Tag: MipTV

  • Discovery Q3 results buoyed by international revenues

    Discovery Q3 results buoyed by international revenues

    MUMBAI: Discovery Communications President/CEO David Zaslaw has been quite clear about what’s going to drive revenues at the company: international expansion. He has stated that more than once and he did so at the industry’s leading get together MipTV in Cannes in 2013. If one goes by the financials for the broadcaster for the third quarter ended 30 September 2013, he seems to be living up to that statement.

     

    Discovery Communications’ international betworks’ revenues climbed 59 per cent to $ 620 million, as advertising revenues were up 127 per cent to $282 million and distribution revenues were up 29 per cent to $322 million. Overall, international revenues almost equaled US domestic revenues which grew a snail like 10 per cent to touch $733 million. Ad revenues grew 12 per cent to account for $383 million of that, while distribution fees went up 10 per cent to touch $329 million.

     

    Overall, Discovery saw a 28 per cent increase in revenues to $ 1,375 million; adjusted OIBDA rose 20 per cent to $ 597 million and net income climbed up by 24 per cent to $ 255 million. And while these numbers were lower than the Q2 2013 of 1,4
    On the international front, distribution revenues, excluding newly acquired businesses, in local currency terms grew 14 per cent mainly from increased subscribers, most notably in Latin America, and from higher rates, particularly in Latin America and Asia Pacific, as well as from additional contributions due to the consolidation of Discovery Japan.

    Zaslav had this to say on the occasion of the results: “As we continue to build new avenues of growth across the more mature US business, the bigger opportunity remains the potential of our international portfolio, where we are diligently applying our targeted investment approach to exploit our unparalleled market position and capitalise on those areas with significant upside from the evolution of pay television and the developing global advertising landscape.”

     

    International advertising revenues, excluding newly acquired businesses, were up 29 per cent in local currency terms, primarily due to increased viewership in Western Europe and higher pricing in Western Europe and Latin America.

     

    “Discovery’s thoughtful investment over the last two decades in securing distribution and establishing relationships with key affiliates, suppliers and advertisers in each market has given us a huge head start internationally. But it’s the additional steps we have taken over the last several years to take advantage of our market position that is driving such strong results today and will allow us to continue to grow even as pay-TV penetration growth begins to slow eventually,” Zaslav added.

     

    Adjusted OIBDA increased 34 per cent to $232 million on a reported basis and was up 17 per cent excluding newly acquired businesses and foreign currency fluctuations, reflecting the 18 per cent revenue growth partially offset by a 19 per cent increase in operating expenses. The higher operating expenses were primarily due to increased content amortisation, personnel costs and marketing expense as well as costs related to consolidating Discovery Japan.

     

    As markets have developed, Discovery Communications has aggressively opened new offices in key countries, like Turkey, the Ukraine and India, to closely connect with an evolving middle class. At the same time, it has established in-house sales functions in markets where the revenue opportunity dictated a more hands-on approach, such as Russia, Colombia and Argentina.

     

    On the content side, the network has increased its programming spend internationally by over 80 per cent since 2010 to capitalise on market opportunities, including broadening the reach of its female flagship, TLC, into over 165 countries, making TLC the most distributed women’s brand in the world from a standing start 24 months ago.
    It has also been expanding the footprint of its successful investigative and forensic channel Invesitgation Discovery (ID) into 150 countries, and expecting to approach 180 countries in the year ahead; or launching the kids network recently across Asia. All in, over the last three years, the network has launched over 60 new feeds and five new languages to satisfy the growing demand for its content, and the strong revenue growth Discovery Communications is delivering currently is certainly due in a large part to the targeted investment.

     

    “While it is certainly difficult to predict how the various international markets will perform going forward, we remain optimistic about our long-term growth prospects, given the platform we have built; the investments we have made and the growth we are delivering today, despite a relatively slow economic climate in many of the countries we operate in. As we continue to invest in our organic growth initiatives, we’re also making significant strides integrating our recent SBS Nordic acquisition. The joint ad sales team we’ve assembled is closing deals in the spot market, while preparing upfront presentations to message during the first quarter that lay out the compelling content offering and value proposition we can deliver to ad clients,” expounded Zaslav.

    Zaslav had in July 2013 downgraded its revenue expectations for the full year from 5.58-5.70 billion to $5.55-5.63 billion, following Discovery said it expected 2013 revenue of $5.55 billion to $5.63 billion, below its previous forecast for $5.58 billion to $5.70 billion. The company blamed unfavorable currency fluctuations and costs from its $1.7 billion acquisition of Scandinavian media company SBS in December 2012, apart from the 20 per cent investment in European sports network Eurosport.

     

    But it is quite likely that it is these very investments which will start adding oodles of revenue and cash to its bottomline going forward. We can only wait to discover if that will happen.

  • MIPCOM SPECIAL IN THE YEAR OF 2013

    MIPCOM SPECIAL IN THE YEAR OF 2013

    Zees DID, Buddha get takers at Mipcom 
    ( 16 October 2013 )
    Curtains come down on Mipcom 2013 
    ( 11 October 2013 )
    Mexico is Country of Honour at Mipcom 2014 
    ( 10 October 2013 )
    Content explosion an opportunity for TV 
    ( 10 October 2013 )
    MIP Digital Fronts to debut at MIPTV 2014 
    ( 10 October 2013 )
    Content distribution revisited 
    ( 10 October 2013 )
    Digital media pips news channels at the post 
    ( 09 October 2013 )
    Zees Buddha wows buyers
    ( 09 October 2013 )
    Desperate Housewives gets an African flavour 
    ( 09 October 2013 )
    Disruptions are a necessary evil
    ( 09 October 2013 )
    Wheres the party tonight?
    ( 08 October 2013 )
    Its a full plate for IndiaCast/Viacom18
    ( 08 October 2013 )
    Facebook making people cling to TV
    ( 08 October 2013 )
    Buyers treated to Koffee with Karan
    ( 07 October 2013 )
    YouTubes just the beginning for AwesomenessTV
    ( 07 October 2013 )
    From television to web on the go
    ( 07 October 2013 )
    Mip Junior puts spotlight on VOD
    ( 07 October 2013 )
    What do buyers want?
    ( 07 October 2013 )
    Koouka wins 2013 Mip Junior International Pitch 
    ( 07 October 2013 )
    Mipcom 2013: Bigger and Better
    ( 07 October 2013 )
    Its Mipcom time again
    ( 05 October 2013 )
    Times TV: Scans Cannes for English flicks 
    ( 02 October 2013 )
    Star gears up for MIPCOM
    ( 02 October 2013 )
    Greymatter to debut at MIPCOM 2013
    ( 30 September 2013 )
    India’s first HD travel channel at MIPCOM 2013
    ( 28 September 2013 )
    Watch out for Hyderabads animation booth at Mipcom
    ( 23 September 2013 )
    IndiaCast/Viacom18 all set for MIPCOM 2013
    ( 21 September 2013 )
    Reliance Entertainment Digital has its eye on English entertainment content
    ( 18 September2013 )

  • MIP Digital Fronts to debut at MIPTV 2014

    MIP Digital Fronts to debut at MIPTV 2014

    CANNES: Reed MIDEM’s closing conference today saw the announcement of ‘Mip Digital Fronts’ at MipTV 2014.

    Effectively, Mip Digital Fronts will be the world’s first international screenings showcasing buyers, producers, distributers, advertisers and strategists from the global TV and digital entertainment ecosystem.

    MipTV 2014 (the 51st annual MipTV) will be held in Cannes from 7-10 April next year whereas the MIP Digital Fronts will be held at the Palais des Festivals on 9 April, 2014.

    With MipTV being the world’s longest running annual television content market, conference and exhibition event, Mip Digital Fronts is estimated to reach over 11,000 international executives from approximately 100 countries, which includes 4,000 buyers, of which 800 will be Video on Demand (VOD) and digital acquisition specialists.

    Significantly, Mip Digital Fronts aims to create the digital entertainment industry’s first true international marketplace for production, distribution and acquisition of high-quality original content produced exclusively for audiences on online web channels and app-based/OTT streaming video platforms.

    Reed Midem director television division Laurine Garaude said: “For 50 years, MipTV has been the global destination to acquire new programmes. As the quality of online video entertainment evolves, the critical mass of audiences and advertisers is being reached, creating a sustainable marketplace for digital online production and distribution.”

    “By introducing ‘Mip Digital Fronts’ at MipTV, we are simultaneously building a market for digital studios, while creating a platform for television and film studios to leverage their digital programming and production assets during the market.”

    ‘MIP Digital Fronts’ was conceived by Reed Midem, following the success of YouTube’s original online content showcase at MipTV 2013.

    It will feature a full-day programme of 45-minute curated screening from world-renowned platforms, digital studios and online channels, and cover all genres of original digital content, including scripted and non-scripted series, shorts, formats, games, animation and content targeting kids and young adults. Additionally, there will be on-stage interviews with producers, creative executives and talents behind the content.
     

  • Mipcom/MipTV reach out to Mumbai’s content community

    Mipcom/MipTV reach out to Mumbai’s content community

    MUMBAI: The Mumbai leg of Reed Midem’s Mipcom and MipTV road show went off like a dream with an attendance from about 80 professionals from the world of television and digital content. It was addressed by Reed Midem international business development director Ted Baracos, Asia sales manager Paul Barbaro and Indian representative (and indiantelevision.com founder & CEO) Anil Wanvari.

     

    The theme like the other two venues was “Can Indian content leave its stamp on the world?” But unlike Delhi and Hyderabad, the attendees were primarily professionals from TV and digital content production, broadcast syndication and distribution.

     

    TV producers were represented by Shyamashish Bhattachharrya, JD Majethia, Sumeet Mittal, Rakesh Paswan, Abhigyan and Mrinal Jha, Sudhir Sharma, Lalit Sharma, Asad Abid, Ram Talkit, Rahul Sarangi and Roopak Saluja. Zee TV, Indiacast, 9XM, Sahara TV, Times Television Network, and Travel XP HD were some of the broadcasters who attended. Independent film producers Imtiaz Barolia and Javed Rahman Khan also attended. Amongst the distributors included Bhupin Chhadva, Yuvamira Dwivedi, Vivek Lath, Ratnakar Kumar, Sanjay Hinduja and Rashmmi Menon.

     

    Rajjat Barjatya, Sandeep Mehra and Ram Seshan made up the digital players. Education companies Educmedia and Laughing Buddha Entertainment Knowledge were in attendance.

     

    Extremely interactive, the two hour seminar had all the constituents expressing their views. Broadcasters expressed that the two markets are a must attend for TV professionals and that the two markets help generate substantial business for content syndication for them. “Indian TV shows command about $350 to $700 per half hour,” said one of the broadcasters. “The sticker price of non-fiction shows is about $1,500 and above,” said another. “Films sell at anywhere from $500 to $15,-20,000 depending on the territory,” said a third.

     

    According to them, Pakistan, Afghanistan, Russian, CIS, Mynamar, Poland, middle east and other east European markets are some of the markets which have taken to Indian content well. Most of the attendees expressed that they would like to see an Indian pavilion come up at MipTV and Mipcom, representing the Indian content creation industry, just like 26 other regions from all over the world are doing, Wanvari said he was in conversation with National Film Development Corporation to set up the pavilion once again this year, while the Animation, VFX, Comic & Gaming Industry of Andhra Pradesh was also in the process of doing the same for this year’s Mipcom from 7-10 October.

     

    Film producer Javed Khan expressed that Mipcom is very conducive to doing co-production deals. He is currently executing a coproduction film with support from Turkey. “We nearly closed one co-production contract at Mipcom three to four years ago,” he said.

     

    Creative professional and producer Rahul Sarangi spoke about a non-fiction format developed by him which is going on the floors in four different countries. “Indian broadcasters were not very accommodating of my paper format,” he says. “So I invested about $40,000 and created a nice trailer and one of the overseas format distributors agreed to license it. It will be seen in several countries very soon. Mipcom and MipTV have really helped me realise my ambitions. Now an Indian broadcaster is negotiating to buy the licence for India.”

     

    The entire room gave a rousing ovation to digital producer Rajjat Barjatya who has generated 1.5 billion views for his 45 odd channels on YouTube. “Indian content can travel and is already travelling through my channels,” he said. “The most popular offering is a video Ba Ba Black sheep which has got 76 odd million views,” he said. “And it is being watched by a German mother and her daughter, an English mother and her son.. it has crossed language and cultural boundaries.”

     

    TV producers stated that they were totally hemmed in by the fact that they did not have the rights to the content they produce, but they would nonetheless like to attend to expand their horizons. Baracos said the Indian case was not unique. He gave the example of UK independent producer organisation Pact. “The UK market was quite similar to India’s as is Japan. The producers lobbied with industry and government to get their rights back again,” said Baracos. “They were successful with a caveat: they would share revenues with broadcasters on sales they achieved. Today, the UK Indies pavilion is generating close to 30 million pounds worth of deals annually. Everyone is happy: the broadcasters, and the producers.”

     

    Barbaro highlighted that it is imperative that India builds a brand for itself at international markets. “Korea has done it over years; China is doing it. India needs to do it,” he said. “Today, their content is traveling all over the world. Yes, the government supports their efforts with funds, but the Indian content community needs to awaken the Indian government about the opportunities available and what other governments are doing to help and propagate their culture – and indirectly generate national economic benefits – through markets such as Mipcom and MipTV.”

  • MipCom, MipTV workshop planned for Hyderabad this evening

    MipCom, MipTV workshop planned for Hyderabad this evening

    MUMBAI: In the words of many a TV sales and acquisition executive. Paris-based Reed Midem’s MipTV, MipCom, Mip Junior, MipFormats, MipCube are absolutely unmissable (if a word like that can be created specially for this purpose).

     

    Close to 12,000 executives from more than 100 countries, 4000 buyers, 2000 plus exhibitors, hundreds of conferences and keynote speeches and interviews featuring industry global TV broadcast, production, creative, distribution, regulatory leaders are what make all of these a must-attend for the TV ecosystem for decades. A delegation of close to 120 TV professionals from India have been attending each of these markets for the past five-six years.

     

    An estimate is that close to three billion euros in transactions emanate from these markets annually as executives buy and sell animation shows, drama series, films, documentaries, non-fiction formats, digital content, explore emerging formats such as ultra HD (these days), paper formats, do co-production deals, and so on.

     

    And to propagate this message further and to connect with India’s vibrant content creation industry, indiantelevision.com CEO and MipTV, MipCom and Midem representative Anil Wanvari has been going on a whistle stop tour covering three of the major broadcast and content ecosystem cities of Delhi, Hyderabad and Mumbai, along with Reed Midem director marketing development Ted Baracos and Asia sales manager Paul Barbaro.

     

    The Delhi-leg of the road show culminated on 22 July and was extremely well attended by a clutch of animation entrepreneurs, documentary producers, broadcasters, digital content creators, distributors, film producers.

     

    Says long time Mipmarkets attendee TigerBells Animation founder Vivek Kalyan: “It was fabulous to have an interaction with Ted, Paul, and Anil and learn how we as content creators can further our prospects globally.”

     

    Adds independent documentary producer Pankaj Saxena: “It’s great that we had such a stimulating workshop. We are looking forward to such future interactions so we can create the right strategy to allow our content to leave a stamp on the world.”

     

    An interaction with close to 100 content creators and distributors is planned for Hyderabad later this evening. And another one for Saturday 27 July at 7 p.m. in Mumbai.

  • “Indian TV programmes have widespread reach and appeal”: Zee TV’s global head syndication Sunita Uchil

    “Indian TV programmes have widespread reach and appeal”: Zee TV’s global head syndication Sunita Uchil

    For the worldwide television industry, Paris-based Reed Midem‘s MipCom and MipTV are akin to what the Festival de Cannes is for global cinema. Both MipTV and Mipcom attract more than 11,000 participants. Each sees the coming together of the world‘s brightest television, animation, format, and audiovisual content creators, buyers and sellers. An estimated one billion euro in transactions – in terms of sales and acquisition of TV shows, formats, feature film and documentary – is estimated to emanate from MipTV which is held in April and MipCom (held in October every year).

    While China, south Korea, Russia and Latin America have been growing by leaps and bounds in terms of programme syndication worldwide and their presence in Cannes‘ Palais des Festivals, India has been moving at a steady pace. At this year‘s MipTV close to 100 participants from India made their presence felt. Some exhibited, some came as buyers to pick up shows and formats, some did co-production deals and some came as sellers to hawk their TV shows and feature films. Viacom18, DQ Entertainment, Shemaroo, Eros, Verria, Maximus Multimedia, were among the big-name players who exhibited. But there were scores of others who came in as participants and bought and sold TV programmes, formats, films, and documentaries.

    The most prominent of the Indian exhibitors has been Zee TV. With an impressive location and display, the company has been a regular exhibitor at Mipcom and MipTV for the most part of this decade; and has been reaping the fruits of its continued participation in terms of growing syndication sales and building its brand globally.

    Indiantelevision.com spoke to Zee TV‘s global head syndication Sunita Uchil to know more about Indian programme syndication worldwide, India‘s presence at Mip, and the benefits that accrue to her company courtesy its Mip outings.

    Excerpts:

    Has demand for Indian content picked up? And what kind of content is attracting maximum attention?

    There definitely is an increasing demand for Indian ‘entertainment‘ content, especially genres such as family dramas, romance and non-fiction. Our syndication strategy (under the Zee Bollyworld umbrella) for the new show launches (Badalte Rishton Ki Dastaan, India‘s Best Dramebaaz, and now more recently DID Supermoms), has been developed keeping in mind the rapidly evolving industry where viewers can access content directly.

    How large is the Indian TV programme and film syndication market internationally? Can you give an estimate on its size? Is this growing and in which markets?

    I cannot comment on the film bit as of now, but Indian TV programs have a widespread reach and appeal. Currently it could be anywhere between US$25-$30mn. Yes, this figure is growing continuously. The recognition that Indian content receives at international markets such as MipTV and MipCom only shows that the demand is increasing globally. Content aggregators and distributors (Americas, Europe) have realised that their audiences are excited to understand more about Indian culture, cuisines, lifestyles etc; and will turn to other platforms like PPV, VOD to access this; with a shift from traditional viewing.

    Can Indian and international co-productions work? Which area – TV, cinema or animation?

    Definitely and in all three forms, Indian technology and skill are on a par with the western markets. We have seen the successful collaborations in the past few years. Growing trends like social media are bringing the world closer. Consumers are getting influenced and watching whatever their friends are watching rather than what the broadcasting networks are promoting.

    Zee Bollyworld itself is offering better customised services like dubbing and subtitling in foreign languages (in order to deliver a superior product) that truly makes it a one-stop shop for Indian entertainment the world over.

    MipTV & Mipcom India rep & indiantelevision.com‘s CEO Anil Wanvari alongside Zee TV‘s global syndication head Sunita Uchil

    How large was your delegation to MipTV this year? 

    We had representation from Europe, Africa, Asia Pacific and the Middle East region this year. Our teams are located in all these regions as well as in the USA now. Our strategy for gaining market intelligence has considerably improved. This has benefited in having a direct resource in the market with better client interaction taking place.

    ‘We are noticing a shift from consumption patterns- from traditional, DTH platforms to VOD, PPV mediums. The increasing importance of social media in influencing consumer tastes and the exposure of international lifestyles is creating a shift towards foreign content with the idea being to ‘try out new things’

    What was your objective from MipTV this year? How did you position yourself differently? Did you introduce any new products or offerings? How was the receptivity to it?

    Zee is the first to create a separate brand umbrella for trading and syndication. In 2012, we had mandated Mumbai based creative agency Young which had created the distinct Zee Bollyworld identity and this concept was well received within trade circles and has been a discernible differentiator for Zee at international content markets. At MipTV 2013, our objective was to leverage and build on this differentiator and to reinforce our positioning – ‘one stop shop for Indian entertainment content‘. We showcased our most successful properties and highlighted our dubbed content to clients.

    Any new ideas of trends you picked up this year from MipTV?

    We are noticing a shift from consumption patterns- from traditional, DTH platforms to VOD, PPV mediums. The increasing importance of social media in influencing consumer tastes and the exposure of international lifestyles is creating a shift towards foreign content with the idea being to ‘try out new things.’

  • SES uses MipTV to drive its Ultra HD Experience

    SES uses MipTV to drive its Ultra HD Experience

    MUMBAI: Satellite operator SES, which has got a fleet of 52 geostationary satellites, has launched SES Ultra HD Experience initiative at MipTV in Cannes which invites content providers and broadcasters to work with SES to support the development of the Ultra HD value chain.

    SES Senior VP Commercial Europe Norbert Hoelzle said, “With manufacturers launching larger and larger TV screens at increasingly affordable prices, consumers expect to receive content with the highest possible picture quality. As a global satellite operator, it is of utmost importance for SES to play a catalytic role and enable the industry to drive the deployment of the Ultra HD ecosystem.

    “The challenge for broadcasters is to access content in Ultra HD. As satellite is the most suitable infrastructure to deliver high resolution pictures to large audiences, SES is well-positioned to support content providers and broadcasters in testing their Ultra HD footage and distributing their content before Ultra HD becomes a commercial reality in the next few years.”

  • How to build and engage TV audiences through Twitter

    How to build and engage TV audiences through Twitter

    CANNES: How do broadcasters mine into the social treasure trove that is Twitter? Twitter’s head of broadcast partnerships UK Dan Biddle attempted to answer this during one of the MipCube’s sessions in MipTV in Cannes.

    He pointed out that Twitter has 200 million users the world over who post about a billion tweets every two and a half days. 60 per cent of these users access twitter using their mobile phones.

    He disclosed that TV works like glue for Twitter citing UK’s example where 40 per cent of tweets are made during prime time and are about TV. “Twitter is the room we watch TV in,” he said with a confident smile. “While hash tag is the campfire around which people tell stories.”

    He cited examples like Dogging Tales – a documentary which covered people who wanted to have anonymous sex. Thanks to the right push, it got some 120 million tweets. The twitter buzz drew viewers to the show like bees to a honey pot who switched on their TV sets almost immediately. Others who could not watch it tuned into it with catch up TV.

    He then narrated the case of Saturday Night Takeaway one of the teams used to post a frozen pose before the kick off. They decided to get viewers to interact with their team and send in what their pose of the week should be. Audiences and followers on Twitter deluged them with poses before the show started.

    He also gave the example of a show Fishfight wherein viewers were given two minutes during a commercial break to send in tweets relating to “what are your prawns eating?” with the hash tag #fishfight to supermarkets. The exercise was to raise awareness of unsustainably fed prawns. Around 16,000 tweets poured in the 120 second window.

    “The effort worked well in making the show engaging,” said Biddle.

    Broadcasters and producers can also take a cue from what ESPN Sports Centre does with instant replays, he said.

    “They clip out key moments of the game and send it out as instant replays. They know users could do it; they decided to beat them to it,” he revealed.

    “It is very engaging for followers. ESPN has also got Ford to put in some money behind it through pre-roll ads and further promote to its own community.”

    Biddle’s believes that broadcasters and producers would do well to programme Twitter as they would programme their channels. “Bear in mind Twitter is the ultimate teaser, not spoiler,” he emphasized.

    “Also take advantage of feedback and amplify it further even if it something you did not expect. There’s opportunity even there if you look at it different.”

    His step by step bible for doing it right is as follows:

    Before the show: Preview clipspredictions and start the talent talking on twitter.

    During the show: Amplify the tweet spot by encouraging polling/voting and playing of games around it. And continue to get the talent tweeting.

    After the show: Have recaps, sneak peeks, reviews and feedback. Reward loyalty and keep the conversation going. Finally, drive audiences to VOD or other pay platforms which can help you monetize your content.

  • Plans for MipCube unveiled

    Plans for MipCube unveiled

    MUMBAI: Creative platform MipCube will have a line-up of events and conferences which includes speakers from Twitter, Warner Bros. and Machinima, a new Brands and Content Masterclass and the inaugural Women in Tech and Media networking breakfast.

    MipCube 2013 will feature innovators in the digital content space. An integral part of MipTV, the world‘s content market, MipCube takes place in Cannes, France from 8-11 April.

    As part of a series of case studies, Twitter UK head of broadcast partnerships Dan Biddle will explore how the future of the micro-blogging site is linked to TV, thanks to its ability to cultivate audiences. MipCube participants will also get an insight into what tomorrow‘s media business will look like in the hands of the new media moguls.

    Content producers Warner Bros. director/producer Kevin Tancharoen and Warner Bros. Digital Distribution head of digital programming and development Lance Sloane will explain how they produced ‘Mortal Kombat: Legacy‘, a split-screen blockbuster which was the most-viewed web series in 2011.

    Experts in the interactive content space will describe how to attract, build, and scale audiences, with contributions from video entertainment network Machinima president, co-founder Philip Debevoise, and 22-year-old entrepreneur Jamal Edwards who is SB.TV Global founder, CEO.

    Cisneros‘ AdsMovil company COO Jorge Rincón will also be on hand to provide a focus on the mobile Hispanic population. Meanwhile branding agency Huge chief strategy officer Gene Liebel, who developed the strategy and built the HBO Go digital platform, will discuss the importance of intuitive design and user interface in encouraging audiences to consume more content.

    In a session on reinventing distribution in the ‘anywhere‘ age, digital media company Base79 founder Ashley MacKenzie, which is YouTube‘s biggest content partner in Europe, will discuss which distribution models exist for professional content creators, and how best to leverage them.

    Underlining the networking opportunities which MipCube offers, a string of matchmaking sessions will involve broadcasters, including Canal + Head of Digital, Fabienne Fourquet; Canada‘s CBC executive director, studio and unscripted content Julie Bristow; brand representatives such as Paolo Bonsignore from Illy Café; and branded content experts such as Victor Knaap of Media Monk.

    A new feature this year is the Brands and Content Masterclass, sponsored by Ogilvy and Mather and in partnership with Hyper Island. The Masterclass will bring together more than 80 executives working in branded entertainment from brands, agencies, production companies, TV networks, digital platforms and social networks. The objectives of this Masterclass are to learn how to create engaging branded entertainment, meet potential partners in this field, and to share best practices from a selection of some of the most successful branded entertainment campaigns.

    The Masterclass will be introduced by Hyper Island CEO Johanna Frelin, and will feature contributions from ITV MD Commercial, Online and Interactive Fru Hazlitt; McLaren Group Brand Director John Allert, and Framestore executive producer Simon Whalley. Other participating brands include Renault and Swarovski, while the Newcast (Publicis), MEC and Havas agencies will also take part. In the following lunch, the 2013 Brand of the Year award will be delivered (succeeding 2012 Heineken and 2011 Amex).

    Another new feature is the Women In Tech and Media Breakfast, during which the challenges women face as they shoot for greater influence in the industry will be discussed. The talents of tomorrow will be showcased in the Content 360 Pitch Competition for transmedia producers and creative agencies, this year sponsored by Russian independent broadcaster CTC Media and telco MTS; the MipCube Lab, an international competition for startups innovating in the TV field; and the TV Hack Day, featuring 15 selected developers and designers who have 48 hours to come up with what might be the next big app. All of the winners plus Brand of the Year will be showcased in the Innovation show.

    MipCube also provides hands-on opportunities through workshops like the YouTube Creators Masterclass for Content Producers, run by Head of YouTube Next Lab EMEA at Google David Ripert or the Social TV Bootcamp, which will provide a live consulting session on strategies to build social TV projects.

    On 7 April, as a preamble to the main event, MipCube Plus will offer a one-day think-tank dedicated to unlocking fresh business opportunities for new content creation, user engagement and monetisation models.

  • MipTV: ITVS to launch two factual series

    MipTV: ITVS to launch two factual series

    MUMBAI: ITVS Global Entertainment (ITVS GE) will debut two new factual series from The Garden at next month’s television trade event MipTV as part of their distribution agreement with the UK-based Indie.

     

    ‘Keeping Britain Alive’ and ‘Baby Makers’ will launch at the market as both finished shows and format.

     

    Keeping Britain Alive is a medical ob doc that tells the story of 24 Hours in the life of the world’s biggest free health care system – the NHS. Using over a hundred camera crews to shoot across Britain in hospitals, doctor’s surgeries, ambulances and helicopters – all captured at and connected by, a specific moment in time. With nothing off limits, it takes a fresh look at everything from life or death emergencies, to controversial topics like plastic surgery and weight loss.

     

    ITVS GE will launch this ob doc as a format titled ‘Keeping Your Nation Alive’ at MipTV. ‘Keeping Britain Alive’ is produced by The Garden for BBC TWO.

     

    ‘Baby Makers: The Fertility Clinic’ is a look at the fertility frontline. With exclusive access to The Hewitt Centre – one of the largest IVF clinics in Britain, the patients are met. Through candid accounts from staff that deal with the endless sperm and egg collections, to patients facing low sperm counts and ticking biological clocks, this documentary reveals the moral minefield of IVF.Baby Makers: The Fertility Clinic is produced by The Garden for BBC FOUR.

     

    ITV Studios Global Entertainment director of global acquisitions and co-productions Ruth Clarke said, “Hot on the heels of The Audience, we are delighted to be unveiling two new shows from The Garden at MIPTV. Known for their ground-breaking and thought-provoking series, we look forward to continuing our partnership with them to represent both of these new factual offerings at the international marketplace.”