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NEWSLINE REPORT

MIPTV 2016

INCOMPANY

STAFF
Year XXV
MIPTV 2016 Edition

Eladio Jareo was appointed as new


Director of TVE, replacing Jos Ramn
Dez, who resigned last February.
Throughout his career, he has been
Director of TVE in Catalonia and Territorial Delegate at RTVE in Catalonia
between 2003 and 2004. He came
back to the position in 2014. For four years, he was also
responsible of kids-shows on TVE.

The Board of Directors of Televisin


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

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.

Stingray Digital Group points Alejandra Olea as Regional Manager for


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

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

Federico Rava was chosen as President at Telefnica Argentina, adding


responsibilities at General Secretary,
Institutional Relationships and Interior Auditory, to the ones we has at
Telefnica and Movistar Argentina as
General Director. In his new role, hell
look for the capitalization of the chance to join the business points of the company with the institutional ones.

Coming from Viacom, Corinna Keller


joins CNN International Comercial as
Vice President of Publicity Sales for
The Americas and from that position
she will supervise the businesses in
The Americas, from Miamis office. She
will work for Petra Malenicka, VP Senior of Publicity Sales for Europe and The Americas, CNN
International Comercial.

Nathascha Rengifo is designated as


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

Since May 3rd, Emmanuelle Namiech


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

Hemisphere Media Group hired the


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

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
ADNOW
www.adnow.com.ar
Printing House
Grfica Pinter
info@graficapinter.com.ar

Editorial Office
Moreno 769 5th floor
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Buenos Aires
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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

Philippe Dauman is the new Executive Director of Viacom

Bruce Tuchman leaves AMC Networks


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

Viacoms Board of Directors picked up the executive as CEO and


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

MIPTV 2016

COVER STORY
JENS RICHTER, CEO, FREMANTLEMEDIA INTERNATIONAL

The biggest challenge is to


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

as a Netflix Original and


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

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-

duction of even more linear channels and OTT


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

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

are more ways to view the


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

COVER STORY

@ newslinereport

MIPTV 2016

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

MIPTV 2016

are also continuously


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

tant countries for the region. In Latin America


and Asia-Pac are also big
territories for us.
Why do you think that
FremantleMedia formats
are so successful in the
territories, regardless
of the region?
There are a couple of reasons that let our shows
succeed all over the world.
The first reason is that we
are deeply connected with
our creative partners. Today we have operations in
31 territories worldwide.
The most recent territory
to be added to our list of
local producers is Israel
where we have acquired
Abot Hamieri, a Israeli
production company. In all
these territories we have
local developments which
often have the elements
needed to work globally
and we at FMI manage to
sell them worldwide. I
strongly believe that in the
future, local platforms
will commission more local content, so in the more
territories we produce,
the stronger we are. The
communication between
all our corporate and
creative areas is one of
the key features that
make our content so
strong. We are very well
connected with the individual markets and are
very much aware of the
need in each territory.
Thats one of the reasons
as to why FremantleMedia produce so many different genres, because
we understand what each
market needs.
We have a great heritage
of big brands. We have
shows like Family Feud
which started in US market in 1976 and is still
going strong. In 2015, the
show was the N1 in syndication television in US.

Main titles to conquer the market


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

The same year we have a


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

a few years there wont be


linear channels, theyll be
called local platforms.
These local platforms will
need more local content,
so we want to work closer
with the local markets.
On the other hand, we
want to be an important
player and partner for the
global OTTs. We want to
sell them more products,
work in co-productions
with them, we want to be
their partner.
A big goal for us, besides
the region, is that we
want to be a home for
great creative talents.
Only with them can we
fulfill our goals of becoming the biggest company on the market. We
want to create more big
brands that have a real
life in tomorrows world.

COVER STORY

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MIPTV 2016

COVER STORY

MIPTV 2016

COVER STORY

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MIPTV 2016

CONTENTS

SOCIAL TV

Changes

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

Fred Graver, Head, TV Creative, Twitter

Facebook and Twitter


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

10

MIPTV 2016

Nicola Mendelsohn, VP, EMEA, Facebook

had users consuming TV


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

report that said that in


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

CONTENIDOS

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MIPTV 2016

11

CONTENTS

Tools that confirm their positions

12

In a few years, and with a diversity of numbers and


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

Fred Graver, Head TV Creative, Twitter, did mention


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

The amount of time spent online is eclipsing the one


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

sumed during the broadcast.


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

MIPTV 2016

The beginning
of a trend

2012 was the year of


second-screen apps.
The first generation of
Social TV apps let the
audience interact with
the content they were
watching. During
those months, the
biggest networks
were developing
specific apps for their
most important
productions, like The
Voice, The Bachelor
and other realities
with a huge impact in
social media.
As the time went by,
the companies
recognized that the
investment for the
development of each
app was too high; and
audiences didnt want
to download an special
app every time.
Productions like
Games of Thrones
and The Walking
Dead were some of
the shows that have
started with the
creation of full
segments - broadcasted right after the
episode - dedicated to
the conversations in
social media. Through
Facebook and
Twitter broadcasters
found the way to get
close to their audience, without such
kind of investments.

CONTENIDOS

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MIPTV 2016

13

CONTENTS
ALEJANDRA MARANO, OPERATIONS DIRECTOR, CONSTRUIR TV

At MIPTV we can monetize


our portfolio
The Argentinean channel is focused on the social side of work culture.
fits the lineal screen and
also increases the nonlineal audience.

Which are the main


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

How have evolved


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

Which are the main


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

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

ue chain through our


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

The chance to show different points of view


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

GRUPO SECUOYA

We are an unrivalled company


The executive joined the
company as a sign of the
effort of the company to
encourage that important area inside the
business model. From
my position, Ill provide
my experience so as to
transform the company
in a key player out of our
boundaries, said Jos
Miguel Barrera. Grupo

14

MIPTV 2016

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

from strategic territories


in America, Asia and
Europe. Well still work
in order to provide our
success to different
countries and to keep in
touch with our partners
in countries like Peru,
USA, Chile and Colombia, explained the executive. Grupo Secuoya is an unrivalled

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

same roof. We are in the


whole audiovisual
chain, added.

Thinking about the future, Barrera assumed


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

CONTENIDOS

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MIPTV 2016

15

CONTENTS
TELEFE

Shows its high quality


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

produced by Telefe and


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

Co-productions
from Latin America
to the whole world.
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-

ma thriller tells the story


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

selves to the kidnapping


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

thriller produced in 4K
UHD, directed by Juan
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).

RAFAEL BARDEM, HEAD OF CONTENT SALES, RTVE

Keeps working on the


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

Which are the main


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

16

MIPTV 2016

How have evolved the


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

PCOM and NATPE. We


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

How do you imagine the


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

in the American and European market. We want


to take advantage of all
the opportunities provided by all the changes on
the way of viewing fiction.

CONTENIDOS

@ newslinereport

MIPTV 2016

17

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

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

Which are the main


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

18

MIPTV 2016

saw the details of the


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

Which were the results


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

IGNACIO SANZ DE ACEDO, CEO HOLA! TV

Our brand is
a synonym of
quality
The number of hours produced by the
company will increase by 10%.
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.

CONTENIDOS

@ newslinereport

MIPTV 2016

19

CONTENTS
MARCELLO COLTRO, EVP, CONTENT DISTRIBUTION, CISNEROS MEDIA

With a reinforced strategy


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

the top viewed


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

scripted and nonscripted formats. The


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

Co-productions that connect cultures

How has evolved


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

20

MIPTV 2016

with The Kitchen;


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

MIPTV is strategically important to Cisneros Media as the event works


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

CONTENIDOS

@ newslinereport

MIPTV 2016

21

CONTENTS
VALERIE CREIGHTON, PRESIDENT, CEO, CANADA MEDIA FUND

Sales abroad increased by 32%


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

of Canada and Canadas


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

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

and Canadian talent continues to make headways


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

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

ers have growing access


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

ALEX LAGOMARSINO, CEO & PARTNER, MEDIABIZ

The deal-maker of the Industry


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

22

MIPTV 2016

we are not ready for the


next step. That is what we
can understand when we
talk with our clients and
main players. MediaBiz is
focused on the business,
it can be in order to
merge companies for
businesses develop-

ments, or launching new


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

will be longer, even more in


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

we have signed deals with


Televisa, Pol-ka and different Russian companies. People dont pay attention to the business,
they just only look for the
entertainment, the creative side of the show. We
want to bring those businesses in US-Hispanic to
Latin America, and from
Latin America to US-Hispanic. MediaBiz see that
US market is looking at
Latin America, paying attention to the different
formats, and companies
they can buy or make a
deal in order to develop a
co-production.

CONTENIDOS

@ newslinereport

MIPTV 2016

23

CONTENTS
RICARDO SCALAMANDR, HEAD OF INTERNATIONAL BUSINESS, GLOBO

We developed 70 productions for


more than 120 countries on 2015

What are your expectations for the new


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

24

MIPTV 2016

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

partners who have


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

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

What will be your


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

and also the sales of


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

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

How are the business


operations evolving?
2015 was very important. We grew more
than 10 percent,
produce a lot of content
and weve sold it to a
lot of countries. We
developed 70 productions for more than 120
countries over the past
year. Globos international area has coproductions, channels

CONTENIDOS

@ newslinereport

MIPTV 2016

25

CONTENTS
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.

With more than 30 in its


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

26

MIPTV 2016

next months. One of our


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

Which are the news for


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

platforms. If we manage
to fit the needs with our
telenovelas and formats
will allow us to increase
our presence in every
territory we are already
established but also to
enter in others where
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.

CONTENIDOS

@ newslinereport

MIPTV 2016

27

CONTENTS
AVI ARMOZA, PRESIDENT, CEO, ARMOZA FORMATS

Changes go faster than


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

28

MIPTV 2016

The company has expanded its scripted


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

How has Armozas


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

How do you find the


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

unique ways of storytelling and to bring innovation to the industry at the


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

CONTENIDOS

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

We want ideas impossible to be


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

The evolution of
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

our content, as we have already done with shows like


Danger Mouse.
Which are the main
goals for 2016?
First, we are always looking for something new. New

innovative and particular


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

ideas that can reach digital audiences who arent


used to lineal channels. We
are looking for fresh and
inspiring ideas for animation, factual and live-action series, with a different narrative concept. We
dont want shows in which
glamour and selfishness
appear as the main feature. CBBC has a great
history in the development
of hard themes and we
are interested in analyzing new concepts that
modify the boundaries of
the segment, with brave
ideas impossible to be
handled by another
broadcaster.

KESHET INTERNATIONAL

Entertainment as it workhorse
The catalog includes 70 properties that attract global audiences.
Keshet International
has a diversified catalog that includes over 70
tried and tested properties that appeal to audiences worldwide, spanning all genres. For this
MIPTV 2016, the company is launching Touch a
cross media brand, TV
and mobile game, based
on a simple and visual
concept 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.

Master Class is the


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

the shows free voting


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

title. This romantic comedy follows the story of a


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

Korea, and tells the story


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

MIPTV 2016

29

CONTENTS
MOBILE ONLINE VIDEO VIEWING

The industry is slowing down


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

30

MIPTV 2016

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

mobile viewing has been


driven by smartphones,
as tablet share has
remained relatively flat

year over year.


However, slowing mobile
growth doesnt mean
growth is stopping, nor
does it indicate a
backslide in the
adoption of mobile
video. Sales of mobile
devices continue to be
strong, and content
companies, service
providers and broadcasters continue to pour
more content into the
mobile ecosystem.
Apple sold more than 48
million of its new iPhone
6s only in the third
quarter of 2015, Virgin
America announced it
would make mobile
Netflix streaming
available on select
flights and Verizon
looked to leverage its
massive wireless

network by launching its


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

CONTENIDOS

Latin America, where 4G


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

@ newslinereport

share of video traffic


can reach 1020
percent of total mobile
video traffic. Music
streaming is gaining
popularity, but functions such as content
caching and offline
playlists reduce the
impact on traffic
growth. The relative
share of traffic
generated by social
networking will have
declined from 15
percent in 2015 to 10
percent by 2021, mainly
as a result of stronger
growth in the video
category. Consumer
preferences are shifting
towards more video and
app-based mobile use
relative to web browsing.
Ericsson ConsumerLab
has found that smartphone viewing continues
to be driven by short
video content, with
around 30 percent
watching user generated content. However,
streaming Video-onDemand (VoD) services
is also increasing, with

20 percent of viewers
now watching longer ondemand content, such
as TV series and movies,
on a smartphone.
For content less than 10
minutes in length,
smaller screens remain
more popular, with
mobile getting 69
percent of the share of
time watched, PCs
getting 65% and
tablets 45%. Connected
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.

MIPTV 2016

31

CONTENTS
MARIA ESTRELLA, INTERNATIONAL SALES EXECUTIVE, CARACOL INTERNACIONAL

We are distinguished for


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

Which are the main


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

32

MIPTV 2016

duction The White Slave.


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

Which are the main


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

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

@ newslinereport

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

been better. I believe that


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

coming to Cannes with


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

MIPTV 2016

33

CONTENTS
NADAV PALTI, CEO, DORI MEDIA

The demand of scripted


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

habits. People are more


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

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

a drama about an excop who entered as


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

34

MIPTV 2016

Which are the main


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

CONTENIDOS

@ newslinereport

CONTRARY TO GLOBAL TRENDS

Free TV still rules in Mexico


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

Half of the population, 52.5


million people,
watch it on a
normal day.

subscribers representing 6% of the total


households in Mexico.
Internet a 30%
penetration and
Broadband is less than

15%. Nowadays the real


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

is a reality, but for high


volume brands that sell
millions of
products, Free TV is,
still, the more efficient
media.

93% have a TV set. The


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

MIPTV 2016

35

CONTENTS
M4E ENTERTAINMENT

Well need to find answers


about how to leverage
our catalogues
At MIPTV 2016,
the company
exhibit its franchise Mia and
Me in order to
meet the needs
of the industry.

How have evolved m4e


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

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

36

MIPTV 2016

results from our new


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

for which we are looking


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

Hans Ulrich Stoef, CEO

Where do you think is


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

that our shows are better


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

CONTENIDOS

@ newslinereport

TELEFILMS

Great names to break


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

after the Civil War, and


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

holic are brought together by the suicide of a fading porn star. The problem is that the dead 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-

ister passed away under


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

leash a terrifying vision


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

PEACE POINT RIGHTS

New 4K Food Series and


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

North American kitchen.


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

who becomes a master


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

follows the adventures of


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

lander Philae reach the


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

37

CONTENTS
FRANCISCO VILLANUEVA, VP, COO, SOMOS DISTRIBUTION

The audience take quality


as a reference

Francisco Villanueva

For the executive, each day,


more and more
content worldwide renowned
content will
replace the
regional hits.

38

MIPTV 2016

How have evolved


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

partners that allow


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

in Latin America and


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

CONTENIDOS

@ newslinereport

KATRINA NEYLON, EVP SALES AND MARKETING, STUDIOCANAL

Our content transcends


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

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

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

The key of its


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

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

MIPTV 2016

39

CONTENTS
ORF-ENTERPRISE

Documentaries and Ultra


HD 4K programs

est (x52') is another Nature & Wildlife documentary about Kalkalpen National Park which was a
commercial timberland
since the Early Middle
Ages. The forest managers stepped down and let
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

which might also be the


rarest animal on earth.
Camus-Oberdorfer says
that one of the companys
main focus area is, more
than ever, the ongoing production of Ultra HD 4K
programs. The executive
highlights the scripted
slate of the company for
MIPTV. Suburbia Women on the Edge (20x48')
is the TV-Series, Comedy.
Five women, whose biggest
challenge so far has been
surviving their daily hourlong luxus shopping tours
burning up their husbands credit cards, are
taken by complete surprise
when suddenly one of them
is divorced by her husband
and thrown out of the
house. Backwood Crimes
(7x90') are ORF-TV Movies in which crime doesnt

music, The Vienna Boys


Choir A Polyphonic
Youth (x45') shows a very
special point of view; from
the perspective of a Choir
Boy, the viewer experiences very closely his daily
life. LElisir dAmore St.
Margarethen Open Air
Opera is the tumultuous

their animals crossing


the Alps, and Turtle
Hero (x52'), about the
Yangtze Softshell turtles,
the largest freshwater
turtles on the planet,

steer clear of the countryside, au contraire, every


movie of the Backwoods
Crimes series tells another thrilling story in another idyll region. Related to

of sound is very much in


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

Nature, Music and


Science are the
main themes
besides TV Movies.

Marion Camus-Oberdorfer, Head of Content


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

40

MIPTV 2016

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

NEWSLINE REPORT

MIPTV 2016

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