider whether you wish your licensed products to be sustainable or if you want to provide the mass market environment with it. Having brands like ‘Maya the Bee’ or ‘Heidi’, that are very much bonded to nature, we feel a necessity to face this challenge, but with brands whose core values are linked to environmental themes.

Studio 100 Group expands its international business Studio 100 has reported record figures for 2018 with a turnover of 179.7 million supported by strong theme park results and overwhelming performance of its latest live show production “40-45”.

The company’s success paves the way for further expansion of its international business and creative capabilities.

Studio 100 will continue to invest significantly in original independent animated movies, series and brand activities, as well as the diversification of its technical and animation services.

The company has backed the major expansion of Flying Bark’s in-house animation capabilities which now includes the new appointment of Alexia Gates-Foale as Head of Animation Production.

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Kids Newsline Report Pierre Sissmann

The globalization of Kids’ content The Chairman & CEO, highlights a wealth of opportunities has appeared from creation of original content to adaptation of existing ones or to the reboot of former wellknown properties.

How is the industry receiving your latest shows?

We are fortunate to be in production of five major series. ‘Droners’ in coproduction with La Chouette Compagnie and Supamonks which has been ordered

by TF1 and which international sales are already taking off while the series is still in production.

‘Gigantosaurus’ which is a hit worldwide and will soon be released on major free to air networks around the world followed by Netflix. ‘Taffy’ in coproduction with Boomerang which is just debuting its second season after travelling the world. And then our adaptation of ‘Tom Sawyer’ in coproduction with PVP from Canada which has already gained a raft of international sales with RAI, ARD, SRC and many other. Finally, we have embarked recently with ‘Nefertine’ in coproduction with the multi awarded Italian studio Graphilm, a charming preschool series already sold to RAI. After just having delivered ‘Sadie Sparks’ a copro with Brown Bag Film for the Disney Channels, we feel fortunate to have gained new partners also such as Pop and Tiny Pop in the UK or Cartoonito in Italy and Discovery in Latin America and Italy. So far, we feel blessed for this as this is a very positive signal sent to our creative and production teams who all around the year try to bring the best of kids and family entertainment to children of the world.

How do you see the Kids’ Industry and the evolution of children consumption?

Over the last ten years, entertainment has been booming throughout the world with the creation of new medium, new channels of distribution, new technologies such as VR or AI. The kid’s industry, as a segment of entertainment, has equally grown and has offered multiple opportunities to producers and talents to express themselves on all five continents. And I do not see actually this trend decelerating. A wealth of opportunities has appeared from creation of original content to adaptation of existing ones or to the reboot of former well-known properties. Both technology and globalization of distribution have been very instrumental to maintain a high growth of the kid’s space.

Which are the challenges that Cyber Group Studios finds in the industry?

Main challenges are always the same; finding good talent and good partners but also have a great financial flexibility to be able to dedicate appropriate resources to each individual production. As technology evolves all the time and as the public is very demanding it is important to stay at the top of the curve when producing new animated content which will be screened during many years. At the same time, it is important to be able to retain talent in an industry where competitiveness has massively increased.

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Kids Newsline Report María Bonaría Fois

Looks for cultural bridges between key countries The CEO of Mondo TV Iberoamerica explains that animation has become one of the most complex audiovisual industries, growing and expanding itself constantly.

Which were the latest news of the company?

For Mondo TV Iberoamerica, this 2019 is becoming a year full of projects and challenges. One of the main goals that we are having in mind for the future is taking advantage of the whole market, and that’s why we decide to expand our target with new productions focused in fiction and to expose ourselves also as new distribution partners for third-party content. In general, for the Mondo TV Group is a very positive moment: it is diversifying with huge success the target of the productions and it has established new co-production deals, the most important with Toon2Tango (Germany). This is a very important alliance for the Group, that helps us to build a stronger presence in Northern Europe.

As an innovative project, I’d like to highlight ‘House of Talent.

This is a web series of 260 episodes of 10’ aprox, coproduce between Mondo TV and Hous of Talent, that reunites +20 influencers with followers on Instagram and TIK TOK in the teen-market of Italy. The series was launched last September 9th, and the trailer got 55K views in a few hours, reaching the 37th position on the YouTube trends.

Why do you consider that animation has been growing that fast on the kids’ industry?

In terms of children content, if we talk about animation, it has become one of the most complex audiovisual industries, growing and expanding itself constantly. Cross-media and transmedia content represents a strong change in the way of producing animated content. This means that storytelling changes and the creators and producers have to think in more than one way of exploitation.

Also, technology is changing the way we see the world, and children today are dealing with serious global new challenges, like climate change, and we have titles like ‘MeteoHeroes’, ‘YooHoo to the Rescue’ and ‘Robot Trains’ include all these environmental themes. In this sense, the internationalization is a key.

In which steps are the projects developed by Mondo TV Producciones Canarias?

Our pre-production studio in Tenerife, has celebrated its 3 anniversary of activity and is on expansion. We have an international team that is working with the main titles of the Group, like ‘MeteoHeroes’, the second season of the 2D animated series ‘Bat Pat’, that has the participation of RTVE in the production; ‘Invention Story’ and ‘Disco Dragon’.

Which are the qualities that Mondo TV Iberoamerica looks in a co-production partner?

We look for a new perspective, an original way to tell stories with a strong local flavor in terms of character and locations characterization that might appeal to different local and international audiences.

We are very interested on new creators from Spain, Italy and Latin America. We’d like to keep investing in partnerships that linked these territories, that have been areas of our core business during the last years. Our main idea is to become a privileged referent of the industry in order to keep building cultural bridges between the countries where we believe there’s a wide space for innovation.

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The Jim Henson Company

“Success is in finding the right solution for each of your projects” Claudia Scott Hansen, SVP, Global Distribution presents the new title ‘Dinosaur Train’ that offers 100 episodes.

The Jim Henson Company has a rich 60-year history, and Claudia Scott Hansen analyses the evolution of the company towards the changes of the industry. “The kids’ industry has had a cataclysmic shift in the past few years. First the rise of YouTube and the larger streamers as the first stop in US kids’ viewing selection process.

Then the huge consolidation of media companies, mostly without clarity about what to do with the kids’ network under new ownership – will they invest, give them more resources, or shift them all online, absorbing them into a company-wide platform?”, describes the executive.

This expansion of windows, gives children “a larger potential playing field, assuming their families will be able to afford all or most of the selections. Interestingly to this point: as a reaction to the fact that most families will not be able to subscribe to every single new OTT, there has been a recent resurgence of AVOD platforms looking to offer free or low-cost content, along with the promise of a safe environment for children. We all know that kids have changed their viewing habits; they’ve become better than ever at associating brands with platforms.

They go to platforms first in order to find their favorite shows. The

challenge will be discoverability of new shows on other platforms.”

Regarding the strong presence of the company, Scott Hansen adds: “We are creators of strong character-driven, visually impactful, innovative shows, with the best talent available, as seen with our most recent project, the critically acclaimed series, The Dark Crystal: Age of Resistance on Netflix. As we have expanded into new development during the last 10-15 years, we have made a conscious effort that every one of our shows portrays all different kinds of kids and families, representing different genders, abilities, cultures, and lifestyles. A show like ‘Dinosaur Train’, now with 100 episodes, depicts an adoptive family and all kinds of kids, personalities and physical abilities. We see this work as being the cornerstone of our continued relevance and success in the industry”.

On top of that and besides being an iconic company, Henson still founds new challenges every time.

For this moment of the industry, the SVP, Global Distribution assures that “It’s both the best of times and the most challenging.

There has been a huge growth of investment towards high-quality kids and family programming, mostly due to the launch of new OTT platforms.

It’s easiest and often very satisfying to work with the largest streamers as a one-stop deal, have them commission a project and work as the producing studio. But you also want to own, develop and control your own IP. You can no longer create and produce your own shows in house and then sell the rights at markets. But when do you present a new development project to potential partners? Do you approach the global platforms first, or do you try and finance through pre-sales with international regional partners, so to retain some of the rights for worldwide distribution? Success is in finding the right solution for each of your projects”.

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Kids Newsline Report Federico Vargas

“Children love to see themselves reflected in the shows” The VP Distribution, 9 Story Distribution International says that children consumption will evolve as technology does.

How do you see the Kids’ Industry and the evolution of consumption?

As long as technology continues to evolve, the way children consume content will continue to evolve. In the past the only option for content consumption was linear TV, and today the market has expanded into YouTube and OTT, which continues to become more competitive with new players entering the field every day. The content is also adapting to the platform, becoming shorter, more engaging and conversational or less scripted depending on where its being watched. Kids will continue to consume content on a variety of platforms in numerous different formats, and it’s up to the industry to stay nimble and adjust to the demands of the market.

Which kind of productions are the most attractive for children?

Children love to see themselves reflected in the shows they watch and the content they consume. Emmyaward winning series ‘Daniel Tiger’s Neighborhood’, for example, has always offered a layer of relatability to children, showing everyday problems real children face and teaching kids how to overcome these similar issues.

As a result, Daniel Tiger is one of our longest running series that has enjoyed a successful run worldwide, specifically in Latin America across multiple platforms.

The early seasons of Daniel Tiger enjoyed tremendous success on Disney Junior, and on terrestrial channels, and now we see the series performing well on numerous SVOD platforms in the territory. Now in production on season 5, it’s an exciting time as Daniel Tiger starts a new phase in Latin America.

Music is another appealing component of kids content, and we have seen this first hand with Let’s Go Luna!, which is filled with songs and music from different cultures and backgrounds that children love. The new Clifford the Big Red Dog is also chock full of catchy new songs which kids and parents will enjoy.

How has evolved the business of 9 Story Media Group?

Earlier this year, we launched our first live-action division and appointed Emmy-nominated producer, writer and director Jeremy Slutskin as VP of Live-Action Development and Production. Following that, 9 Story announced its newest acquisition, PT Bali Animasi Solusi Ekakarsa, collectively known as BASE, which has now been rebranded as Brown Bag Films Bali. The acquisition of BASE enhanced 9 Story’s production capabilities, expanded our global footprint and increased our worldwide headcount to more than 1100 personnel. Our production studios are currently working on multiple new series, and our acquisitions team recently brought in some exciting shows for distribution including Moon and Me and Book Hungry Bears. 9 Story continues to grow and expand across all divisions, including production, distribution and consumer products.

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CAROLYNE TYRE, Genius Brands International

Genius Brands Network is available in 80 million U.S. households The SVP International Distribution & Head of Genius Brands Network describes the coverage of the 70% of the market and the coproduction of new titles for 2020.

Genius Brands Network is currently available in approximately 80 million U.S. television households covering around 70% of the market.

“We are right in the midst of an exciting refresh of our Genius Brands Network platforms, Kid Genius Cartoon Channel, Kid Genius Plus! and Baby Genius TV, and we will be acquiring a significant amount of new content starting at MIPJunior this year. We know kids are now mostly in a VOD/OTT world, and we are delighted to currently be able to serve up great ‘content with a purpose’ for toddlers to tweens across 18 different platforms. And, we will be announcing a strategic partnership very soon that will have us launching on approximately 20 more platforms, so we are definitely expanding in a meaningful way”, explains Carolyne Tyre, SVP International Distribution & Head of Genius Brands Networks, Genius Brands International.

Regarding the evolution of the industry and consumption, the executive admits: “The landscape is changing, and it’s changing rapidly.

Kids are now finding the majority of their entertainment on YouTube and VOD, and the industry is working to adapt. For all of our content at Genius Brands, we have built comprehensive consumer products programs, and to that end, we still see

traditional broadcast to be an essential part of the equation, especially for retailers”. “We need that repeat factor; we need that sit back experience; and we need our shows served up every day in a consistent timeslot.

VOD is still a binge opportunity for kids and then they jump to something new, which can make it difficult to build brand awareness. In today’s media space, IP owners need to launch across TV, VOD and YouTube.

It’s inevitable long term that we will be moving towards an even more robust VOD world, and that is where marketing will become even more essential, so kids know where to find the next big hit”.

Based on the business for the last part of the year, Tyre explains that for ‘Rainbow Rangers’, Genius Brands International is rounding out its media partnerships across North and South America, and the participation in MIPJunior, is focused on solidifying partnerships in the EMEA and APAC. ‘Llama Llama Season 2’ will be premiering on Netflix in November, and they will be placing Season 1 on Free TV broadcasters internationally for a Q1 2020 launch.

Lastly, Genius Brands International is planning to announce a strategic co-production partnership on its new show Stan Lee’s Superhero and will be focused on closing sales in Western Europe.

DHX Media

Now becomes WildBrain The rebranding across all business units and new organizational structure reflects focus on creativity, digital media and 360˚ management of brands.

DHX Media its fourth quarter and year-end results for the period ended June 30, 2019. The Company also announced that it will change its name to WildBrain and has begun rolling out a new corporate brand identity. Additionally, the Company commenced a management and business reorganization to advance its strategic priorities and has appointed Eric Ellenbogen as the new Chief Financial Officer.

The executive said: “In Fiscal 2019, we advanced our priorities of creating premium content, growing our AVOD business, improving our cash flow and strengthening our balance sheet. In Q4 2019, revenue rose 12% to $108.8 million and adjusted EBITDA was up 26% to $20.2 million”.

In terms of the rebranding as WildBrain, Ellenbogen described: “Rebranding as WildBrain embraces our commitment to creativity, imagination and innovation, and our 360° approach to brand management. For many years, our WildBrain group has been at the leading edge of the digital media business. As that landscape continues to rapidly evolve, now is time to unify all the parts of our Company under both the name and entrepreneurial culture that WildBrain represents”.

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Kids Newsline Report Rainbow

TV Asahi

Launches new preschool content

Offers super powers with new series ‘Super Shiro’

After the success of ’44 Cats’ the company will be selling a new season and is presenting the remake of ‘Pinocchio’ as a CGI series.

After conquering the market and world screens with cuteness phenomenon ‘44 Cats’, Rainbow’s first venture into preschool developed together with award-winning acquired studio Bardel Entertainment, the company is back with a second exhilarating 52x13’ series of its instant global success ‘44 Cats’ hit, the explosive preschool show that has been growing tremendously and is riding the wave of an instant

success, airing worldwide with excellent ratings and getting massive licensing response. The second wave of the top-notch CGI show will keep following the adventures of Lampo, Milady, Pilou, and Meatball – the four adorable kittens who make up music band The Buffycats – and the exhilarating team will be joined by new friends that will add to the fun, helping the Buffycats solve everyday hitches.

Rainbow is delving into preschool productions, aiming to create animation with the highest standards for worldwide preschool and bridge target shows while introducing original educational content. But the most anticipated news from Rainbow is the announcement that the company will give new life to world-famous classic ‘Pinocchio’, the Italian fairy tale written by author Carlo Collodi, and present the international audience with a modernkey transposition of the story that will bring the timeless story - starring the wooden puppet who magically came to life - back on screen in a refined, top quality CGI series that promises to bewitch children and parents.

Japanese national broadcaster TV Asahi is heading to MIPCOM 2019 with a brand new animated series SUPER SHIRO targeted at 4 to 8 year olds.

Inspired by the hugely-popular “Crayon Shin chan” franchise, which has aired internationally since 1992, the fast-paced chase series is produced by Science SARU, a Tokyo-based animation studio led by Masaaki Yuasa.

A Cristal Award Winner at the Annecy International Animation Film Festival 2017, Masaaki Yuasa recently won the 41st Japan Academy Prize for “Animation of the Year” and has also guest-directed the “Food Chain” episode from Cartoon Network’s Adventure Time.

‘Super Shiro’ (48x5.5’) is set to launch in early 2020 across Turner’s Kids channels Cartoon Network, Boomerang and POGO. The series tells the story of an ordinary looking dog living with an ordinary looking family in Japan, is in fact ‘Super Shiro’ - a superhero dog. His mission is to secure mysterious bones that are said to have the power to rule the world.

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Kids Newsline Report Denis Doré

“When there are changes, there are opportunities” The CEO, President and CoFounder of Squeeze analyzes the big competence in the animated series environment.

How do you see the Kids’ Industry and the evolution of children consumption?

There’s a lot of moving pieces right now. SVOD platforms, traditional TV channels revamping their programs and launching new online platforms as well, kids watching content using devices such as tablets and phones. I see it as a very exciting time for content creators. When there are changes, there are opportunities. It’s our job to find a new business model that fits our needs. In our case, it will never be about quantity, but always about producing quality animated content that stands out from the crowd. I believe that in the long term, the kids - and the entire family - will reach out for quality, whatever platform they are using.

Which are the challenges that Squeeze finds in the industry?

Our first goal is to create amazing pieces of animated content that will not only entertain but move and ‘wow’ our audience. Therefore, our main challenge doesn’t really comes from the industry, but from our very own desire to excel. We push ourselves every single day to come up with unique stories and fresh looks that will surprise the animation fans around the world. This is our very goal. Developing those ideas the right way and assembling the budget and the partners needed to bring them to life, remain a big challenge for every studio out there, especially indie studios.

How are you working with your partners worldwide for the availability of your content?

With ‘Cracké’, we decided to take care of the distribution by ourselves, our goal being to learn and to get in touch directly with the broadcasters. We wanted to seize the occasion to introduce our studio, our work, our vision and to create genuine connections with the people responsible for developing and acquiring content. After all, this is a people’s business. Making sure that we communicate our passion and build trust and excitement is key to establish long term relationships. Now that we understand the market better and have built a strong network, we are ready to work more closely with established distributors that possess the extra knowledge and connections needed to bring new eyes to our creations worldwide.

Which are your goals for this last part of the year?

On the service side, we are currently working on some amazing projects with great partners such as Universal and Illumination. In terms of original creations, we are focusing on bringing additional content to our Cracké fans as well as developing brand new ideas for what’s going to be our first Squeeze’s original animated movie.

How is the industry receiving your latest shows?

Our latest show, ‘Cracké’, has been an amazing success. Even though it’s a series of shorts, the show has been airing in over 210 countries and territories in the world and is now counting over 300 million views worldwide on digital platforms such as Youtube and Tencent in China.

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One Animation & Future Today

Launch new ‘Oddbods & Friends’ app

Free app for kids features animation from one animation’s awardwinning content catalog.

Future Today, the multi-platform video distribution company, in a partnership with One Animation, a global award-winning C.G. animation studio, launches Oddbods & Friends, a free, age-appropriate app for children ages 0 – 9, now available across OTT channels, including Roku, Apple T.V. and Amazon Fire T.V. with potential expansion to other platforms.

Oddbods & Friends curate hours of animated content for the first time across One Animation’s full portfolio, including: The twice Emmy Award-nominated Oddbods follows the adventures of seven different, quirky and very loveable friends who celebrate individuality and acceptance in a fun, warm and inclusive way. The series is broadcast in over 180 countries worldwide with major broadcasters and platforms, including Disney, Cartoon Network, Nickelodeon, Netflix, and Amazon, and is recognized as a significant influencer in the digital space having amassed over 12BN views on YouTube.

The all-new slapstick comedy series, Antiks, follows two sibling ants, Joey and Boo, who have an appetite for food, mischief and minuscule levels of mass-destruction. Launched earlier this year, the show has already amassed an impressive 500M views on YouTube to date.

The comedy-adventure series, Insectibles, co-produced with ZDF, KIKA, and Discovery Kids Asia, is a #1 rated and multi-award-winning series with major broadcast partners around the world, including Discovery Latin America and the Middle East, Sony Pop U.K. and Italy, Canal+ and Teletoon France, and SVT Sweden, among others.

The adventurous preschool series, Rob The Robot, is broadcast across 75 countries worldwide and is designed to engage, educate and entertain pre-schoolers, incorporating a developmentally appropriate curriculum based on the latest educational research.

“The Oddbods & Friends app offers entertaining, award-winning, fun, and educational content for kids ranging from preschool to age 9, and we are thrilled to partner with Future Today to deliver our very own branded content offering, digitally, to reach kids and families across the U.S. anytime,” commented Michele Schofield, SVP, Content Distribution at One Animation.

“One Animation prides itself on creating and delivering quality programming that not only educates but provides a full spectrum of entertainment that both children and their parents can enjoy in a safe environment,” said Vikrant Mathur, Co-Founder of Future Today, Inc. “We are proud to be a partner in the launch of Oddbads & Friends and do not doubt that kids will clamor to access this content”.

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october 2019

PAY TV

Pablo García Specialized Journalist pgarcia@newslinereport.net Website https://plataformas.news

TURNER

TURNS THE INVESTMENT TO LOCAL PRODUCTION The company is increasing its Latin American development with the release of “Bronco”. Also, they are working on the local version of “Ellen’s Game of Games” in Argentina, Chile and Brazil.

Turner keeps establishing its brand with its channels on the top ten of most viewed on the Pay TV, thanks to keep investing on local content and business model. As part of those news, TNT is launching its primetime series “Bronco”.

“It’s been less

than three years that we have been focusing part of the investment on the acquisition of American content and produce locally with partners that we’ve been working in the biggest success in Argentina like ‘Monzón’, with Disney, and some other titles in

México like ‘Juan Gabriel’, ‘Falco’ and ‘El Secreto de Serena’. We have also expanded the production in Brazil.

That why we decided to be present and work on local content, not with a general appeal in a panregional level, but for particular territories and then travel with that content worldwide. The strategy had some good results because in every country we have a release, the product becomes successful”, explained Tomás Yankelevich, EVP & y Chief Content Officer, General

Marcelo Tamburri, Tomás Yankelevich y Mariano César

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Entertainment, Turner Latin America.

Regarding the production point of view, in Latin America the target is in Mexico (TNT, Space and WarnerTV are on the top 5 of the PayTV in the) and Brazil, followed by Argentina. Then comes Chile, where the company has a strong arm of production for its FreeTV network Chilevisión and its local channels like CNN and CDF. Colombia will be the next

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1.08 billion

the number

territorie where the Group’d like to be established.

“We have reinforced the five lines of the original content: movies in English; original local series in every key territory; moving to digital, with spin-offs and complimentary content for digital platforms and social media; the development of unscripted entertainment, like the ‘Late Night Show’ in Brazil, and the adaptation of ‘Ellen’s Game of Games’ for Argentina, Brazil and Chile, in which we’ll be having it as a second window of the Free TV in some of the territories.

The fifth point, which is not less important, are the live events like the Oscars, Emmys and Grammys. In order to reinforce this area, we are looking for the streaming of local live events, as the next step for 2020”, explained the executive.

The launch of Warner Media’s platform “WarnerMedia decided to move forward on this demographic that

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today is consuming the content on another way, where and when they want. That’s why the company is investing really hard on HBO Max, that will be available during the first term of 2020 in United States.

Everything suggests that a year after the beginning, Latin America will be the next point”, said Yankelevich.

The executive also

describes the company as a producer, with a content created for all the world, and if they have to see it on another platform, we are open to that purchase. That’s the example of the series ‘Bronco’, premiered on TNT and available a week after on the Claro video platform.

“With the new platforms we are also working on most of the contents we are generating. Maybe, one day we’ll be launching our own Warner Media platform”, concludes Yankelevich.

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2019 october

Digital TV Research predicts new 60 million of subscribers in the Pay TV market until 2024, reaching the 1.08 billion global number, thanks to the evolution of markets like China and India. However, the company admits a reduction on the global incomes despite the increasement

Prime Video will include Disney titles in Latin Prime Video will include different titles of Disney portfolio for the Latin American territory until September 20th, 2020. Some of the productions included are: Marvel’s “Captain Marvel”

and “Avengers: Endgame”; Disney-Pixar’s “Ralph Breaks The Internet” and “Toy Story 4”; and the latest live action movies like “The Lion King”, “Aladdin” y “Mary Poppins

Returns”, that won’t be exclusives for Disney+ in the region.

“Amazon is committed to bring the best original content with licensing to its Prime Video members all over Latin America, and this time we are pleased to add the movies and series library of Disney”, explained Pablo Iacoviello, Head of Content, Latin America, Prime Video.

Also, the OTT will have classic movies like “Pirates of the Caribbean”, “The Incredibles” y “A Bug’s Life”, even worldwide known series like “Grey’s Anatomy”, “American Horror Story” and “How I Met Your Mother”.

AT&T denies the idea of selling DirecTV John Stankey, CEO of WarnerMedia, denied the rumors of a possible sale of DirecTV, and assured that the satellite service “is an important part of the business”.

The intention of selling the DTH turned public after the investment fund, Elliott Management, sent a letter to the Board of AT&T, where it suggested the selling of the unit so as to compensate the losses of its PayTV business.

With the acquisition of DirecTV, AT&T became instantaneously the biggest distributor of PayTV, but then happened a wave of cancellations of services that moved the company from 26 million of clients in the US, to 23 millon by the end of the second term.

Stankey said the drop of subscribers was a consequence of the disability of the DTH to offer packages with access to high speed internet, a big difference compared with cable companies like Comcast.

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Noelia Santillán Specialized Journalist noelia@newslinereport.net OnLine Section http://www.newslinereport.com/tecnologia/

TECHNOLOGY

cLOUD

HOW BROADCASTERS CAN SOLVE THE ARCHIVE FOOTAGE STORAGE PROBLEM? To combat this issue, the companies must look to implement a more robust cloud-based solution which will ensure their digital assets are not only protected but also reusable for the future.

Every company, in every industry, is transforming into a software business.

The way enterprises interact with customers, assure quality experiences and optimize revenues is driven by applications and the hybrid, multicloud environments underpinning them.

Over the years, broadcasters and media production companies will amass a large and valuable library of archive footage which allows them to build previous events and interviews into new programming

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to create more compelling viewing experiences.

Particularly in the worlds of sports and news broadcast, using pre-existing video helps to add to the excitement, create a narrative and even ensure the programme is long enough to fill the time allocated to it.

For example, OptiQ Monitor of Telestream enables users to integrate a superior level of video monitoring without needing to modify anything in their existing delivery chain.

Building on this through OptiQ Channel, Telestream can provide all the necessary packaging, encoding, ingest environments to help customers build high quality live channels quickly and easily.

“A key feature of the OptiQ framework is the ability to deploy Telestream technology in any public cloud data center.

Now, Telestream has the ability with OptiQ Monitor to select any cloud data center, or as many as is required, and to specify the

types of monitoring probes that customers want to push into those data centers. Then, the system architect hits ‘go’ and the entire monitoring network is automatically built up to perform robust QoS and QoE monitoring of a customer’s live streaming channels, even if they are not using OptiQ Channel to create those channels”, commented Kenneth Haren, OptiQ Product Manager at Telestream.

Frequently, broadcasters have

files across several locations, making it difficult to store and share content amongst themselves and with other companies, along with multiple users.

Often, a number of databases or file sharing platforms are in use and content can’t be found easily. This content may then be impossible to recreate, or if it can be, it’s at a large cost to the business.

Additionally, with so much new content being created on a daily basis, the amount of archive material held by broadcasters is only increasing. While they may be able to overcome the issue of storing that footage, finding it again can present a whole new series of problems.

The continuous creation of new content has meant the amount of older material handled by broadcasters and media companies has also increased.

The companies must

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look to implement a more robust cloud-based solution which will ensure their digital assets are not only protected but also reusable for the future.

Netflix management decided to move to the cloud, away from relational systems in their data centers.

The shift happened from vertical scaling of particular failure points to horizontal scaling of distributed systems which were highly reliable. The cloud was that of AWS (Amazon Web Services) which offered the company the ability to scale as much as they needed. Previously, Netflix team had to sit with their IT team to implement the scale up whenever their demand increased. Scalability was a huge issue with physical data warehousing. After shifting to AWS, scaling became seamless as petabytes of data could be used to stream videos within minutes, thanks to elasticity of the cloud. Based on user demand and with the help of AWS, Netflix could scaleup or down their data warehousing.

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the number

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55

49% of CIOs are afraid of lost revenue and reputational damage.

52% are among the biggest concerns as they digitally transform and move to the cloud. This is the result of the 2019–20 Global CIO Report of Dynatrace about top challenges for CIOs in a softwaredriven, hybrid, multi-cloud.

OTT service

Airtel subsidiary, Wynk, selects NAGRA’s cloud.SSP Its cloud-based Security Services Platform, cloud.SSP, was selected to secure streaming content and support a multi-DRM solution for Wynk, a subsidiary of Bharti Airtel Limited, India’s largest integrated telecom services provider.

“The ability for operators such as Airtel to deliver content to any device is a must in today´s digital environment," said Stéphane Le Dreau, Senior Vice President Sales & Services at NAGRA. “The cloud-based NAGRA Security Services Platform with multi-DRM support allows operators to do that now directly from the cloud, reducing complexity by managing all devices under one unified system while ensuring best-of-breed security overall.”

NAGRA Security Services Platform (SSP) is an advanced, flexible and modular security platform enabling security for all two-way

use cases such as cable/IP, IPTV, OTT or any hybrid scenario. It also can be deployed in an operator’s private cloud environment or as a NAGRA cloud service with cloud.

SSP, or in hybrid mode. It goes beyond CAS and multi-DRM enablement and allows to manage home domains, concurrent sessions, device authentication, forensic watermarking and other important aspects of a pay-TV operator’s service without having to resort to additional third-party solutions.

Imagine Taps AWS To Power OTT Monetization Service “Video delivery business models have been turned upside down and distributors need every edge they can get to continue offering robust, profitable services,” said David Heppe, Commercial General Manager for Imagine Communications. “Our OTT Monetization Service removes many of the heavy lifts that come with installing, operationalizing and updating next-gen ad tech. Especially as our customers pursue new business models in a hyper-competitive video delivery ecosystem, our focus with this new offering is to free them to focus on overcoming market challenges”, added Heppe.

Video distributors deploy Imagine OTT Monetization Service to support dynamic ad insertion for linear and OTT services with hosting, management, monitoring and updates all provided by Imagine.

Imagine OTT Monetization Service capitalizes on the scalability, redundancy and security offered by AWS and robust capabilities of AWS Media Services, initially including AWS Elemental MediaConvert.

“Media customers can efficiently generate ad revenue by using the Imagine OTT Monetization Service built on AWS, using AWS Elemental Media Services for dynamic ad insertion into live and on-demand video services, along with Amazon CloudFront for distribution of that content at scale to viewing devices” said Khawaja Shams, VP of engineering Engineering, AWS Elemental.

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Tech

Newsline Report

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