Category: Production House

FremantleMedia increases global production footprint with a new spanish office

MUMBAI: FremantleMedia, one of the largest creators, producers and distributors of television brands in the world, is continuing to grow its global production business by opening a new Spanish office in Madrid and appointing Nathalie Garcia as Chief Executive Officer. Reporting directly to FremantleMedia’s Chief Executive Officer, Cecile Frot-Coutaz, Garcia will be charged with the strategic vision and overall management of the business, as well as developing and producing programming for broadcasters in the market.

FremantleMedia’s Chief Executive Officer, Cecile Frot-Coutaz says: “Having a presence in Spain is an important step in FremantleMedia’s growth strategy for southern Europe. Nathalie’s impressive track record in understanding the Iberian television market and her expertise working with key broadcasters to develop successful originations and local format productions will be invaluable in helping us to gain a foothold in this market, as we seek to broaden our global presence further.”

Nathalie Garcia says: “FremantleMedia has a worldwide reputation as a high quality television producer with an international network of production offices that feed and supply one another. I’m very much looking forward to working with such a global business, helping to build FremantleMedia Espa?a’s operation. I can’t wait to work with local broadcasters on FremantleMedia’s impressive catalogue of brands like Family Feud, Got Talent, The X Factor, Idols and The Price is Right in order to build a 360 degree business that encompasses television and digital.”

Garcia joins FremantleMedia from Plural Entertainment where she was CEO for Spain and Portugal. She is credited with restructuring the business to bring it more in line with market conditions, securing long-term production commitments like Hermano Mayor (Spanish adaptation of french format Le Grand Fr?re) and boosting the novelas production with both original developments and adaptations of formats such as Belmonte (based on Telemundo´s Herederos del Monte).

Before Plural, Garcia was CEO of Notro TV, part of the Vertice 360 Group. Within two years, the company was positioned as one of the main players in Spain, developing local productions including Doctor Mateo – a highly successful local version of the UK series, Doc Martin. As SVP Distribution and Production for Sony Pictures Television International, Garcia opened Sony´s office in the territory, leading the company for 10 years, and launched the production business, getting two series commissioned, including Spain’s first local drama in HD, based up on the Argentinian format Los Simuladores. She began her television career with Telemadrid, negotiating film buying from large multinational companies.

Garcia joins FremantleMedia in March.

February 21, 2014
Fremantlemedia on form with new formats

MUMBAI: Exciting new titles are on their way to MIPTV this year with a range of fresh formats from FremantleMedia. Renowned for enthralling global formats, FremantleMedia are set to provide buyers with even more original and creative ideas for audiences across the world.

Setting pulses racing is the dating show of the future The Love Table, in association with Asahi Broadcasting Corporation. The inventive new show sees the world’s first flat-pack dating machine – a completely interactive, electronic and talking table, that will help singletons to bag themselves a date. With her LED screen the Love Table cheekily reveals more about the girls and guys seated across each other, by hacking into their online profiles and activities. Using the latest technology and social media the Love Table exposes the most intimate details of their lives, helping them to get to know each other and steering them in the right direction in their quest for love. The singletons then push the Love Table’s buttons to highlight the direction of their desires. These electronic arrows of affection are also shown on the Love Table’s screen allowing viewers to see if a match has been made. The Love Table’s fun games and touch screen rounds bring dating shows into a new generation.

Also getting off the blocks is Fittest Family from Animo TV/Kite Entertainment, which sees twelve uber fit and sports mad families compete for the title of the fittest family and a big cash prize. Each episode sees four sporting legends assigned to coach the families and push them to their fitness max. The families compete against one another as they get put through a set of extreme challenges with only the fittest surviving. Currently airing on Irish pubcaster RTÉ One as ‘Ireland’s Fittest Family’, the primetime series is on track, and has become popular viewing as it delivers big numbers in it’s 7.30pm, Saturday slot.

With pens at the ready, a brand new talent show for aspiring writers, Masterpiece, is set to hit the shelves. The series aims to find the next big name in literature and sees contestants compete for the chance to see their first work (whether a novel, a collection of short stories or poetry) printed by a renowned publisher. Contestants are shortlisted through a series of interviews and a critique of previously prepared work, with the chosen few going on to compete in a number of literary challenges that are marked by expert judges. The first episode of Masterpiece on RAI in Italy performed well above the channel average, reaching a 5.14% average share and generated an incredible buzz on social media, with #masterpiece trending overnight.

The medical observational reality format, An Hour to Save Your Life explores in forensic detail the dilemmas and innovations at the frontline of emergency medicine. The moment an emergency call is made, the clock starts ticking – the expert medical attention a patient receives in this first hour is critical, and could mean the difference between life or death. Following specialist clinicians as they respond to the most serious of cases, the series offers a unique insight into the minute-by-minute decisions that are made in the fight for life. Each episode follows the responses to three very different medical emergencies and viewers are able to see the extraordinary drama unfold as critically ill patients are treated with revolutionary new procedures. Exploring the predicaments and advances of emergency care in a way not previously seen on television, An Hour to Save Your Life captures it all.

Finally, it’s never too early to start thinking about Christmas and what better gift than the unique festive competition, The Christmas Light Fight. From the breath-taking to the bonkers, families decorate their homes to the extreme for Christmas in the first competition of its kind for television. Families are chosen based on their previous elaborate Christmas light displays, incredible ornaments and over-the-top designs, as they compete against one another each week to transform their homes for the holidays. The families are whittled down to four finalists, who are then flown to a surprise finale city to compete for a big cash prize.

Rob Clark, Director of Global Entertainment Development, said: “FremantleMedia are constantly striving to find exciting and trendsetting new formats that are accessible worldwide and we are thrilled to bring this great roster of shows to the market. Not only are these formats adaptable but I’m confident that they could be the next big thing! We’re looking forwarding to showcasing them to potential clients in April.”

Visit FremantleMedia at MIPTV 2014 at Stand No. C11.A1 (Croisette 11, Aisle 1), Palais du Festival, 7 – 10 April.

February 20, 2014
Fremantlemedia international renews deal with Ash Atalla’s Roughcut television

MUMBAI: FremantleMedia International (FMI), the global distribution division of FremantleMedia, one of the largest creators, producers and distributors of television entertainment brands in the world, had extended its relationship with indie comedy and comedy drama producer Roughcut Television for a further two years, it announced today.

Under the terms of the deal, FremantleMedia International will continue its co-development relationship with Roughcut TV until at least the end of 2015, allowing FMI to distribute all tape sales from Roughcut’s UK commissions, including Trollied, World’s Craziest Fools, Cuckoo and Anna & Katy. The deal also grants FMI the opportunity to exploit format rights for Roughcut Television’s UK-commissioned title, allowing FremantleMedia’s global network of production offices the chance to produce the shows for local markets.

Bob McCourt, Acting CEO, FremantleMedia International, said, “We couldn’t be happier to renew our relationship with Ash and his team for the next two years. Roughcut TV produces some of the best-known comedies in the UK and they work perfectly for FremantleMedia International’s audiences. We’re looking forward to working together to exploit our back catalogue, as well as work on new titles coming through the pipeline.”

Ash Atalla, founder and Managing Director Roughcut Television added: “FremantleMedia are like the clever and popular mate you never had at school. They speak loads of languages, know the right people all over the world and give you the best advice. I wish I’d met FremantleMedia when I was 15, but this will have to do.”

Established in 2007 by Ash Atalla, Roughcut TV is one of the UK’s fastest growing independent television production companies. Specialising in scripted comedy and entertainment, the production house is best known for producing the multi award winning series’ The Office and The IT Crowd, and enjoyed record-breaking success with the supermarket based sitcom Trollied (Sky 1), which debuted with two million viewers – the highest rating multi-channel comedy launch in British TV history. Other Roughcut titles include the BBC 3 hits Cuckoo – which achieved the channel’s biggest comedy launch when it debuted last year – and World’s Craziest Fools starring Mr. T; sketch show Anna and Katy (Channel 4) and the cult hit mockumentary People Just Do Nothing (BBC 3).

FremantleMedia International will be bringing the second season of Cuckoo to MIPTV this year, starring Hollywood A-lister, Taylor Lautner.

February 20, 2014
Cineflix Rights sells programming worldwide

MUMBAI: Cineflix Rights has inked a number of deals with broadcasters around the world for third-party content, including Windfall Films’ Massive Moves and Frantic Films’ The Opener.

In Europe, RAI Italia went for World War II: The Last Heroes (Impossible Pictures); Plan?te in France snapped up the first two seasons of Massive Moves; and National Geographic Italy got onboard seasons one and two of The Opener.

The first two seasons of The Opener will also be heading to FYI in the US, where Smithsonian picked up season one of Dangerous Flights (Pixcom Productions) and DIY purchased the first season of Massive Moves. Shaw in Canada went for the eighth season of Border Security (Seven Network).

Also in Europe, Sweden’s T4 acquired the first three seasons of Murder She Solved (Force Four Entertainment/Mystique Films) and 1000 Days for the Planet (Glacialis Productions). NTV Germany pitched for The Man Who Doesn’t Breathe (Back2Back Productions), while Ireland’s TV3 procured A Gypsy Life for Me (Daisybeck Productions).

Cinflix Rights also made a 100-hour agreement with Joj Slovakia for the first three seasons of The Cupcake Girls (Force Four Entertainment) as well as season one of Wives with Knives (Indigo Films). I Prima in the Czech Republic picked up 24 hours of programming, including such titles as 101 Things Removed from the Human Body (LMNO Productions) and The Day Kennedy Died (Finestripe Productions).

February 19, 2014
Radaan reports lower numbers in Q3-2014

BENGALURU: The R. Radhikaa Sharathkumar led south Indian television production house Radaan Mediaworks Limited (Radaan) reported Q3-2014 standalone revenue of Rs 7.11 crore, (10.4) per cent lower than the Rs 7.93 crore in Q3-2013 and (3.7) per cent lower than the Rs 7.39 crore q-o-q. In 9M-2013, the company reported a drop in revenue of (5.2) per cent to Rs 23.63 crore from Rs 24.93 crore. For FY 2013, the company reported revenue of Rs 34.19 crore.

The company’s EBIDTA at Rs 0.5479 crore in Q3-2014 was (18.7) per cent lower than the Rs 0.6737 crore in Q3-2013 and was (17.1) per cent lower than the Rs 0.601 crore in Q2-2014. In 9M-2014, its EBIDTA at Rs 1.8031 crore was (16) per cent less than the Rs 2.1478 crore in 9M-2013. For FY 2013, the company’s EBIDTA was Rs 3.0544 crore.

Let us look at the other Q3-2014 figures reported by Radaan

Radaan reported Total expense of Rs 6.72 crore in Q3-2014, which was (9.7) per cent lower than the Rs 7.44 crore in Q3-2013 and was (2.4) per cent lower than the Rs 6.88 crore in Q2-2014. In 9M-2014, the company’s Total expense was down (12.2) per cent to Rs 20.79 crore from Rs 23.67 crore in 9M-2013. In FY 2013, the company’s Total expense was Rs 31.06 crore.

PAT for Q3-2014 was down (34.5) per cent to Rs 0.1255 crore from Rs 0.1943 crore in Q3-2013 and was (37.6) per cent lower than the Rs 0.2010 crore in Q2-2014. Over the nine month period ended 31 December, 2013, Radaan’s PAT was 16.7 per cent more at Rs 0.5094 crore than the Rs 0.4365 crore in 9M-2013. For FY 2013, the company reported PAT of Rs 1.0509 crore.

The company’s expense on Television serials and events (TV cost) at Rs 5.96 crore in Q3-2014 was (1.2) per cent lower than the Rs 6.04 crore in Q3-2013 and 0.7 per cent lower than the Rs 6.01 crore in Q2-2014. In 9M-2014, Radaan’s TV cost at Rs 17.29 crore was 18.2 per cent lower than the Rs 21.14 crore in 9M-2013. For FY 2013, its TV cost was Rs 27.44 crore.

The company’s finance cost in Q3-2014 at Rs 0.27 crore was (8.7) per cent lower than the Rs 0.2958 crore in Q3-2013 and was 12.6 per cent less than the Rs 0.3088 crore in the immediate trailing quarter. In 9M-2014, Radaan’s finance cost was Rs 0.8453 crore, 2.4 per cent more than the Rs 0.8252 crore in 9M-2013. In FY 2013, the company’s finance cost was Rs 1.1284 crore.

Click here for financials

February 19, 2014
Maya Digital Studio announces Motu Patlu Season 3

MUMBAI: Maya Digital Studio in association with Nickelodean announced the launch of the 3rd season of their renowned comic series Motu Patlu. A favorite amongst kids and parents, the new series will be aired from 1stMarch, 2014 onwards at 12:30 noon, 4:30pm and 6:00 pm everyday.

Ketan Mehta, Chairman & Managing Director, Maya Digital Studios, said, “Given the success of Motu Patlu and the roaring TRP, Nickelodeon decided to launch Motu Patlu season 3. We have signed up a new agreement of series of episodes and couple of feature film of 70 minutes”. He further added, “The request for the third season gives us the assurance that we are on right track. It also reinstates the fact that the audience loves Indian animation content, if it is done well. We hope to continue receiving this love from our audience in the 3rd season too”.

Already a phenomenon in India, MotuPatlu is one of kid’s favorite characters and it is the only Indian kids’ show, which is able to compete with the best of the world. Inspired from the characters of Lot Pot Comics, Motu Patlu are lively comic capers that are set in the beautiful city of Furfuri Nagariya and are as similar as chalk and cheese. The awesome twosomes are always on an adventurous expedition and have an uncanny ability to get into tricky situations. The comic duo being the highest TRP gainers will be seen again on Nickelodean channel with all-new slapstick from 1st March onwards.

February 18, 2014
PwC report: content value, retransmission fees to boost E&M deals

MUMBAI: If the new report released by PricewaterhouseCoopers (PwC) comes true, the media and entertainment sector could witness increasingly lucrative retransmission fees and high value for content having key influences on deal activity in the sector.

The value of deals in the US entertainment, media and communications sector in 2013 more than doubled, driven by several “megadeals,” according to PwC’s year-end update.

The deal volume year-to-year was relatively stable, the company reveals in its US Entertainment, Media & Communications Deal Insights report, rising by just three per cent to 866, while deal value soared from $96.2 billion to $222.7 billion.

In broadcasting, deal volume rose from 71 to 87, with deal value soaring from $5.8 billion to $26.3 billion, driven by Comcast’s acquisition of GE’s interest in NBCUniversal. Going forward, deal activity in broadcasting is likely to be influenced by the increasing importance of retransmission revenues, as companies look to broaden their geographic reach.

“PwC is beginning to see increased activity from US government regulators around anti-trust, intra-market media ownership and foreign media ownership regulations, which will likely be another market factor influencing deal volume,” the report says in its broadcasting 2014 outlook.

Cable deal volume was stable at 16, but the value of deals fell year-to-year from $9 billion to $5 billion.

Last year also saw 46 deals in film/content, up from 40, with a value of $0.5 billion, down from $9 billion in 2012. The previous year included Disney’s purchase of Lucasfilm.

On the 2014 outlook for deals in film and content, PwC says, “The rising value of content has started an industry-wide race to acquire it. Buyers continue to look for ways to bridge the value gap and meet the premiums demanded by content providers through attractive deal structures, beneficial tax structuring and contingent consideration. Recent years have seen several major acquisitions of content assets, and despite the drop in deal value in 2013, the ongoing deal activity is likely to continue. Geographic location will hold no bar as U.S. participants look abroad and foreign players look to the United States for a means to acquire and monetize content.”

February 18, 2014
FremantleMedia international expands with creation of FremantleMedia canada

MUMBAI: FremantleMedia International (FMI) has officially announced the creation of FremantleMedia Canada, a Toronto based sales office for its distribution operation. The office will be headed by Susan Hummel, who has recently been hired as Senior Vice President of Distribution and Sales and starts her new position early March.

While FMI has always had a strong presence throughout Canada, the creation of this new sales office in Toronto exemplifies the company’s long term commitment to the market/region. Having a dedicated team on the ground will enable the company to organically grow its business in the highly competitive market across Canada, in both the English and French languages, maintaining the company’s position as a leading global distributor.

Reporting directly to New York-based Lisa Honig, Senior Executive Vice President, FMI, Hummel will lead FMI’s first local distribution office in Canada. She will be responsible for developing and managing strategies to license FremantleMedia content to the various distribution platforms, including traditional broadcasters, pay TV, new media, digital, etc. She will also create local marketing initiatives that will support the sale of key content within the territory.

“It’s a very exciting time at FMI with the company’s larger commitment to the Canadian TV market. While this last year has been one of transition, the result has been an increased focus on investing in both in-house and third party content and development, as well as a re-energized commitment to building our scripted portfolio,” said Lisa Honig, Senior Executive Vice President, FMI. “Canada has always been one of our largest territories for international distribution and having a local team led by Susan is going to help us to build upon on our already solid foundation and growing portfolio of content.”

“I’m proud to be at the forefront of the creation of a larger FMI presence throughout Canada,” said Hummel. “It’s great to be part of the newest FMI office, right from the ground-breaking. I look forward to expanding FMI’s existing relationships across all platforms throughout Canada.”

Hummel comes to FMI from MGM where she most recently served as Senior Vice President of U.S. Basic Cable and Canada Television Distribution based in Toronto. During her time at MGM, Hummel also held positions as the Senior Vice President of North American Television Distribution, as well as the Vice President of Television Distribution for Canada. In addition to her time at MGM, Hummel brings with her experience from the U.S. programming and acquisitions side of the business, having worked at Comedy Central, Nickelodeon and FX.

February 6, 2014
FremantleMedia confirms Holland as second adaptation market for wentworth

MUMBAI: FremantleMedia has confirmed today that Holland will be the second territory to produce a local version of the global Australian hit prison drama Wentworth. Produced by FremantleMedia’s FourOne.Media, the Dutch-language remake, entitled Celblok-H, sees the faithful reproduction of all ten original scripts transported into a Dutch setting. SBS 6 has commissioned the show which will premiere in March 2014.

Based on the successful FremantleMedia Australia series, the compelling and emotional Celblok-H will follow the same gritty story of survival, rivalry, power struggles and unlikely allegiances within a female prison.

Willem Zijlstra, CEO of FourOne.Media commented: “The gripping scripts of Wentworth and the characters that inhabit the correctional institution make compelling stories no matter where they are in the world. It has been a joy to take the original scripts and to see them come to life in a completely new environment. I’ve no doubt that Dutch viewers will be as hooked with the show as audiences all over the world have been.”

The FremantleMedia Australia drama airs on Foxtel Australia and is currently in production for its second season in Melbourne. In January, FremantleMedia Australia and Foxtel announced that a third season of the show had been commissioned – even before season two had aired. The third season of Wentworth is scheduled to go into production in March 2014, shortly after filming on season two had wrapped. The Australian version has attracted international interest and has to date be sold to over twenty markets. At the end of 2013, FremantleMedia announced that Germany would be the first territory to make a local version of the show, with production planned for Berlin in March 2014.

Since launching in Australia in early 2013, this graphic, edgy reboot became the most watched non-sports programme in Australian subscription television history ever; while in the UK, the series became the number one primetime Australian drama in the UK since 2002. Celblok-H will premiere on Monday, March 3rd on SBS 6.

February 4, 2014

BroadcastAsia2014 returns to Singapore

SINGAPORE: BroadcastAisa2014, Asia’s most acclaimed exhibition and knowledge platform for the international broadcasting, film and digital multimedia industry, will return to Marina Bay Sands Singapore from 17 to 20 June 2014. Showcasing the newest innovations and cutting edge technologies, this business event is recognised by industry professionals as the most relevant arena for business networking opportunities. Gather topical knowledge and insights, and get to exchange ideas with leading industry players and thought leaders at the conferences.

ProfessionalAudioTechnology2014, incorporated with BroadcastAsia2014, is an international showcase for professional audio equipment, services and technology. Featuring the latest in professional audio technology and solutions, ProfessionalAudioTechnology draws industry professionals from radio broadcasting, audio production / post-production and live event and entertainment production.

The BroadcastAsia International Conference and Creative Content Production Conference will bring together thought leaders and like-minded professionals from the broadcasting and media arenas to share business strategies for future broadcasting and content production. Visit www.Broadcast-Asia.com for more information.

BroadcastAsia2014 at a glance:

Show:	BroadcastAsia2014 (In conjunction with CommunicAsia2014 and EnterpriseIT2014)
Incorporating:	ProfessionalAudioTechnology2014
Date:	17 – 20 June 2014
Venue:	Marina Bay Sands Singapore
Opening hours:	17 – 19 June: 10.30am – 6pm 20 June: 10.30am – 4pm
Admission:	Business and trade professionals only
Registration:	www.broadcast-asia.com

BroadcastAsia2014 International Conference:

Date:	17 – 20 June 2014
Venue:	Marina Bay Sands Singapore
Admission:	Registered delegates only
Registration:	http://www.broadcast-asia.com/index.php/conference/fees-registration/

The Creative Content Production Conference:

Date:	17 – 20 June 2014
Venue:	Marina Bay Sands Singapore
Admission:	Registered delegates only
Registration:	http://www.broadcast-asia.com/index.php/conference/fees-registration/

February 1, 2014