ITV

Tag: Amazon

  • TV premiere of Daniel Craig’s ‘Spectre’ on 23 October

    TV premiere of Daniel Craig’s ‘Spectre’ on 23 October

    MUMBAI: Movies Now is all geared up to air the television premiere of the Daniel Craig starrer James Bond movie Spectre. With Diwali round the corner, the movie will hit the TV screens on 23 October at 1 pm and a repeat telecast at 9 pm.

    Bond fans are also going to be treated to some prizes which are up for grabs during the premiere with a high-decibel marketing campaign. The channel has designed a four-pronged approach to engage with its audience, focusing on on-air, OOH, on-ground and digital mediums.

    It has roped in multiple partners for the premiere which is presented by Amazon, co presented by Huawei, driven by Ford, partnered by Airtel and in association with Raymond. The Experiential Marketing partner is Barcode.

    “James Bond is one of the most iconic characters from Hollywood and Spectre was one of the highest grossing movies in India in 2015. While all television premieres on Movies Now have always received a phenomenal response from viewers and advertisers, as category leaders we are the going the extra mile for Spectre because Bond holds a very special place in the hearts of Indians. The main focus of our marketing campaign is to reach out to a mass audience, targeting both Bond franchise loyalists and movie enthusiasts. With Spectre, we hope to re-create the same box office magic and success on TV,” said Times Television Network English Entertainment Cluster and Zoom senior vice president and head Vivek Srivastava.

    Besides promoting the premiere on the Times Television Network and various other channels across the Indian TV spectrum, Movies Now has also announced an exclusive In-movie Watch and Win contest. 4 lucky winners stand a chance to win an iPhone 7 each; all that they need to do is give a missed call and answer simple questions based on the movie.

    With a 10 city outdoor campaign across Mumbai, Delhi, Bengaluru, Chennai, Kolkata, Pune, Hyderabad, Cochin, Thiruvananthapuram and Hyderabad, the channel is supplementing this as an on-ground activation across 500 bars, which culminates in a mega-event of 3 simultaneous invite-only Bond-themed Spectre Parties held in Mumbai, Delhi and Bengaluru.

    Continuing with their focus on engaging with the urban youth, the channel’s digital initiatives include a special ‘Which Bond Are You?’ Instagram quiz and a day-long Twitter contest to be held on 23rd October with an iPhone7 and other cool prizes up for grabs.

  • OTT players spend exceeds traditional broadcasters; Netflix weighing Indian content to drive growth

    OTT players spend exceeds traditional broadcasters; Netflix weighing Indian content to drive growth

    MUMBAI: Online platforms such as Amazon and the streaming giant Netflix have ramped up their investment in programming, investing US$ 7.5 billion last year which is more than HBO, Turner and CBS in most countries including Australia and South Korea.

    Netflix invested over twice as much on original programming as the entire Australian TV market, a new report stated. In India, it could look at licensing deals and produce more local language content as it seeks to strengthen its presence here.

    The US-based company, which expanded into over 130 markets, entered India a few months ago and rivals streaming sites or platforms such as Star India’s Hotstar, SonyLiv, YuppTV, Spuul, Ditto TV, Eros Now, and Hungama. All these are betting on growing smartphone and Internet use to drive growth. Netflix could soon be introducing ‘download-and-go’ offline streaming.

    Between 2013 and 2015, Amazon and Netflix doubled their annual investments on programming. In 2013, Amazon spent US$ 1.22 billion, that jumped to US$ 2.67 billion in 2015. In the corresponding period, Netflix investments rose from US$ 2.38 billion to US$ 4.91 billion, a IHS Markit report stated while examining how TV programme producers are adapting to the era of internet TV.

    “Netflix and Amazon investments are only topped by Disney ($11.84 billion) and NBC ($10.27 billion),” said IHS Technology senior principal analyst Tim Westcott,.

    Netflix added over 50 per cent more subscribers than expected in the third quarter as original shows such as “Stranger Things” drew new international viewers and kept US customers despite a price hike, according to FactSet StreetAccount.

    Other online platforms such as China’s Youku Toudu, iQifyi, Tencent and Hulu in the US have also increased their investment in original programming and acquisitions.

    “More and more consumers are watching content online, shaking the foundations of the traditional TV industry,” Westcott said. “However, it’s premature to declare that the era of linear TV is over,” he added.

    Westcott estimated that, in 2015, the US represented 33 per cent of worldwide expenditure on TV programming, with US$ 43 billion invested across free-to-air, pay TV and online.” “Netflix and Amazon, though they are US companies, are now commissioning for multiple territories, so we have treated them as global platforms.”

    The biggest markets in Western Europe were the UK with $10.7 billion, Germany ($7.3 billion), France ($6.6 billion) and Italy ($4.6 billion). “Notably, China is now the second largest market in Asia Pacific, with $8.4 billion invested last year,” Westcott said. Japan is the largest in the region with $9.8 billion, followed by South Korea ($2.6 billion), Australia and India—both on $2.4 billion.

    Netflix considers pouring money into building its stable of licensed and original movies and TV shows. Content spending will rise to $6 billion next year, a $1 billion increase from 2016, its CEO Reed Hastings has said.

    It faces competition from the likes of Amazon and Hulu. Figures released in the World TV Production Report 2016 claim Netflix spent US$ 4.91bn on new programming the last year, compared to Australia’s total market spend of US$2.4bn. Amazon, which may reportedly launch in Australia in a few months, increased its programming investment in 2016 to US$ 2.67bn from US$ 1.22bn in 2015, although far below Disney’s spend of US$ 11.84bn in 2016.

    In India however Netflix has branded itself in the premium bracket and therefore has some disadvantage as far as pricing is concerned. A majorly English language content makes business difficult for Netflix in India. More local language content and licensing deals could help in this context. Netflix, which has not disclosed its subscribers base in India, may need to adopt a localisation strategy for growth in the country.

  • OTT players spend exceeds traditional broadcasters; Netflix weighing Indian content to drive growth

    OTT players spend exceeds traditional broadcasters; Netflix weighing Indian content to drive growth

    MUMBAI: Online platforms such as Amazon and the streaming giant Netflix have ramped up their investment in programming, investing US$ 7.5 billion last year which is more than HBO, Turner and CBS in most countries including Australia and South Korea.

    Netflix invested over twice as much on original programming as the entire Australian TV market, a new report stated. In India, it could look at licensing deals and produce more local language content as it seeks to strengthen its presence here.

    The US-based company, which expanded into over 130 markets, entered India a few months ago and rivals streaming sites or platforms such as Star India’s Hotstar, SonyLiv, YuppTV, Spuul, Ditto TV, Eros Now, and Hungama. All these are betting on growing smartphone and Internet use to drive growth. Netflix could soon be introducing ‘download-and-go’ offline streaming.

    Between 2013 and 2015, Amazon and Netflix doubled their annual investments on programming. In 2013, Amazon spent US$ 1.22 billion, that jumped to US$ 2.67 billion in 2015. In the corresponding period, Netflix investments rose from US$ 2.38 billion to US$ 4.91 billion, a IHS Markit report stated while examining how TV programme producers are adapting to the era of internet TV.

    “Netflix and Amazon investments are only topped by Disney ($11.84 billion) and NBC ($10.27 billion),” said IHS Technology senior principal analyst Tim Westcott,.

    Netflix added over 50 per cent more subscribers than expected in the third quarter as original shows such as “Stranger Things” drew new international viewers and kept US customers despite a price hike, according to FactSet StreetAccount.

    Other online platforms such as China’s Youku Toudu, iQifyi, Tencent and Hulu in the US have also increased their investment in original programming and acquisitions.

    “More and more consumers are watching content online, shaking the foundations of the traditional TV industry,” Westcott said. “However, it’s premature to declare that the era of linear TV is over,” he added.

    Westcott estimated that, in 2015, the US represented 33 per cent of worldwide expenditure on TV programming, with US$ 43 billion invested across free-to-air, pay TV and online.” “Netflix and Amazon, though they are US companies, are now commissioning for multiple territories, so we have treated them as global platforms.”

    The biggest markets in Western Europe were the UK with $10.7 billion, Germany ($7.3 billion), France ($6.6 billion) and Italy ($4.6 billion). “Notably, China is now the second largest market in Asia Pacific, with $8.4 billion invested last year,” Westcott said. Japan is the largest in the region with $9.8 billion, followed by South Korea ($2.6 billion), Australia and India—both on $2.4 billion.

    Netflix considers pouring money into building its stable of licensed and original movies and TV shows. Content spending will rise to $6 billion next year, a $1 billion increase from 2016, its CEO Reed Hastings has said.

    It faces competition from the likes of Amazon and Hulu. Figures released in the World TV Production Report 2016 claim Netflix spent US$ 4.91bn on new programming the last year, compared to Australia’s total market spend of US$2.4bn. Amazon, which may reportedly launch in Australia in a few months, increased its programming investment in 2016 to US$ 2.67bn from US$ 1.22bn in 2015, although far below Disney’s spend of US$ 11.84bn in 2016.

    In India however Netflix has branded itself in the premium bracket and therefore has some disadvantage as far as pricing is concerned. A majorly English language content makes business difficult for Netflix in India. More local language content and licensing deals could help in this context. Netflix, which has not disclosed its subscribers base in India, may need to adopt a localisation strategy for growth in the country.

  • Star, Sony or Etc, BCCI will have the last laugh

    Star, Sony or Etc, BCCI will have the last laugh

    MUMBAI: If you have the set-up, we have the story. If you have the money, we have got the ideas. In spite of all IPL bidders prepared to make the highest bid for the media rights, what are the chances that BCCI may favour the ones who have the infrastructure and wherewithal to give the game maximum and utmost exposure and BCCI the best mileage? A level playing field for IPL broadcast rights bidders is suspect.

    The India digital rights and rest of the world rights are for five IPL seasons each, between 2018 and 2022 and the Indian sub-continent television rights being offered are for 10 IPL seasons (2018 – 2027).

    It is being speculated that broadcasters may have the upper hand in the selection of the winner of IPL media rights. The Board of Control for Cricket in India (BCCI) said it has sold 18 tenders for the IPL rights. However, experts speculate that the tendering process may have been tilted in favour of television broadcasters.

    The row is connected to the format in which bids had to be submitted. The original tenders had specified that separate bids would have to be made for the three buckets into which media rights have been divided — India digital rights, television broadcast rights for the Indian subcontinent, and a third one for international media rights.

    In the new bundled versus separate format, if a single bidder were to quote higher than the sum of individual bidders globally, that bidder could walk away with all the rights. This change will significantly benefit Sony Pictures and Star India one of which may pocket all IPL rights. BCCI changed the bidding pattern and dynamics to permit consolidated bids across digital, TV, and international, the Times of India had reported.

    The probable winners hence could be Sony Pictures or Star India. These two broadcasters only seem to be keen for television broadcast rights, the biggest media rights component. This modification could make it uncertain for international or digital rights bidders to compete for those rights. Crucial interest was shown by Amazon, Twitter, and Reliance Jio, and by ESPN and Sky Sports for digital rights and international rights.

    Sources familiar with the tendering process said that BCCI reserved the right to pick either separate bids or consolidated bid. Bidders were earlier asked to give a separate value for each of the three packages. But, later, bidders were allowed to put in a single figure for all three rights, making it difficult for BCCI to compare consolidated bids against bids for individual rights pieces.

    By permitting TV broadcasters to put in one figure for all three packages, it seems to have nullified the international or digital bidders such as GroupM, Amazon, or ESPN, from being able to bid at par with the established TV broadcasters.

    This could also bring down the number of stakeholders BCCI may have to deal with. The new proposed change will also keep out deals between the BCCI and international broadcasters in key territories.

    Sports broadcast giant Star India and its competitor, Sony Pictures Network, seem to be in neck-and-neck race for television broadcast rights. The latter has been arguing with BCCI that its existing contract grants it the first right of refusal. While SPN enjoyed the telecast rights to Twenty-20 tournament since inception in 2008, Star India has been making inroads into IPL system. SPN has grown the property on television with innovations around language feeds, marketing, and monetising the IPL from a distribution and advertising stand-point. The 2016 edition of the IPL reached nearly 350 million TV viewers in India, a significant boost over 2015’s 200 million viewers thanks to the addition of rural households in the reporting of television viewership.

    Vinit Karnik, business head, ESP Properties, had told Business Standard, that, “It is no longer about the bouquet or distribution. The biggest change in the sports broadcast landscape is that the rights will now be awarded on the basis of production and packaging. When there are only two options, the organiser will go for the one that will present the property in the best way possible. Investments in sports production should increase now.”

    ALSO READ-

    Top court throws out BCCI’s review petition on Lodha recommendations

    18 prospective bidders for IPL Media Rights

  • Star, Sony or Etc, BCCI will have the last laugh

    Star, Sony or Etc, BCCI will have the last laugh

    MUMBAI: If you have the set-up, we have the story. If you have the money, we have got the ideas. In spite of all IPL bidders prepared to make the highest bid for the media rights, what are the chances that BCCI may favour the ones who have the infrastructure and wherewithal to give the game maximum and utmost exposure and BCCI the best mileage? A level playing field for IPL broadcast rights bidders is suspect.

    The India digital rights and rest of the world rights are for five IPL seasons each, between 2018 and 2022 and the Indian sub-continent television rights being offered are for 10 IPL seasons (2018 – 2027).

    It is being speculated that broadcasters may have the upper hand in the selection of the winner of IPL media rights. The Board of Control for Cricket in India (BCCI) said it has sold 18 tenders for the IPL rights. However, experts speculate that the tendering process may have been tilted in favour of television broadcasters.

    The row is connected to the format in which bids had to be submitted. The original tenders had specified that separate bids would have to be made for the three buckets into which media rights have been divided — India digital rights, television broadcast rights for the Indian subcontinent, and a third one for international media rights.

    In the new bundled versus separate format, if a single bidder were to quote higher than the sum of individual bidders globally, that bidder could walk away with all the rights. This change will significantly benefit Sony Pictures and Star India one of which may pocket all IPL rights. BCCI changed the bidding pattern and dynamics to permit consolidated bids across digital, TV, and international, the Times of India had reported.

    The probable winners hence could be Sony Pictures or Star India. These two broadcasters only seem to be keen for television broadcast rights, the biggest media rights component. This modification could make it uncertain for international or digital rights bidders to compete for those rights. Crucial interest was shown by Amazon, Twitter, and Reliance Jio, and by ESPN and Sky Sports for digital rights and international rights.

    Sources familiar with the tendering process said that BCCI reserved the right to pick either separate bids or consolidated bid. Bidders were earlier asked to give a separate value for each of the three packages. But, later, bidders were allowed to put in a single figure for all three rights, making it difficult for BCCI to compare consolidated bids against bids for individual rights pieces.

    By permitting TV broadcasters to put in one figure for all three packages, it seems to have nullified the international or digital bidders such as GroupM, Amazon, or ESPN, from being able to bid at par with the established TV broadcasters.

    This could also bring down the number of stakeholders BCCI may have to deal with. The new proposed change will also keep out deals between the BCCI and international broadcasters in key territories.

    Sports broadcast giant Star India and its competitor, Sony Pictures Network, seem to be in neck-and-neck race for television broadcast rights. The latter has been arguing with BCCI that its existing contract grants it the first right of refusal. While SPN enjoyed the telecast rights to Twenty-20 tournament since inception in 2008, Star India has been making inroads into IPL system. SPN has grown the property on television with innovations around language feeds, marketing, and monetising the IPL from a distribution and advertising stand-point. The 2016 edition of the IPL reached nearly 350 million TV viewers in India, a significant boost over 2015’s 200 million viewers thanks to the addition of rural households in the reporting of television viewership.

    Vinit Karnik, business head, ESP Properties, had told Business Standard, that, “It is no longer about the bouquet or distribution. The biggest change in the sports broadcast landscape is that the rights will now be awarded on the basis of production and packaging. When there are only two options, the organiser will go for the one that will present the property in the best way possible. Investments in sports production should increase now.”

    ALSO READ-

    Top court throws out BCCI’s review petition on Lodha recommendations

    18 prospective bidders for IPL Media Rights

  • MIPCOM: Cyber Group Studios signs deals with broadcasters, digital platforms

    MIPCOM: Cyber Group Studios signs deals with broadcasters, digital platforms

    CANNES: On the heels of MIPCOM Junior, Paris-based producer and distributor Cyber Group Studios continues to establish a strong presence worldwide by signing new agreements with buyers including major broadcasters and digital platforms for more than ten series of its catalogue. Deals cover players such as Netflix (Worldwide), HULU (USA), Amazon (India), SVT and RTVE.

    Cyber Group Studios announced a major deal with Amazon India of more than 300 half hours for the launch this autumn of the digital platform. This deal includes Zorro The Chronicles (26×22’ HD-CGI), Mini-Ninjas (52×11 2D HD-CGI), Ozie Boo (78×7’ + 52×2’ HD CGI), Tales of Tatonka (52×13’ HD-CGI) and the three seasons of ZOU (156×11’ HD-CGI).

    Cyber Group Studios strengthened is presence on digital platforms worldwide with sales to Netflix (The long Long Holiday 5×50′ or 10×26′ HD 2D – CGI), Hulu and Hulu Latino (ZOU156x11’ HD -CGI). In France Cyber Group Studios announces sales of its hit programs ZOU (156×11’ HD -CGI) and Zorro The Chronicles (26×22’ HD-CGI) to key players such asTF1’s TFou Max, Canal Play.

    Cyber Group Studios announced major presales on its new series in production: The Pirates Next Door(52×11′ HD – CGI), a comedy series based on the best-seller by Jonny Duddle. The program has just been launched and presales have already been closed with FranceTélévisions(France), SVT (Sweden), NRK (Norway), ABSvensk(Scandinavia).

    Mirette Investigates (52 x 11‘ 2D-HD), the first traveling detective comedy for kidsproduced for TF1 and Canal + (France), WDR (Germany) and TV3 Catalunya (Spain), has been presold to TeleTOON + (Poland), Minimax (Eastern Europe) and RTS (Switzerland) to join the first pre-buyers VRT (Belgium) and Studios 100 (Germany). Cyber Group Studios is launching the third season of its hit property ZOU (now 156×11’ HD -CGI) produced for Disney EMEA. The new season of the series is now presold toTélé-Quebec (Canada), Daewon(south Korea), RTVE-CLAN (Spain), Amazon (India) in addition to Wekids (Great China).

    At last, Cyber Group Studios announced new sales for its flagship series Zorro The Chronicles: Zorro The Chronicles (26×22’ HD-CGI), produced by Cyber Group Studios in collaboration with Zorro Production International (John Gertz) which has been picked up by a range of new broadcasters such as RTVE (Spain), Kika(Germany) , SVT (Sweden), DR (Denmark), AB Svensk(Scandinavia), Latvian TV(Lithuania), AL Jazeera (Middle East), Thai PBS (Thailand), Daewon (South Korea) and Vietcontent (Vietnam).

    Cyber Group Studios is a French independent multi awarded company which produces and distributes its own and third party audiovisual productions and brand. The company handles programs with strong international appeal targeted to kids and families in particular, 3D CGI and 2D HD, animation products (TV series and movies) targeted at 2-12 years old kids and teens, HD animation series, for “Triple Play” broadcast (web, mobile phones, TV).

  • MIPCOM: Cyber Group Studios signs deals with broadcasters, digital platforms

    MIPCOM: Cyber Group Studios signs deals with broadcasters, digital platforms

    CANNES: On the heels of MIPCOM Junior, Paris-based producer and distributor Cyber Group Studios continues to establish a strong presence worldwide by signing new agreements with buyers including major broadcasters and digital platforms for more than ten series of its catalogue. Deals cover players such as Netflix (Worldwide), HULU (USA), Amazon (India), SVT and RTVE.

    Cyber Group Studios announced a major deal with Amazon India of more than 300 half hours for the launch this autumn of the digital platform. This deal includes Zorro The Chronicles (26×22’ HD-CGI), Mini-Ninjas (52×11 2D HD-CGI), Ozie Boo (78×7’ + 52×2’ HD CGI), Tales of Tatonka (52×13’ HD-CGI) and the three seasons of ZOU (156×11’ HD-CGI).

    Cyber Group Studios strengthened is presence on digital platforms worldwide with sales to Netflix (The long Long Holiday 5×50′ or 10×26′ HD 2D – CGI), Hulu and Hulu Latino (ZOU156x11’ HD -CGI). In France Cyber Group Studios announces sales of its hit programs ZOU (156×11’ HD -CGI) and Zorro The Chronicles (26×22’ HD-CGI) to key players such asTF1’s TFou Max, Canal Play.

    Cyber Group Studios announced major presales on its new series in production: The Pirates Next Door(52×11′ HD – CGI), a comedy series based on the best-seller by Jonny Duddle. The program has just been launched and presales have already been closed with FranceTélévisions(France), SVT (Sweden), NRK (Norway), ABSvensk(Scandinavia).

    Mirette Investigates (52 x 11‘ 2D-HD), the first traveling detective comedy for kidsproduced for TF1 and Canal + (France), WDR (Germany) and TV3 Catalunya (Spain), has been presold to TeleTOON + (Poland), Minimax (Eastern Europe) and RTS (Switzerland) to join the first pre-buyers VRT (Belgium) and Studios 100 (Germany). Cyber Group Studios is launching the third season of its hit property ZOU (now 156×11’ HD -CGI) produced for Disney EMEA. The new season of the series is now presold toTélé-Quebec (Canada), Daewon(south Korea), RTVE-CLAN (Spain), Amazon (India) in addition to Wekids (Great China).

    At last, Cyber Group Studios announced new sales for its flagship series Zorro The Chronicles: Zorro The Chronicles (26×22’ HD-CGI), produced by Cyber Group Studios in collaboration with Zorro Production International (John Gertz) which has been picked up by a range of new broadcasters such as RTVE (Spain), Kika(Germany) , SVT (Sweden), DR (Denmark), AB Svensk(Scandinavia), Latvian TV(Lithuania), AL Jazeera (Middle East), Thai PBS (Thailand), Daewon (South Korea) and Vietcontent (Vietnam).

    Cyber Group Studios is a French independent multi awarded company which produces and distributes its own and third party audiovisual productions and brand. The company handles programs with strong international appeal targeted to kids and families in particular, 3D CGI and 2D HD, animation products (TV series and movies) targeted at 2-12 years old kids and teens, HD animation series, for “Triple Play” broadcast (web, mobile phones, TV).

  • Amazon, UFA Fiction tie up to premiere Deutschland83 on Prime in ’18

    Amazon, UFA Fiction tie up to premiere Deutschland83 on Prime in ’18

    MUMBAI: Amazon and UFA Fiction announced that the sequel to the nationally and internationally award-winning series Deutschland83 will premiere exclusively on Amazon Prime Video in Germany in 2018.

    In addition, all episodes of Deutschland83 are now available for streaming for Prime members in Germany and Austria.

    Created by Anna Winger (Head Writer) and Jörg Winger, and executive produced by Jörg Winger, Sebastian Werninger, and Ulrike Leibfried, the shooting of Deutschland86 will commence in 2017.

    Under the terms of the agreement, RTL Television, which commissioned Deutschland83 in 2014 and aired the first season in autumn 2015, has secured a first-look option for the linear TV rights and expects to air the sequel on German free-to-air television in 2018/2019 after Amazon’s first window.

    FremantleMedia International, the global distribution arm of FremantleMedia, will continue to sell the high-end drama series to broadcasters and streaming services around the world. Season two of the German thriller, will debut in the US on SundanceTV, who will continue as co-production partners in the US, followed by Hulu (US), Channel 4 and Walter Presents (UK), Sundance Channel (Canada), Crave (Canada), Super Ecran (French-speaking Canada), DR (Denmark), YLE (Finland), NRK (Norway), SVT (Sweden), RUV (Iceland), CMore (Scandinavia), RTE (Eire), Canal+ (France), Movistar+ (Spain), Sky Italia (Italy), Paramount (Italy), OTE (Greece), Telenet (Belgium), RTL Klub (Hungary), HRT (Croatia), Hotvision (Israel), Sinema TV (Turkey), with more deals to be announced.

    FremantleMedia International sold the first season, Deutschland83, to 38 broadcasters and SVOD platforms globally, which took the series to over 110 territories worldwide. The series was the first ever German-language drama to have aired on a major US cable channel (SundanceTV) and became the UK’s highest ever rated foreign-language drama launch when it debuted on Channel 4.

    UFA co-CEO Nico Hofmann says, “With this latest collaboration between Amazon, RTL Television, FremantleMedia International and UFA, a long-awaited wish comes true. This latest deal is a milestone in co-production history. It will be resetting standards for the upcoming years.”

    FremantleMedia International CEO Jens Richter says, “Deutschland83 achieved tremendous ratings worldwide and together with our fantastic group of partners we were able to help turn the series into the most successful German drama of our time. The storyline for season two looks to be as thrilling as the first and we’re looking forward to working with Amazon and our distribution partners to accomplish further success.”

    Amazon Prime Video Germany managing director Dr. Christoph Schneider says, “After the Amazon Original You Are Wanted with Matthias Schweighöfer and Michael Bully Herbig’s Bullyparade – Der Film, Deutschland86 is the latest German-made production that will be available exclusively on Prime Video. German series and movies are very important for our Prime members and we are happy to continue to build on our engagement with German production industry and bring great new shows to our customers.”

    RTL Television programming managing director Frank Hoffmann says, “Practically no other German drama series has attracted so much attention or generated so much buzz over the past few years, especially on the international markets. As the rights holder and broadcaster of Deutschland83, it has been our clear goal to ensure that this exceptional UFA Fiction and FremantleMedia International series could continue – and this has now been achieved with a new partner. It goes without saying that we are looking forward to broadcast Deutschland86 free-to-air on RTL Television.”

    The ground-breaking agreement with Amazon Prime also demonstrates the growing success of FremantleMedia’s push into high-end scripted content. In August, Amazon and FremantleMedia International announced that the fantasy drama American Gods will launch exclusively for Prime members in Germany, Austria, UK and Japan in 2017. In September, much acclaimed
    The Young Pope – produced by FremantleMedia’s Wildside for Sky, HBO and Canal Plus – celebrated its world premiere at the Venice Film Festival. At this year’s MIPCOM, the world’s entertainment content market, UFA Fiction will show the two high end drama-series The Same Sky (Director: Oliver Hirschbiegel; Screenwriter: Paula Milne), which joins the line-up of world premiere TV Screenings, and Charité (Director: Sönke Wortmann) which deals with the history of the world famous Berlin hospital.

    Created by Anna Winger and Jörg Winger, Deutschland86 returns three years later and picks up the story of East German Agent Martin Rauch (Jonas Nay) and his compatriots in the Stasi Foreign Intelligence in 1986. Martin has been banished to Africa until Aunt Lenora recruits him to fight for the last gasp of Communism abroad. Set against the backdrop of real events during the last “Summer of Anxiety,” when terrorism raged across Western Europe, Martin’s dark mission takes him to Johannesburg, Tripoli, Paris, West Berlin and finally back to East Berlin, where he is forced to face new realities at home – and to make an impossible decision.

    Deutschland83 was awarded many national and international awards, among them a Grimme Preis, a Goldene Kamera, a Peabody and a Satellite Award. For his role as Martin Rauch, Jonas Nay won a Golden Nymph award at the Festival de Télévision in Monte Carlo, and the German Television Award. Deutschland83 is also nominated for the International Emmy Awards 2016 in the category “Drama Series”. Deutschland86 is a production of UFA Fiction in cooperation with Amazon,FremantleMedia International and UFA Distribution.

  • Amazon, UFA Fiction tie up to premiere Deutschland83 on Prime in ’18

    Amazon, UFA Fiction tie up to premiere Deutschland83 on Prime in ’18

    MUMBAI: Amazon and UFA Fiction announced that the sequel to the nationally and internationally award-winning series Deutschland83 will premiere exclusively on Amazon Prime Video in Germany in 2018.

    In addition, all episodes of Deutschland83 are now available for streaming for Prime members in Germany and Austria.

    Created by Anna Winger (Head Writer) and Jörg Winger, and executive produced by Jörg Winger, Sebastian Werninger, and Ulrike Leibfried, the shooting of Deutschland86 will commence in 2017.

    Under the terms of the agreement, RTL Television, which commissioned Deutschland83 in 2014 and aired the first season in autumn 2015, has secured a first-look option for the linear TV rights and expects to air the sequel on German free-to-air television in 2018/2019 after Amazon’s first window.

    FremantleMedia International, the global distribution arm of FremantleMedia, will continue to sell the high-end drama series to broadcasters and streaming services around the world. Season two of the German thriller, will debut in the US on SundanceTV, who will continue as co-production partners in the US, followed by Hulu (US), Channel 4 and Walter Presents (UK), Sundance Channel (Canada), Crave (Canada), Super Ecran (French-speaking Canada), DR (Denmark), YLE (Finland), NRK (Norway), SVT (Sweden), RUV (Iceland), CMore (Scandinavia), RTE (Eire), Canal+ (France), Movistar+ (Spain), Sky Italia (Italy), Paramount (Italy), OTE (Greece), Telenet (Belgium), RTL Klub (Hungary), HRT (Croatia), Hotvision (Israel), Sinema TV (Turkey), with more deals to be announced.

    FremantleMedia International sold the first season, Deutschland83, to 38 broadcasters and SVOD platforms globally, which took the series to over 110 territories worldwide. The series was the first ever German-language drama to have aired on a major US cable channel (SundanceTV) and became the UK’s highest ever rated foreign-language drama launch when it debuted on Channel 4.

    UFA co-CEO Nico Hofmann says, “With this latest collaboration between Amazon, RTL Television, FremantleMedia International and UFA, a long-awaited wish comes true. This latest deal is a milestone in co-production history. It will be resetting standards for the upcoming years.”

    FremantleMedia International CEO Jens Richter says, “Deutschland83 achieved tremendous ratings worldwide and together with our fantastic group of partners we were able to help turn the series into the most successful German drama of our time. The storyline for season two looks to be as thrilling as the first and we’re looking forward to working with Amazon and our distribution partners to accomplish further success.”

    Amazon Prime Video Germany managing director Dr. Christoph Schneider says, “After the Amazon Original You Are Wanted with Matthias Schweighöfer and Michael Bully Herbig’s Bullyparade – Der Film, Deutschland86 is the latest German-made production that will be available exclusively on Prime Video. German series and movies are very important for our Prime members and we are happy to continue to build on our engagement with German production industry and bring great new shows to our customers.”

    RTL Television programming managing director Frank Hoffmann says, “Practically no other German drama series has attracted so much attention or generated so much buzz over the past few years, especially on the international markets. As the rights holder and broadcaster of Deutschland83, it has been our clear goal to ensure that this exceptional UFA Fiction and FremantleMedia International series could continue – and this has now been achieved with a new partner. It goes without saying that we are looking forward to broadcast Deutschland86 free-to-air on RTL Television.”

    The ground-breaking agreement with Amazon Prime also demonstrates the growing success of FremantleMedia’s push into high-end scripted content. In August, Amazon and FremantleMedia International announced that the fantasy drama American Gods will launch exclusively for Prime members in Germany, Austria, UK and Japan in 2017. In September, much acclaimed
    The Young Pope – produced by FremantleMedia’s Wildside for Sky, HBO and Canal Plus – celebrated its world premiere at the Venice Film Festival. At this year’s MIPCOM, the world’s entertainment content market, UFA Fiction will show the two high end drama-series The Same Sky (Director: Oliver Hirschbiegel; Screenwriter: Paula Milne), which joins the line-up of world premiere TV Screenings, and Charité (Director: Sönke Wortmann) which deals with the history of the world famous Berlin hospital.

    Created by Anna Winger and Jörg Winger, Deutschland86 returns three years later and picks up the story of East German Agent Martin Rauch (Jonas Nay) and his compatriots in the Stasi Foreign Intelligence in 1986. Martin has been banished to Africa until Aunt Lenora recruits him to fight for the last gasp of Communism abroad. Set against the backdrop of real events during the last “Summer of Anxiety,” when terrorism raged across Western Europe, Martin’s dark mission takes him to Johannesburg, Tripoli, Paris, West Berlin and finally back to East Berlin, where he is forced to face new realities at home – and to make an impossible decision.

    Deutschland83 was awarded many national and international awards, among them a Grimme Preis, a Goldene Kamera, a Peabody and a Satellite Award. For his role as Martin Rauch, Jonas Nay won a Golden Nymph award at the Festival de Télévision in Monte Carlo, and the German Television Award. Deutschland83 is also nominated for the International Emmy Awards 2016 in the category “Drama Series”. Deutschland86 is a production of UFA Fiction in cooperation with Amazon,FremantleMedia International and UFA Distribution.

  • AXN targets 30 per cent market share with new shows; sees demand from south India

    AXN targets 30 per cent market share with new shows; sees demand from south India

    MUMBAI: Continuing to establish its Live RED strategy from two ends, ie, product to channel and consumers gratification to characteristics is this English Entertainment channel.

    Sony Pictures Networks’ (SPN) AXN a few months ago launched a new brand positioning with a new look and feel catering to the changing audience taste. With a more intelligent action offering, the channel witnessed better performance from the south of India than the overall market. With 40 per cent viewership share coming from Kerala followed by 36 per cent from Hyderabad, AXN India sees its traction coming from the upwardly mobile young people of 15-35 age group.

    To build upon its familiarity and characters, it has initiated a mixed content proposition consisting of new shows and returning shows with new seasons. It is all geared up to air four new shows starting this weekend in their “Fresh From the US” slot. Two brand new shows that have been added to its library are – Bull and MacGyver whereas the other two are new seasons of cult shows – Supernatural and Elementary.

    From taking various steps for its consumer behaviour association to what it stands for, the channel’s efforts at show and characterisation has worked well. It recently rolled out its HD feed, and has numerous advertisers on board from the automobile and ecommerce categories like Pepperfry, Amazon and eBay.

    “Whenever we launch a new show under this slot, we make sure that the character, show premise and the grade of the show helps building our strategy. We want to cater to both influencers for whom it is about bringing new shows hot from the US and to the adapters community who are easing into the English entertainment space. They not only watch new shows but also see certain old shows right from the beginning. So when we bring fresh shows from the US, they are available throughout the year,” said SPN India executive VP and business head English Entertainment cluster Saurabh Yagnik.

    The channel, which currently has a market share of 18-20 per cent,will continue to back its investments to fulfill its vision to get 30 per cent market share by the end of 2017.

    It might also look at producing local content for the viewers though that will not be the core of their strategy. “International shows will be the core for AXN. The viewers come to us for that,” voiced Yagnik. ” If we get into local programming, what we need to be mindful of is the kind of properties we put in the channel today are on top of the line through the production quality. Whatever we do here, we have to deliver to their values and standards. It could be something going forward.”

    The story of the young and quirky Angus MacGyver, with unconventional problem solving abilities & vast scientific knowledge will be highlighted in MacGyver every Saturday at 11 pm.

    Whereas it’s other new show, Bull will air on Sundays at 11 pm. Brilliant, brash and charming Dr. Jason Bull is not just another psychologist but the ultimate puppet master. He Combines psychology, human intuition and high tech data to win in high-stake trials. The show revolves around the ubersuccessful psychologist and his impeccable style.

    AXN is also raising its entertainment quotient on weekends with brand new seasons of iconic shows at 10 pm. The season 12 of Supernatural will be aired on Saturdays whereas detective Sherlock Holmes and Joan Watson in Elementary season 5, will be seen solving mysterious cases every Sunday.

    “At AXN, our aim is to offer a wide range of shows across genres that provide mind rush, edge-of-the-seat entertainment and desirable characters. FFUS is one such property that gives all three. It also helps in building the English GEC category – Getting to watch new shows in good quality on their TV sets certainly discourages viewers from downloading content. It’s a win-win situation,” concluded Yagnik.