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MIPTV 2016
INCOMPANY
STAFF
Year XXV
MIPTV 2016 Edition
Fred Joubaud is the new Director, International Sales & Digital Acquisitions and Staff Promotions of Tricon
Films & Television, replacing Lia Dolente, wholl extend her responsibilities as Director of Communications.
Previously, the executive was General
Manager at Ouat Media and Head of Acquisitions and
Sales at the French distributor Premium Films.
Luis Fernndez joins the Hispanic network Telemundo, as the new Executive
Vice President of Network News, its
informative arm, replacing Luis Carlos Vlez. Fernndez arrives at Telemundo after a long time trajectory in the
Industry, with important steps at Radio Televisin Espaola as Executive Director, Univision y
the Spanish networks Telecinco, Cadena Ser and Canal +.
MIPTV 2016
Editors Directors
Rafael Val
Mara Pa Pazzaglini
Editorial Departament
Mara Alejandra Sturiza
Jos Luis Fajn
Aldo Bianchi
Pablo Garcia
Damin Martnez
Ailn Scapolan
Commercial Departament
Rafael Aboy
Javier Fiorellino
Franco Aboy
Design
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TV Azteca
reinvents itself on the way of international models
Rodrigo Fernndez,
Benjamn Salinas and
Mauricio Majul
That was announced by
its CEO, Benjamn
Salinas Sada, who
highlights that 2016
will be the year of biggest production investments in TV Azteca history. After a diagnosis
of the new opportunities generated by the
current structure, he
said that the reinvention will be following the trends of international TV networks. The redesign contemplates the creation of Estudio Trece (13) and Estudio Siete (7) in a new
way that facilitates the arrival of new content to the Free-TV,
meanwhile guarantees the financial efficiency of the company. Under this new organization, their own productions, independents and co-productions are welcomed at TV Azteca.
As General Director of Estudio Trece, was designated Mauricio Majul Gabriel. Also, Rodrigo Fernndez Capdevielle will be the General Director of Estudio Siete.
With this leaderships, Benjamn Salinas emphasizes that TV
Azteca will offer the best contents with the highest quality for
the audience and assures that this year will be a record year
and a time of great recovery of the whole programming area.
DIXIT
While the performance of theatrical film slate resulted
in softer than anticipated results, other businesses performed strongly in the quarter. With the television business continuing its robust topline and margin growth, a
deeper and more diversified film slate with lower costs
and contributions anticipated from recently launched
businesses, there is a clear path to resume the industry
financial trajectory in fiscal 2017
Jon Feltheimer
CEO, Lionsgate
MIPTV 2016
COVER STORY
JENS RICHTER, CEO, FREMANTLEMEDIA INTERNATIONAL
MIPTV 2016
FremantleMedia
has grown worldwide and today
has operations in
31 different
territories.
in every territory, and our
lifestyle genre continues
to grow with new titles
from globally recognized
talents such as Nigella
Lawson and Jamie Oliver.
Latin America was one of
our highlight territories
in 2015. The great big
talent shows were the
best performing genres
in the region, with 100
Latinos Dijeron and
La Banda being very
successful.
How has evolved the
content Industry in the
last years?
Over the past two years
there has been the intro-
Where is going to be
the focus of the
company in the next
months?
We have a big focus in the
acquisition area. We
brought more people into
the team with the goal of
working with more production companies to
widen our slate even further. Our FMI catalogue
is full of diverse and innovative programming
but we want even more
great programs that can
travel all over the world.
And, as the world is changing now, every program
we want to bring, has to
be able to adapt. We have
to spend the correct
amount of time and energy to focus on our content.
Which are the main
challenges for
FremantleMedia
International?
The biggest challenge is
related to the fragmentation of market. There
COVER STORY
@ newslinereport
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COVER STORY
83 (8x60') is a good
example of this. The cold
war inspired thriller from
FremantleMedias UFA
Fiction in Germany performed incredibly worldwide. The series is captivating coming-of-age
story which is fresh and
has actually helped to
reshape the reputation of
German dramas worldwide. The series sold very
well internationally to
networks such as Sundance in the US where
the audience grew week
on week, and Channel 4
in the UK where the series became the highest
ever rating foreign drama two huge accolades.
During the past two years,
FremantleMedia has
also invested in several
companies including 495
Productions in the US,
Corona Pictures, Man
Alive Entertainment and
Naked Entertainment in
the UK, No Pictures
Please in the Netherlands, Fontaram and
Kwai in France, Abot Hamieri in Israel, Miso Film
across Scandi and Wildside in Italy. This activity
mixed with the content
being created by
FremantleMedias existing production labels
around the world means
that our upcoming FremantleMedia International pipeline is looking
very healthy with a mix of
top titles and talent.
Our acquisitions team
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COVER STORY
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COVER STORY
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SOCIAL TV
Changes
in the way
we watch TV
Every day, networks have more
chances to reach
their audiences.
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The beginning
of a trend
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ALEJANDRA MARANO, OPERATIONS DIRECTOR, CONSTRUIR TV
crease the value of working culture and to establish the point of view of
the workers and their
families on the screen.
We work with all the val-
GRUPO SECUOYA
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Jos Miguel
Barrera is the
new Head of
International of
the company.
Secuoya wants to close
deals with companies
company. Production,
distribution, services to
producers and brands
join together under the
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@ newslinereport
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TELEFE
Co-productions
from Latin America
to the whole world.
ers existence. Their story
will radically change
when they are forced to
live each others lives.
Lioness (120x60') tells
a love story in the environment of a rundown textile factory that it is about
to close down. The Return
of Lucas (60x60') is a
coproduction between
Telefe and Amrica TV of
Per, produced in 4K technology Ultra HD. The dra-
thriller produced in 4K
UHD, directed by Juan
Jos Campanella, Academy Award Winner for
The Secret in their Eyes.
It is a story of love, revenge and redemption in
the world of politics. Ariana, the protagonist, was
raped by a group of young
men of power in their
teens and 20 years later,
she returns seeking justice. For this project and
through a strategic Alliance, Telefe co-produces
with Monte Carlo TV of
Uruguay and FOX International Channels Latin
America (now FOX Networks Group).
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FIDELA NAVARRO, DIRECTOR OF CONTENT DISTRIBUTION AND
INTERNATIONAL CHANNELS, TV AZTECA
The reinvention
of TV Azteca
The new strategy of direct control over the
distribution of its content under the brand AZContenidos, is launched at MIPTV.
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Our brand is
a synonym of
quality
The number of hours produced by the
company will increase by 10%.
Whats your opinion
about the current
situation of content
Industry?
Weve seen a strong trend
based on VOD and OTT
content. The need to have
Pay TV content available
in different digital platforms its becoming more
real for programmers
and distributors. One of
the advantages that we
have in the channel is
that we do produce a big
amount of our content,
and the shows that we
acquire have the rights
for digital platforms,
lineal and VOD. Weve
started the 2016 after
having our best year in
2015, when we celebrated our second anniversary and fulfilled our goals
of growing in ratings
and distribution. The
reason of our growth is
the undeniable power of
the brand. When we talk
about HOLA! or any other product of the brand,
it is known that we are
talking about quality.
We offer the content in
a serious and elegant
way, and we are convinced that theres no
any other similar offer
in the market.
Where is going to
be the focus of HOLA!
TV in 2016?
We have some specific
goals for this year. On
the distribution side, we
establish the idea of
growing with our channel penetration through
the relationships with
our partners and with
new alliances. On the
commercial side, well
still focused on increasing strategically our opportunities of advertising sales with our efforts that fulfill our clients needs at the same
time that help us to get
an income from our investment in a creative
and efficient way. We
are very committed to
our own production and
we are estimating that
we will increase the
number of hours by 10%
so we can be near the
650 hours of original
production.
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@ newslinereport
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CONTENTS
MARCELLO COLTRO, EVP, CONTENT DISTRIBUTION, CISNEROS MEDIA
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VALERIE CREIGHTON, PRESIDENT, CEO, CANADA MEDIA FUND
Co-production is
the main practice
of its growing
strategy.
help determine which productions are best suited
to succeed. A large portion of funds provided by
the CMF goes directly to
these productions.
How have evolved the
importance of
Canadian content in
the last months?
The CMF programs and
policies are designed to
support the creation of
ground-breaking television and interactive digital media content,
their international counterparts to share resources and talent and tap into
new markets. Canadian
content is available
through a distribution
system, and is also finding audiences on new
platforms on countless
devices. Our industry is
certainly shaped by consumers and their rapidly
changing tastes and consumption habits.
Which are the main
goals of CMF for this
year? Will you begin to
focus in new genres?
Which territories do
you want to arrive in?
Of the variety of projects
the CMF funds, co-productions continue to be a
top priority. As consum-
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RICARDO SCALAMANDR, HEAD OF INTERNATIONAL BUSINESS, GLOBO
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evolution of what we
have been doing so far
with our co-productions
of telenovelas. It is a
very interesting series
that features ten
episodes.
In which way is it
different from other
contents?
In this case, the studios
are leading this
operation which is a
little different from a
co-production because
in those cases there are
The executive
also spoke about
the company
expectations for
its new series
SuperMax and
how are the
business operations evolving.
Truths (50x60');
Ambitious Women
(100x60'); Parts Of
Me (75x60'); Rules Of
The Game (140x60').
Our main miniseries is
Happily Ever After?
(8x60'), followed by
Dear Death (4x60'),
and our Feature Films
Last Night (100');
Good Luck (90'); My
Mom Is A Character
(84'), and Tim Maia
(140').
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RICARDO EHRSAM, DIRECTOR GLOBAL ENTERTAINMENT FORMATS, TELEVISA INTERNACIONAL
Distinguishing formats
in different platforms
Its main show, Pequeos Gigantes was sold in more than 20 countries.
countries: France and
Holland. In Vietnam we
are also closing some
deals, in the same way
as we are doing in Latin
American territories,
said Ricardo Ehrsam.
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platforms. If we manage
to fit the needs with our
telenovelas and formats
will allow us to increase
our presence in every
territory we are already
established but also to
enter in others where
weve never been before.
Which are the main
goals for 2016?
We want to keep
increasing our clients
base so we can reach new
territories but always
with our universal and
innovative content, with
all the elements that
make them available for
every platform.
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@ newslinereport
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AVI ARMOZA, PRESIDENT, CEO, ARMOZA FORMATS
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@ newslinereport
The evolution of
childrens viewing
its a key factor
for the company.
BBC is continuously evolving and we do always
change the ways to reach
our audience. Today, social
media is so important because, even with the lack of
regulation, its a popular
media among our audience,
as a communication tool or
in terms of content. We work
so close to our content development team in order to
create new ways of showing
KESHET INTERNATIONAL
Entertainment as it workhorse
The catalog includes 70 properties that attract global audiences.
Keshet International
has a diversified catalog that includes over 70
tried and tested properties that appeal to audiences worldwide, spanning all genres. For this
MIPTV 2016, the company is launching Touch a
cross media brand, TV
and mobile game, based
on a simple and visual
concept whats wrong
with this picture?. Battle of the Chefs, in which
two of the countrys leading chefs go head to
head in an international
culinary competition.
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MOBILE ONLINE VIDEO VIEWING
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New generations
are replacing TV
with the most
convenient
screen to watch
their shows.
content on whatever
screen is most convenient, more often than
not, a smartphone.
Mobile video has grown
at a fast rhythm for
three years. Now, the
share of mobile and
tablet plays exceed 45%
of all online video.
Smartphones continue
to be the go-to device
for mobile video
consumption. The
continued growth in
CONTENIDOS
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20 percent of viewers
now watching longer ondemand content, such
as TV series and movies,
on a smartphone.
For content less than 10
minutes in length,
smaller screens remain
more popular, with
mobile getting 69
percent of the share of
time watched, PCs
getting 65% and
tablets 45%. Connected
TVs share of time
watched for content
longer than 30 minutes
was 61%. The highquality screens
commonly found on
tablets, meanwhile, had
the second-biggest
share of time watched,
35%.
Not surprisingly,
tablets, at 20%,
continued to dominate
share of time watched
for content 1030
minutes long, the length
typical of episodic TV.
Tablets have hovered
near 20% for several
quarters. CTV (11%),
smartphones (11%) and
PCs (12%) all were
essentially unchanged
from the first quarter,
dipping slightly in share
of time watched from
12%, 14% and 15%
respectively. Tablets
remain a go-to device
for long- and short-form
content, with a share of
time watched split
nearly evenly for each.
In a recent study of
Americans from 16 to
60 years old who say
they watch online video,
50% said they do so on
tablets.
To a degree, mobile
viewing has reached a
temporary point of
stasis. There remains
a shortage of premium
content available on
mobile devices,
specifically the live,
linear and other
premium content that
continues to be in
demand. Ooyala
estimates that
content owners and
publishers who can
take advantage of that
temporary shortage of
supply will be wellpositioned to reap the
benefits of even more
mobile growth.
The core concept of
the channel is fragmenting, as audience
behavior is changing
and broadcasters are
adapting to meet
evolving viewer needs,
said Ted Hall, Research Director at IHS
Technology. The
traditional linear
channel will be around
for a long time to
come, but it will
become increasingly
marginalized by a
plethora of online
services, from catchup TV to TV Everywhere,
pay TV channels
streaming offerings
and YouTube multi-
channel networks.
As for the consumption
of digital video in Latin
America, the report
Digital Future in Focus
2015: LATAM, developed by comScore,
shows that Brazil is the
country of the region
where each user spends
more time watching
online videos. In the
territory people watch
on average 13.7 hours
of content monthly,
followed by Colombia
and Mexico, with 10 and
9.2 hours, respectively.
Argentina has the
highest reach over the
total population as
regards to this service
(48%), Chile and
Brazil follow the
country on the podium
with 40 and 38
percent, respectively.
In the region while
there are more content
generators, the
benefits for the video
audiences increase.
These users get involve
through more diverse
categories. While there
are more content
generators, benefits
for video audiences
increase. These users
get involved through a
greater number of
categories. Improved
connection speeds and
more powerful devices
with bigger screens are
easing the quick growth
of video, including long
content format.
In addition, IMS and
comScore published
the study Video in
Latin America which
reveals that there are
more people who use
VOD (81%) than free
television (70%),
reflecting a demand for
alternative content in
the territory that it is
constantly growing.
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MARIA ESTRELLA, INTERNATIONAL SALES EXECUTIVE, CARACOL INTERNACIONAL
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Televisin is focused on
producing shows that
have impact in the families. We will do this
thanks to our Series, Telenovelas, Entertainment
Formats, Documentaries,
Clips and Films.
Why do you think that
Caracol is different
from other companies?
Through all the years, Caracol Television has been
distinguished thanks to its
big innovations in the Latin American market and its
pioneering ideas. We are
also known for having develop ambitious and renown stories, that are
made with excellent production values that includes recordings 100%
outside and cinema optics.
We are also exploring the
chance to offer new contents in 4K.
CONTENIDOS
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BARBORA SUSTEROVA, SALES & ACQUISITION DIRECTOR LATIN AMERICA AND IBERIA, ECCHO RIGHTS
We have a privileged
position in the industry
Which are the main
features that distinguish Eccho Rights
from the other
companies?
I believe that we have a
privileged position in the
industry. Not only we have
access to some of the best
Turkish dramas, but we
also distribute important
European content. Having
offices in different strategic locations helps us
to reach our clients in a
more personal way, and
together with the wide
scope of our catalogue,
we can sell our content
more effectively.
How have evolved
the businesses of
Eccho Rights in the
last months?
Eccho Rights is in a very
interesting growth phase.
We represent some of the
most innovative and best
producers around the
globe and are focusing on
launching strong titles
in the best possible way.
For MIPTV we have signed
up Winter Sune, which
is our first series from
Endemol Shine Turkey,
as well as Black Heart
from Aka Film. These are
two great producers,
which we are representing for the first time. As
well as these new titles,
we are hiring staff to ensure the best possible
service for our clients. At
Eccho Rights we constantly look for new part-
The company
has acquired
the first series
from Endemol
Shine Turkey,
Winter Sune.
nerships. Our goal is to
establish relationships
with important producers
all over the world in order
to focus on top titles for
our catalogue.
How important is MIPTV
for the Company?
Which are the main
products for this
edition of the show?
MIPTV is one of the essential markets for us.
Spring is premiere season, especially in Turkey.
Therefore this market
gives us the opportunity
to meet most European
buyers / channels and
present the most recent
additions to our catalogue. Its also a point
when the clients can acquire content for their
autumn season.
How do you find the
current situation
of the content Market?
Which are the main
challenges?
Currently the market is
developing very rapidly, a
lot will change but the
role of strong independent producers has never
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NADAV PALTI, CEO, DORI MEDIA
The company
provides a full
360 package with
marketing activities, and apps.
all regions, we have to be
at MIPTV. Our sales team
from all around the
world, focusing on the
different territories, will
be meeting both current
buyers and new ones in
the market. In addition
MIPTV is a platform for
launching our new
programs and offering
them to our clients.
Which are the main
titles for the new
edition of the show?
El Marginal (13x45') is
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M4E ENTERTAINMENT
Why is MIPTV so
important for the
company?
MIPTV is still a very important market for us because we can introduce
our new shows and give
broadcasters first rating
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CONTENIDOS
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TELEFILMS
holic are brought together by the suicide of a fading porn star. The problem is that the dead girls
aunt is convinced she saw
her niece alive, after the
highly publicized incident.
Babak Najafis London
Has Fallen happens after the British Prime Min-
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FRANCISCO VILLANUEVA, VP, COO, SOMOS DISTRIBUTION
Francisco Villanueva
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@ newslinereport
to enjoying better
television than ever,
they are expecting this
new level of quality in
their viewing content
and are receptive to
diverse stories from
everywhere.
New political
dramas to reinforce its worldwide position.
across the continent
with hundreds of
channels. We know Latin
American consumers are
always seeking out high
quality content to fit all
types of screens and
ways to watch to suit
their busy lives. Of
course home produced
series rate better than
the imported ones but
Our international
drama series, full of
stellar talent both in
front of and behind the
camera, put us in a very
strong position, says
Neylon. The main title
of STUDIOCANAL for
this MIPTV is the eightpart drama Section
Zero, a dark political
sci-fi thriller from
Olivier Marchal,
produced by EuropaCorp Television, Bad
Company and Umedia
for CANAL+.
The Five is an original
drama for Sky 1,
produced by RED
Production Company.
This is the first original
story created by Harlan
Coben, exclusively for
the screen. The Five is
a gripping ten part
thriller starring Tom
Cullen, Geraldine James
and Michael Maloney,
poised to be a not-to-be
missed television event
for Cobens millions of
fans around the world
and will introduce a
completely new audience
to his unparalleled
blend of suspense and
humour.
Produced by Kwa for
CANAL+, Baron Noir is
the epic drama of the
portfolio with the story
of French politician
Philippe Rickwaert who
thirsts for revenge
against his political
enemies. With his career
in a shambles after he
is sacrificed by the
presidential candidate
in order to save his
election; step by step,
Philippe, as deceitful as
he is sincere, plots his
vengeance while
cultivating diverse
friendships from the
police to the criminal
underworld.
Midnight Sun is
thriller from Mrlind &
Stein and produced by
Atlantique Productions
and Nice Drama which
is focussed on a French
police officer who
travels to a small
community in remote
northern Sweden to
investigate the brutal
murder of a French
citizen.
Launched at MIPCOM
2015, The Last
Panthers (6x60'), is
based on real events
inspired by the notorious Balkan jewel
thieves. It was produced
by Frances Haut et
Court TV and the UKs
Warp Films and
commissioned by Sky
Atlantic and CANAL+
with co-production
partner SundanceTV.
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ORF-ENTERPRISE
est (x52') is another Nature & Wildlife documentary about Kalkalpen National Park which was a
commercial timberland
since the Early Middle
Ages. The forest managers stepped down and let
Natures own management team take over.
Some other titles of the
same genre are: Transhumance Europes Last
Nomads (x52'), in which
Europes Last Nomads
show the adventurous as
well as exhausting journey of herdsmen and
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new production of
Gatano Donizettis melancholically romantic
comic opera, presented
for the first time as part
of the St. Margarethen
Opera Festival.
ORF is also launching
Healing Tones (x54') its
Science show. The subject
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