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Tag: Globo

  • IBC honours Thelma Schoonmaker with top award as Globo and EBU team recognised

    IBC honours Thelma Schoonmaker with top award as Globo and EBU team recognised

    AMSTERDAM: IBC has named legendary editor Thelma Schoonmaker as the recipient of its highest accolade, the International Honour for Excellence. A three-time Oscar winner and lifelong collaborator of Martin Scorsese, Schoonmaker will also appear in a fireside chat at the Rai Amsterdam on 14 September, free for all attendees.

    Two other major honours were announced ahead of the IBC Innovation Awards. Globo will receive the IBC Special Award, recognising a century of media innovation and leadership in Brazil. Meanwhile, a Swiss team from the European Broadcasting Union and HEIG-VD will take home the best technical paper award for groundbreaking research on artificial intelligence in trusted news.

    This year’s awards highlight both sides of the media equation: Schoonmaker’s enduring commitment to the art of editing, Globo’s forward-looking broadcasting strategy, and the EBU-led team’s pioneering work applying AI to journalism. Winners will be formally recognised at the IBC Innovation Awards ceremony on 14 September in Amsterdam.

  • Globo’s ‘Under Pressure’ to air at Toronto Festival

    Globo’s ‘Under Pressure’ to air at Toronto Festival

    MUMBAI: The Globo series ‘Under Pressure’ will make its international debut during the 42nd edition of the Toronto International Film Festival – a renowned film festival held between September 7 and 17 in Toronto, Canada. The first two episodes will be aired at the third edition of Primetime – part of the festival dedicated to international TV productions from several countries, such as Germany, U.S., Brazil and Canada. The event will also feature the series’ art director, Andrucha Waddington, and director Mini Kerti, in addition to Lucas Paraizo, one of the screenwriters.

    Featured as one of Globo’s highlights for the next edition of MIPCOM, ‘Under Pressure’ is an authentic Brazilian series that portrays the dramas and conflicts in the daily lives of a medical staff working in a precarious hospital in the suburbs of Rio de Janeiro. Aired in Brazil since July 25, in Globo’s late prime time, the series is a great hit with audiences, reaching an average of more than 38 million viewers per episode. The plot has also captured online audiences and topped the Social Wit List in July, as one of the most mentioned Latin American premieres on social media, and the third among world productions that premiered this month.

    A co-production between Globo and Conspiração Filmes, Jorge Furtado’s series created by Luiz Noronha, Claudio Torres and Renato Fagundes, based on an original idea by Mini Kerti, who co-writes episodes with Lucas Paraizo, Antonio Prata and Marcio Alemão, the series draws inspiration from the feature film by Andrucha Waddington with the same title. ‘Under Pressure’ shows the everyday life of doctors who must face the harsh reality of a chaotic environment and struggle just to keep patients alive. Intensity is part of the innovative production, which featured recordings made in deactivated areas of a public hospital, guaranteeing even more realism to the story. Real cases researched by Jorge Furtado and the team of screenwriters in the public health system of the city of Rio de Janeiro were the inspiration to such amazing story lines, touching upon extremely relevant social issues, such as abuse, suicide, Aids, and abandonment. The production is also supervised by consulting physician Marcio Maranhão, author of the book “Sob Pressão – A rotina de guerra de um médico brasileiro” (Under Pressure – A Brazilian doctor’s war routine, in a loose translation), which inspired the feature film and the series, ensuring the accuracy of technical and medical elements.

    By featuring ‘Under Pressure’ at the 2017 Toronto International Film Festival, Globo reinforces its long-standing expertise as a major producer of multiplatform content, developing different formats that leverage its creation, production and distribution structure, ultimately expanding its coverage in both the domestic and foreign markets. The Brazilian network has been attending renowned film festivals around the world, such as the recent MIPDrama Screenings, in France, where the series ‘Jailers’ was awarded; Berlinale 2017, in Germany; the 20th Punta del Este international film festival, in Uruguay; the 37th edition of Fantasporto, in Portugal; and the 8th edition of the Series Mania, in France.

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  • Globo’s ‘Merciless’ & ‘The Hunter’ premiere on U.K. & U.S. VoD

    MUMBAI: Globo’s series ‘Merciless’ and ‘The Hunter’ are now part of the Walter Presents VoD service, which is dedicated to foreign drama and comedy in the UK and U.S. The service is part of Channel 4’s online platform. The licensing of the series to the streaming service is part of Globo’s strategy to produce and distribute creative and quality content covering a range of different platforms.

    The Brazilian series are available in the platform in Portuguese language with subtitles in English. Written by award-winner Glória Perez (‘India – a Love Story’ and ‘The Clone’), ‘Merciless’ revolves around the psychopath Edu (Bruno Gagliasso, ‘Rising Sun’), a handsome, smart and articulated man who uses all of his charm to hide his real and dark personality. Responsible for a series of murders that baffle the police, Edu captivates the emotionally unstable Ray (Débora Falabella, ‘Brazil Avenue’), who falls in love with the young man while doesn’t even notice his other side. In the international market, the series has already been licensed in 4K to the Korean group EPG. In addition, SIC, one of Portugal’s largest open TV networks and a large consumer of Globo’s content, has also invested in the show.

    ‘The Hunter’ is a breathtaking 13-episode series that tells the story of André – played by charming actor Cauã Reymond (‘Above Justice’ and ‘Brazil Avenue’) –, a cop who is wrongfully imprisoned. When he gets out of jail, he is driven by a single goal: tracking leads to prove his innocence. He starts working as a bounty hunter after he is kicked out of the force, and his relentless search for the truth in the criminal underworld begins. Packed with action and sensuality, the thriller was broadcast by SIC and boosted the Portuguese network’s ratings by 55 per cent during its premiere.

    Click here to watch the trailer of ‘Merciless’

    Click here to watch the trailer of ‘The Hunter’

  • Globo’s ‘Under Pressure’ portrays docs’ dilemma, premieres with 44 mn Brazilian viewers

    MUMBAI: A genuinely Brazilian and fast-paced medical drama series portraying patient-doctor dramas in a substandard hospital in the suburbs of Rio de Janeiro, ‘Under Pressure’ premiered on Globo’s late prime time on Tuesday, 25 July, reaching the impressive mark of 44 million viewers. Five out of every 10 Brazilian households watching TV were tuned in to Globo. A co-production between Globo and Conspiração, the drama series uncovers the mishaps and intimate conflicts experienced by a medical staff facing the harsh reality of a chaotic environment, struggling to overcome adversity and the lack of resources to keep patients alive.

    With around 75% of the scenes shot at a deactivated ward of a public hospital, the production takes on even greater depth. Series creator Jorge Furtado and his team of writers dove into Rio de Janeiro’s public health system to learn about real-life stories that inspired the episodes. In addition to this extensive on-site research, there were also meetings and talks with physician Marcio Maranhão, author of the book “Sob Pressão – A rotina de guerra de um médico brasileiro” (Under Pressure – a Brazilian doctor’s war routine, in a loose translation), which inspired the plot. Maranhão worked as an adviser in the production, ensuring a perfect match between the technical medical aspects and the actual drama.

    “We gathered real stories that happen every day in Brazilian public hospitals and whose debate is extremely relevant for society. We talk about abuse, suicide, AIDS, disrespect, and neglect, among others,” said Andrucha Waddington, artistic director of ‘Under Pressure’ and of the film with the same name that originated the drama series.

    “One of the strongest aspects of ‘Under Pressure’ is the drama lived by patients. Every day arrive in the hospital ambulances where impressive stories emerge. These people’s personal lives combined with the doctors’ personal issues and their commitment to the patients is what fills the series with its strong dramatic content,” said Jorge Furtado.

    In the drama series, an unlikely relationship between two doctors arises in the midst of this stressful environment: on the one hand, the skeptic Dr. Evandro (Julio Andrade, ‘Above Justice’), chief surgeon of the hospital’s medical team. A professional of incomparable talent, but addicted to work and medications. Depressed, he has not overcome the loss of his wife yet, who died on his shift at the hospital during an emergency surgery. On the other side there is the religious and efficient Dr. Carolina (Marjorie Estiano, ‘Dangerous Liaisons’), a vascular surgeon who resorts to faith seeking the antidote against all the misery she faces every day. As work colleagues, the two of them share a common urge to save lives. And they must find the balance between the hardships of the profession and their personal conflicts to face the reality of an extremely chaotic environment, under constant pressure.

  • Globo’s unreleased superseries featured at MIPDrama Latam

    CANNES: Globo’s unreleased superseries ‘The Days Were Like That’ was among the 10 productions featured at the first edition of MIPDrama Latam Screenings, held on 3 April — day one of the 2017 MIPTV.

    The Wit CEO Virginia Mouseler curated and presented the popular showcase gathering producers, distributors, journalists and international buyers interested in novelties, launches and trends set by the audiovisual industry in Latin America. Globo’s position as a major player in the international market was reinforced by the selection of the series for the event, consolidating the network as a major content producer for audiences across different countries. In line with the social movements erupting across Brazil and the world, the company adopts this dynamic mindset to create, produce and distribute its contents, always betting on innovative themes and unique formats.

    Premiered on 17 April in Brazil, ‘The Days Were Like That’ is set in Rio de Janeiro between the 1970s and 1980s. The plot revolves around the story of a young man and woman who meet and fall in love during the celebrations of Brazil’s third Soccer World Cup championship, in 1970. However, their families’ opposing political values and the unstable scenario in Brazil keep them from living out their love story. The superseries brings fiction and reality together to show how a country’s political context affects the lives, dreams and paths of ordinary people. The production features a star-studded cast with famous Globo actors, such as Sophie Charlotte and Daniel de Oliveira (both from ‘The Party’), Maria Casadevall (‘Trail of Lies’), Antonio Calloni (‘Above Justice’), Cássia Kiss and Susana Vieira (both from ‘Rules of the Game’).

    According to artistic director Carlos Araújo, the backdrop for the series’ main plot transports viewers straight into a period of Brazilian history also experienced by many Latin American countries. “My initial idea was to build a deep historical record of the period in which the plot plays out. From then on, I tried to develop a narrative through which fiction merges with reality. The idea is to make the audience believe the story actually develops in parallel with history,” he said.

    In addition to the Brazilian superseries, MIPDrama Latam Screenings also featured productions from Argentina, Colombia, Mexico and the U.S. The event sought to turn the spotlight onto locally-produced content from a region which has recently been standing out in the creation and distribution of solid and potentially successful audiovisual material for the global market. Globo will be located at the booth P0.A10 during MIPTV

  • Live events boost viewing of TV, but need newer digital technologies

    Live events boost viewing of TV, but need newer digital technologies

    NEW DELHI: It is the live events covered by television that boost ratings and help encourage innovation and establish new services, despite the popularity of on-demand content and the proliferation of over-the-top services.

     

    In fact, television viewership has remained near record levels in part because of the popularity of coverage of big events, said panelists in the session “Cisco Presents: The Transition from Live to Event TV” on the concluding day of the National Association of Broadcasters Show in Las Vegas. 

     

    “The broadband world is growing and people are watching more programmes on demand,” said Globo, CTO & general director of ENG Fernando Bittencourt.

     

    “But in the world of broadcasting, I think the future is live programming. I do not think movies will be in primetime broadcast in the next five or 10 years. People will watch those on demand. … There will be more news, more sports and live content like our tele-novelas that are designed to be watched at a specific time.”

     

    “They drive a lot of viewer and social interaction, but they have also been an important driver for the development of TV Everywhere and authenticated services,” said IDC research manager of consumer markets, video Greg Ireland.

     

    He noted that big events like the Olympic Games have encouraged consumers to set up authenticated apps, making it more likely that they would later use the apps for regular programming.

     

    Cisco Systems, VP & GM of ESBI Charles Stucki said, “Big live events have bigger budgets, so you can have a lot of innovation.” He mentioned the recent Summer and Winter Olympics, from which NBC streamed a record amount of coverage to online and mobile platforms.

     

    This innovation also helped boost the popularity of the linear live broadcast, with NBC posting record ratings for its summer games coverage. During the Winter Olympics, viewers who watched content online tended to watch more live games programming on TV.

     

    But finding the right technologies for the digital applications that viewers increasingly demand with big live events can be challenging.

     

    Globo’s Bittencourt said popular programmes on the Brazilian broadcaster regularly pull in 30 million to 40 million viewers. “If only half of those go to the second screen, it is very difficult for the network to support it.”

     

    Such concerns were highlighted right before the NAB Show, when the HBO Go app went down during the season premiere of its hit series Game of Thrones.

     

    “Consumers now have the expectation that a big event will have a live streaming component, but the experience is not always optimal,” Ireland said.

     

    “A lot of extra engineering has to go into creating and surviving big events that require a lot of additional resources beyond those needed to simply produce live programming,” Stucki explained.

     

    He said Cisco sees a growing number of broadcasters building staff to manage CDNs used for big events, in order to assure the best architecture and redundancy.

     

    The general trend toward IT and IP infrastructures raises additional issues of reliability.

     

    Bittencourt revealed while Globo’s viewers would not tolerate the network going off the air, the quality of online streaming can be quite variable. In addition, the lag between the live broadcast and the mobile stream causes complaints. “During the World Cup, viewers will want to watch the Brazilian games on a TV,” he said. “If they watch on the Internet, they will see the goal 30 seconds after it happens” – after their neighbors have already started celebrating.

     

    But for 4K production, he said that IT and IP technologies would be necessary. “You can’t do that with traditional technologies,” said Bittencourt, adding that Globo planned a test 4K broadcast during the World Cup.

     

    Stucki argued that the growing importance of video on digital platforms, where video traffic now accounts for half of all mobile traffic, is forcing the IT and IP worlds to become more reliable.

     

    “They are starting to figure this out,” Bittencourt agreed. “Right now we have very specific vendors for broadcast and different ones for IT and IP. We have to create a third world where there is a combination of IT and broadcast that would be specific for broadcast to get the high reliability we are used to.”