ITV

Tag: MipTV

  • Fremantlemedia makes additions to drama catalogue ahead of MipTV

    Fremantlemedia makes additions to drama catalogue ahead of MipTV

    MUMBAI: Televisioon format owner and distributor FremantleMedia Enterprises (FME) has announced the acquisition of two drama shows which will launch at the television trade event MipTV in April.

    The shows are Love You To Death and The Best Years. They join FME’s expanding drama portfolio.

    The dark, funny Love You To Death stars filmmmaker John Waters Pink Flamingos, Hairspray in his television series debut as the ‘Groom Reaper’. It and tells the twisted, inspired-by-reality tales of spouses who have killed their loved, or not-so-loved ones.

    The series is scheduled later this year in the US on Court TV as ‘Til Death Do Us Part and Global Television in Canada. It will be on offer to buyers worldwide from FME at MipTV for both TV (excluding the US) and DVD (excluding Canada).
    As the ‘Groom Reaper’, Waters guides viewers through bizarre stories and cases of wedded woe, with his trademark wry sense of humour and definite macabre sensibility. Each episode – inspired by true crimes – dramatises the stories of ill-fated husbands and wives and reveals the flaws in what the killers thought was the perfect crime – like in the case of the ‘spend-a-holic’ spouse, who poisoned their other half to claim the life insurance, only to find that the cheque for the poison bounced! In each episode, viewers follow a murderous trail to find out whodunit and will be on the edge of their seats until the very end, as things are not always as they seem.

    The Best Years follows a group of friends through the ups and downs of college life. It’s an insight into the real-life drama that is university – the excitement and pressures that go hand in hand with newfound independence.

    Leaving her foster-home past behind, Samantha Best (Charity Shea) arrives on a scholarship for freshman year at the prestigious Charles University in Boston, MA and sets about finding her feet in the hallowed halls; not to mention finding a whole new set of friends – and ‘frenemies’ – along the way.

    As Samantha learns to juggle academic pressures, the perils of the social scene, friction with roommates and liaisons with lovers, The Best Years will be compulsive viewing as she and this sometimes dysfunctional college family make their way together.

    FME CEO David Ellender says, “We are delighted to add these two unique dramas from Blueprint Entertainment to our burgeoning portfolio of fine scripted entertainment, which we are committed to expanding further throughout 2007. We are thrilled to be launching both Love You To Death and The Best Years at MipTV. This gives broadcasters from around the world the chance to be the first on board with what will be very highly-prized additions to any schedule line-up for 2007.”

  • MipTV’s Milia conference ‘Capture Innovation’ gets 3 industry execs as keynote speakers

    MipTV’s Milia conference ‘Capture Innovation’ gets 3 industry execs as keynote speakers

    MUMBAI: MipTV featuring Milia has announced that three industry executives Joseph Jaffe, Philip Rosedale and Gerhard Zeiler, will be keynote speakers for this year’s conference programme.

    Milia’s 2007 conference programme entitled “Capture Innovation,” will focus on five key themes looking at ‘Trends-in-Television,’ the ‘Explosion of Mobile Media,’ ‘Branding and Marketing 2.0,’ ‘On-Demand Television and Digital Distribution’ and ‘Content 360 and the Future of Media,’ informs an official release.

    Joseph Jaffe president and ‘Chief Interruptor’ of new-age marketing specialists, Crayon L.L.C. and author of the marketing best-seller “Life after the 30-second Spot,” will look at how advertising is evolving in a world ruled by an empowered consumer and a television industry no longer governed solely by the 30-second spot. His speech, entitled “Energize Your Brand: The New Marketing Renaissance,” is part of a new conference track featuring debates between advertising agencies, brands and content industry leaders.

    Philip Rosedale founder and CEO of Linden Lab, the creator of the 3D online digital world phenomenon “Second Life,” will open the ‘Future of Media’ day on 19 April by discussing the next generation of media and how to engage audiences and brands in the a virtual world. The ‘Future of Media’ day will include Content 360 conferences, showcasing new talent along with enabling technologies and creative cross-platform formats, as well as two super panels “TV 2.0 meets Web 2.0” and “Future of Lifestyle Media.”

    Gerhard Zeiler chief executive officer of European entertainment network, RTL Group, will give his “Traditional Media Fights Back” keynote speech on 16 April. A former ‘Mipcom Personality of the Year,’ Gerhard Zeiler will share his vision of how the networks across the world are responding to fragmented media distribution and embracing change.

  • Korean Broadcasting, BBC to back Miptv’s Content 360

    Korean Broadcasting, BBC to back Miptv’s Content 360

    MUMBAI: The Korean Broadcasting Commission (KBC) and the BBC are backing Miptv’s Content 360, the international competition to commission innovative, interactive content and applications for mobile and broadband.

    The event is a part of Miptv featuring Milia, which takes place in Cannes between 16 to 20 April.

    WPP’s OgilvyOne Worldwide is partnering the competition for the first time, alongside returning partner National Film Board of Canada (NFB).

    Content 360 provides the opportunity for international multimedia and application developers to present original ideas which fully exploit the creative potential of new digital platforms and maximise the interaction between audiences and broadcast television. The call for entries is now open, with winners of the competition sharing €100,000 in development funding, asserts an official release.

    KBC director Jinny Kwak said, “DMB has created a whole new culture where people are creating new lifestyles by experiencing completely different forms of broadcasting. At Content 360, KBC hopes to serve as a fresh motivation for new media platforms, such as DMB, to create and develop their own unique content.”

    “The BBC wants to build relationships with the most creative companies out there and together deliver successful services across all new media platforms. This explains our involvement from the inception of the Content 360 competition,” says Jonathan Kingsbury, Head of External Supply, BBC New Media and Technology.

    Milia director Ted Baracos added, “Content 360 brings together the creative ideas and digital applications which are key ingredients in the new multi-platform world. As part of Miptv featuring Milia, it also provides an unparalleled networking and financing opportunity between traditional and new media.”

    Content 360 entrants have time till 9 February to respond to written briefs provided across various categories, each of which has its own specific criteria as established by the event partners.

    KBC will reward the best entry in the cross-platform formats including DMB (mobile TV-centric) category and NFB is offering co-production financing for innovative new forms of socially responsive media. The BBC categories include : localness on bbc.co.uk, children’s content, cross-platform documentary, teenage drama and entertainment, and on-demand participation. OgilvyOne Worldwide has created a cross-media brand marketing category.

    Mint Digital Ltd Tim Morgan said, “Last year’s Content 360 was truly a great opportunity for a creative and technology company like ours to engage the global TV industry. Before Content 360, Mint Digital was a web design company. After Content 360, Mint Digital became a leading provider of social and user-generated web applications with new relationships with broadcasters and producers from around the world.”

    Content 360 finalists will promote their projects during a series of pitching sessions in front of a panel of key decision-makers. The competition winners will be announced on 19 April during the Content 360 zapping show.

    In addition to the pitching competition, Content 360 will focus on creative conferences such as learning from games, impact of virtual reality, tools and platforms enabling user-generated content, video search and social communities, adds the release.

    The Content 360 initiative also includes a dedicated pavilion for networking between digital creators and the international TV industry executives attending the Miptv featuring Milia exhibition.

  • Sesame Workshop promotes Schneiderman to manager of international TV distribution

    Sesame Workshop promotes Schneiderman to manager of international TV distribution

    MUMBAI: Sesame Workshop has promoted Celia Schneiderman to manager international television distribution. Responsible for program sales in Asia, Latin America, Canada, the Caribbean, and in-flight, Schneiderman will report to Sesame Workshop international television distribution vice president Renee Mascara.

    Schneiderman was recently international television distribution coordinator where she oversaw details of the Workshop’s participation at international television trade shows including Mipcom, MipTV, Natpe, LA Screenings and Asia TV Forum. She was responsible for generating sales reports and served as a liaison to the Workshop’s broadcasters.

    “Since joining Sesame Workshop, Celia has demonstrated a deep interest in learning all aspects of international television sales and has developed a strong knowledge of the market that will be an asset to our broadcasters,” said Mascara.

    Previously, Schneiderman was a research specialist at Cushman & Wakefield where she wrote market reports and provided market analysis information. She also served as an advertising service coordinator at Cahners Publishing.

  • ‘With cricket action coming up, Sony has initiatives lined up in the digital space’ : Kaushal Modi – Sony Entertainment Television India head licensing & telephony

    ‘With cricket action coming up, Sony has initiatives lined up in the digital space’ : Kaushal Modi – Sony Entertainment Television India head licensing & telephony

    After establishing its digital platform 2525 with a slew of activities in 2004, Sony India’s 2005 plan was to take it to the next level to turn it into a substantial revenue generating model. To drive the strategies, it needed an experienced hand in this space to head the division. The search ended in Kaushal Modi, who was then a key player in arch rival Star India’s digital strategies. Thus, in February 2005, Modi switched to Sony India in the capacity of head, licensing and telephony.

    Going into the second half 2006, Sony’s game plan now mainly revolves around the game of cricket and Modi is banking on the bonanza to contribute significantly to the growth of his digital activities. “With cricket action coming up, Sony has got lots of initiatives lined up in this space. The action will start ticking from October 2006 onwards. We are still working on our plans,” he says.

    On the licensing front, Modi is exploring new markets and under his leadership, Sony has even entered the arena of format sales. “Sony used to sell its shows in the international markets and was never into selling formats. This year, for the first time, we have tried exploring this space with soaps ‘Kaisa Yeh Pyaar Hai’ and ‘Yeh Meri Life Hai’ and the experiment has generated an encouraging response,” says Modi. And he is betting big on new content platforms such as Video on Demand (VoD) and IPTV to drive the growth in this sphere.

    In an interview with Indiantelevision.com’s Bijoy A K, Modi explains the market scenario, the strategies and the game plan for the year.

    Excerpts:

    This year’s MipTV witnessed the trend of TV producers investing in buying formats as against just broadcasters doing so. Would it make a negative impact on the syndication strategies of broadcasters?
    Yes. Earlier, broadcasters used to drive these activities at MipTV. But, now, the scenario has undergone a change. There are many international format companies, which are very keen on the Indian market. While bigger companies such as Endemol and Fremantle do have direct access to the Indian market through their offices in the country, some of their smaller counterparts — who don’t have direct access to India — depend on markets such as MipTV and Mipcom. This is the international scenario right now.

    Coming to the second part of your question, this trend doesn’t make a difference to our business strategies. We are content aggregators and not content creators. The format owners are never in a position to squeeze money out of their clients. It is up to the broadcaster (buyer) to pick up a format or not.

    Sony has taken its two shows – Kaisa Yeh Pyaar Hai and Yeh Meri Life Hai, which are not game shows – to MipTV in Cannes this year for the purpose of syndication and formatting. How was the experience? Have you struck deals with international companies?
    Earlier, Sony used to sell its shows in the international markets and was never into selling formats. Now, this year, we have kicked off our format syndication activities. We tried exploring this space with soaps Kaisa Yeh Pyaar Hai and Yeh Meri Life Hai and the experiment has generated an encouraging response. We haven’t signed any buyer yet, but there are enquiries from various foreign broadcasters. Some of the Asian and European (Germany and Poland) have expressed interest in the format. They want to recreate the content, giving it a local treatment. The talks are still going on.

    Please comment on the demand for our homegrown properties abroad? Do you keep the international market also in mind, while developing original formats?
    The advent of new technologies is changing the face of the international content syndication market. In the international market, new content platforms including Video on Demand (VOD) and IPTV have been boosting this business segment. The new technology helps the content aggregator to target niche consumer segments, however small in size they are.

    For example, if you have 5000 Indians living in a certain area in Japan and you want to target them with your content, you can do that with the help of these new technologies. Thus, you have a viable business model in hand. This has opened up new markets across the globe.

    Speaking about the potential of Indian properties in the international markets, there is a significant Indian diaspora – though not critical enough to drive the business — supporting the trade. Genre-wise, I would say there is a stress on movies.

    South East Asia has always been the strong traditional market for Indian content. But now, with the advent of new content platforms, Europe and Africa have also started showing interest in our content. European channels such as RTL2 (Germany) have been showing a lot of interest in Indian content. As I mentioned earlier, there is a demand for movies. But, at the same time, some of these European channels now want to try shorter series as well.

    Hence, developing homegrown properties, which can be saleable in the international markets also, sounds a lucrative idea. But, our main focus continues to be India and the strategy has always been to leverage on the original Indian content. For us, the Indian viewer always comes first while conceptualising ideas.

    What will be the size of the content syndication market with regard to Indian television? Please speak on the market dynamics including growth potential and competition.
    It is a highly fragmented market in India and it will be very difficult to put any number to it. Apart from the three or four big players, there are several medium-sized companies and then hundreds of smaller players including sub-brokers. The traditional syndication market is stagnant. New content platforms will drive the business. This will be driving almost 50 per cent of the revenues in the near future.

    Competition is there in all forms, whether it is producers or broadcasters. Speaking about Sony’s content syndication plan, I would say we haven’t yet exploited the segment to the full extent. We have just started. Healthy competition definitely helps. With competition, you have new markets opening up across the globe. Players keep moving, looking for greener pastures.
    ‘The advent of new technologies is changing the face of the international content syndication market‘

    How much does the content syndication business contributes to Sony India’s kitty?
    It is definitely not a topline driver for Sony. It is more of a bottomline driver. Though it contributes a miniscule compared to other revenue streams, it plays a significant role in the total scheme of things. It creates a market value for the channel. It creates added revenue opportunities through an existing property. We have to keep in mind that, here the channel is not making any new investments.

    Speaking about the future potential, content syndication & licensing will contribute well to drive exponential growth.

    Star India recently revamped its short code 7827 and looks very aggressive on its interactive and digital plans. What can we expect from Sony this year in this space?
    With cricket action coming up, Sony has got lots of initiatives lined up in this space. The action will start ticking from October 2006 onwards. We are still working on our plans.

    Speaking about our digital presence, Sony already has a Wap site. But we haven’t been promoting it much since the Wap technology is still in its nascent stage of growth in India. Hence, we haven’t been banking on the Wap site much to drive user downloads. A good percentage of our content download happens through the telecom operator sites. We are also weighing options to launch a mobile voice platform.

    Please elaborate on your digital and wireless strategy
    The entire department has been created to leverage the opportunities this space offers. Sony envisages that, the future is going to be digital. New technologies driven by mobile phones, iPods and other handheld devices will spearhead an exponential growth. The atmosphere is very encouraging since mobile connectivity in the country has really picked up. Keeping the changes in mind, we are closely working to build a digital content bank and making our programming and content available across all the available platforms. The thrust will be on creating a dedicated mobile and internet community.

    Convergence of television and portals appears to be the latest mantra for entertainment. Please elaborate on Sony’s plans and the progress in this segment.
    We have our online presence in setindia.com. To offer content through broadband, we have tied up with SifyMax. This association helps us to offer some of our popular shows such as Fame Gurukul and Indian Idol through broadband. This way, we are able to capitalise on the significance of SifyMax as a popular destination for online content. This is a win-win situation for both of us. We also have content associations with Indiatimes and Tata VSNL.

    How do you plan to leverage Set India’s programming portfolio with the mobile initiatives? Are there plans to make mobisodes out of your popular soaps?
    I would say, the Indian market is yet to see a proper mobisode. The mobisode revolution is still bit away in the horizon as the technology is not yet ready to accommodate it. What we all have been doing is, repurposing our content for mobile phone. And the advantage: you can target different audience segments with various niche products made out of a single programme.

    Globally, most of the mobile companies are getting out of the content sector to focus on their main areas of strength. In India also, should mobile operators have to move out of the content space? Please offer your take on this.
    The international market has been witnessing lots of alignments between content providers and the technology companies. Internationally, we have entertainment companies sticking on to content operations, while technology companies concentrating on the technical aspects. Obviously, you can’t lay your hands on both the businesses because it is difficult to focus on these diverse segments. The same applies to the Indian market as well.

    Are you looking to partner international companies in the digital space? What is your take on the global scenario?
    Sony in talks with some of the players for digital distribution of content and we have already got Jump TV on board in this space. We are in advanced stages of talks with some of the European and US players and an announcement in this regard will be made soon.
    What are the issues that will foster an even faster mobile market growth in India?
    What is critical is creating best practices and formula for the industry. Industry practices should be standardised so that, it will encourage the players to roll out a variety of services. There should be flexibility in pricing. There is huge potential in areas such as voice offerings and subscription services. By working together as a team, we can capitalise on the huge growth potential the space offers.
    Will web streaming as a concept catch up in India?
    Web streaming is yet to catch up in the country because of the bandwidth issues. But, with falling broadband prices, it has got a huge potential to deliver, especially in the area of interactivity. If the government’s bandwidth targets for the fiscal are met, the market would undergo a tremendous change.
  • MipTV reports a marginal rise in attendance

    MipTV reports a marginal rise in attendance

    MUMBAI: The recently concluded television event in Cannes, France MipTV featuring Milia had an attendance of 12,249 participants, compared to 12,163 in 2005.

    Company participation rose to 4,201 from 4,138 last year, while the number of acquisition executives in Cannes was 3,565, a five per cent increase on the 2005 level of 3,393.

    Reed Midem’s television division director Paul Johnson says, “MipTV featuring MILIA 2006 saw a significant rise in the number of companies and executives coming from the digital sector, particularly IPTV, mobile and interactive television specialists. Our figures show that we welcomed some 1,800 companies from the Internet and mobile sectors.

    “Our conference programme and a series of new initiatives such as Content 360 and the International Interactive Emmy Awards, reflect the changes taking place in the industry. MipTV featuring MILIA is not just a television market, it’s a content market.”

    The event had 45 sessions and over 170 speakers. For the first time ever, the conference programme welcomed seven keynote speakers, including AOL chairman and CEO Jonathan Miller, reality television producer Mark Burnett, BBC new media head Ashley Highfield, FremantleMedia’s Gary Carter, Takeshi Natsuno of NTT DoCoMo and Erik Huggers of Microsoft.

    Miller at the event announced that AOL had brought programming originally produced for its Internet video channels and was selling the shows to traditional broadcasters.

    A highlight of MipTV was the inaugural International Interactive Emmy Awards, organised by the International Academy of Television Arts and Sciences and Reed Midem. This is the first time that an Emmy Awards ceremony has taken place outside the US. A gala dinner, hosted by Desperate Housewives star Roger Bart.

    Among the other new initiatives launched in 2006, Content 360 set out to commission innovative content and interactive applications for mobile and broadband. Organised in partnership with the BBC, the Korean Broadcasting Commission and the National Film Board of Canada, Content 360 rewarded six company projects and provided €80,000 of development funding to be divided between the winners.

    For the first time in MipTV’s history, the annual Lifetime Achievement Award was attributed not to an industry individual but to a whole company, in the form of Japanese production powerhouse TOEI. TOEI Company chairman Tan Takaiwa and TOEI Animation chairman Tsutomu Tomari accepted the tribute on behalf of the entire TOEI group.

    Now in its ninth year, the two-day Mipdoc documentary and factual programme screenings, which precede MipTV, saw a 14 per cent rise in participation with 438 companies from 57 countries attending. Production and sales companies sent 1,192 programmes to the digital screening library, of which 769 were appearing at a market for the first time.

  • Indians notch up MipTV success

    Indians notch up MipTV success

    MUMBAI: MipTV, the world’s biggest content marketplace, which ended last week in Cannes, proved to be a very successful one for India’s content creators, distributors and aggregators.

    Some 43 production, broadcasting and mobile phone companies jetted their way down to Cannes to keep a tab on content trends in Europe and globally, buy and sell films, series and formats, find co-production partners and schmooze with the world’s most important players in the TV, animation, film and mobile content sweepstakes.
    The change this time around was that TV producers have invested in buying formats as against just broadcasters doing so. “The power has been weighing heavily in the hands of TV channel programming executives who have been behaving in a high handed manner with TV producers ordering them around as if they were serfs and they – the programmers – the fount of all that is creative,” one of the producers was candid enough to say. “Now with us buying formats, we will also be able to have our say. The times have to change. More power has to come to TV producers’ hands.”
    And mobile players from India aggressively scoured the landscape looking to do deals for video. Among these: Reliance Infocomm, Hungama Mobile, and Cellnext Solutions.

    Almost everyone who attended the market from India went back with a smile on their faces. Krishna Durbha Head of Business and Marketing – Reliance Infocomm Ltd., Applications Solutions Group (India), a panelist at a session on Asian markets, received a standing ovation and was spoken of as one of the more eloquent and candid speakers during the conference programme. Says Durbha: “It’s been a major eye opener for us. We are in the content space for the mobile and I got at least half a dozen leads which will lead to positive results.”

    Sahara Motion Pictures, which took a stand for the first time, was so delighted with the response that it has evinced interest in exhibiting in MipCom as well. “MipTV proved a great platform for us for creating business opportunities,” says Sandeep Bhargava, Chief. Operating Officer, Sahara One Motion Pictures. “We get to meet the who’s who of content in the world in one place and get results.”

    Sony Entertainment Television India, which took a stand, too had a rewarding market. Led by Kaushal Modi on the sales and syndication side, and by programming head Anupama Mandloi on acquisition, the content owner had a very busy market.

    WEG India, Eros and Suman – three other companies that have been attending and exhibiting at MipTV and MipCom for several years now – too had a good market. “Both MipCom and MipTV to be honest are great ways for us to meet, greet and service all our clients at one place,” says Vimal Gupta of the UK based distributor Suman Film.

    Zee TV, which was represented by Deblina Chakrabarty, Parul Chatruvedi and digital head Abhijit Saxena, too, made its mark. While Chakrabarty was sizing up opportunites for content acquisition – though she had a fall from the stairs in the Palais des Festivals and was even taken to hospital – Chatturvedi was exploring how India’s largest network could up its syndication revenues. Saxena – like a lone ranger – moved around in the shadows meeting all and sundry trying to further milk the potential of the 60,000 hours or so of the Zee TV content library, which is currently being digitized by IBM. Watch out for action in this space from Saxena as Zee TV chairman Subhash Chandra is himself driving the digital initiative with Saxena as his lieutenant.

    Star India, which used to have a separate stand until a year and a half ago when it was brought under the umbrella of Hong Kong based centralized syndication arm Fortune Star, too had a sizeable presence. Viren Popley, Ravi Menon and Manju Nair were at the forefront of the Star TV charge. Syndication experts however point out that it would be better if Star India’s Hindi content were not subsumed by the larger interests of Fortune Star’s huge Chinese library. A separate stand with a separate identity for Star India would help it further exploit its syndication potential.

    Other broadcasters who made their way to the market included NDTV (represented by KVL Narayan Rao and I.P. “Baj” Bajpai) and Aaj Tak (CEO G Krishnan).

    The buzz this year from the Indian delegation was centered around the production companies. Optimystix, Contiloe, Miditech, Maverick, Clapstem, AIM Television, UTV, ESP Films were amongst those who made waves. ESP is on the verge of signing a huge deal with a European producer for co-producing a new documentary.

    Sorely missed at MipTV were the two other big players Balaji Telefilms and BAG Films, who, are missing out on several opportunities in the global content marketplace. “Agreed they are more than busy in the domestic marketplace,” says a Cannes veteran. “But not being present internationally means that not many people in the world know you at a time when boundaries between nations are dissolving and cultures are beginning to merge. That is a huge opportunity loss.”

    The animation presence at MipTV came in the shape of Maya, Crest, Toonz Animation, Graphiti Multimedia which continued with their efforts to make themselves better understood by the world at large. And in the process snap up some co-production, original IP deals.

    Indian presence at MipTV:

    Aim Television Pvt. Ltd.
    Broadcast Worldwide Limited
    Cellnext Solutions Limited
    Clapstem Productions
    Color Chips India Limited
    Contiloe Films Pvt Ltd.
    Dawsen Infotech Private Limited
    Dessin Works
    Digikore Studios Limited
    Digimate Productions
    DQ Entertainment Ltd
    Escotoonz Entertainment Pvt Ltd (Subsidiary Of Escosoft Tech)
    ESP Films
    Fortune Star
    Fusion Films Inc. (Part Of Giriraj Group)
    Graphiti Multimedia Pvt Ltd
    HTMT
    I Stylus
    Maverick Productions Pvt. Ltd.
    Maya Entertainment Ltd.
    Miditech Pvt. Ltd.
    New Delhi Television Limited
    Optimystix Entertainment India Pvt. Ltd.
    Oxigen Infovision Pvt. Ltd
    Percept Picture Company Pvt Ltd
    React Media Pvt Ltd
    Sahara One Media And Entertainment Limited
    Sony Entertainment Television India (P) Ltd
    Super Cassettes Industries Limited Aka-T-Series
    Toonz Animation India Pvt. Ltd
    TV Today Network Ltd
    UTV / Hungama TV
    Video Movie International
    Weg India Pictures Pvt Ltd
    Zee Telefilms Limited

  • South Korean service wins interactive Emmy

    South Korean service wins interactive Emmy

    MUMBAI: The International Academy of Television Arts and Sciences (Iatas) has announced the winners for the first International Interactive Emmy Awards.

    This was organised in partnership with Reed Midem, at the television event MipTV in Cannes, France. A channel, an interactive service and a programme from the UK, South Korea and France respectively won the first ever International Interactive Emmy Award in their category. The inaugural Pioneer Prize was presented to AOL chairman and CEO Jonathan Miller, for his contributions to the field of interactive television.

    The award for the best interactive television service went to Hello D, a service provided by CJ CableNet in South Korea. Hello D was the world’s first digital cable broadcasting to succeed in the OCAP. Hello D, a simple and convenient form of interactive digital broadcasting, offers over 100 different channels, 30 high quality audio channels, 21 PPV channels, and a VOD service.

    It is CJ CableNet’s digital cable service that offers a variety of information as well as interactive television. Hello D is Korea’s leading digital broadcasting that centers on high quality, easy navigation, and easy access. CJ CableNet is opening the door to a richer lifestyle and is ushering in a new tomorrow in the digital world.

    The best programme went to France 5’s Cult. It is a daily interactive one-hour live TV show dedicated to urban culture. Hosted by Ray Cokes, Cult targets the 15 to 35 year old demographic and offers a fast-paced anti-conformist show with a never-seen-before-in-France interactivity. Every viewer equipped with a webcam and a high-speed Internet connection could contribute, participate and react live from their homes during and after the show through the website.

    Cult also offers blogging, local news and live video messaging from concert halls using 3G phones. Cult provides an uplifting place for urban young adults and teens where their opinions are taken seriously and interactivity supports multiculturalism.

    Scamp in the UK was voted the best channel. It is the first and only dedicated interactive on-demand kids channel in the UK. Kids can view all their favorite shows back-to-back, work their way through all the episodes of a series or add any show to a personal favorites list with a simple button press. For those who haven’t yet learnt their ABCs, Scamp incorporates easy-to-navigate video walls, linking them to programming through all their favorite characters.

    Parents can also manage their kids’ viewing in the ‘Scamp for Grown Ups’ area, and the unique ‘Time for Bed’ feature automatically schedules 10 minutes of viewing interspersed with time-for-bed messages to help children wind down.

    Iatas president and CEO Bruce Paisner says, “We are proud to be at the forefront of the television industry with these three new International Interactive Emmy Awards”.

    The sold-out black-tie ceremony was attended by over 250 international key-players from the television, Internet and mobile industries including sponsors: AETN, AOL, Bold and Beautiful, Colorchips, Ericcson, Homechoice, Intel, KBS, Open TV and Sky.

    The International Interactive Emmy Awards at Mip TV was the first ever Emmy Awards ceremony held outside the US.

  • Monte-Carlo TV Festival, Eurodata announce Audience Award nominees

    Monte-Carlo TV Festival, Eurodata announce Audience Award nominees

    CANNES: The Monte-Carlo TV Festival and Eurodata TV Worldwide announced at MipTV the nominees for the inaugural International TV Audience Awards. These Awards reward the highest-rated shows in the drama, comedy and telenovela/soap opera categories.

    The Awards will be presented based on the sum of TV ratings across five continents. The nominees are pre-selected among the ten best imported fiction programs in 51 countries, i.e., 2.5 billion potential viewers.

    Nominees for drama are Lost, CSI and Without a Trace; the comedy nominees are Desperate Housewives, Joey and Mr. Bean; and the telenovela/soap nominees are The Bold and the Beautiful from the U.S., Rubi from Mexico and Pasión de Gavilanes from Colombia.

    The winners will be presented at the 46th Monte Carlo Television Festival Awards on 1 July in Monaco.

  • FremantleMedia strikes deals with German broadcasters

    FremantleMedia strikes deals with German broadcasters

    CANNES: The distribution arm of global production company FremantleMedia, Fremantle International Distribution (FID), unveiled at MipTV a diverse range of programme sales to German broadcasters. It was announced by FID managing director David Ellender.

    Ellender said:”We are very pleased to announce this latest raft of sales in Germany. The diversity of our programming translates into broad appeal for the different networks and Veronika Gracher has worked closely with the German broadcasters to ensure that FID can meet their needs. These latest deals are testament to the enduring strength of our factual and drama catalogues.”

    The sales, brokered be FID VP Sales German Speaking Europe & Eastern Europe Veronika Gracher, include the acquisition of Munich: The Real Assassins (1 x 1 hour) by Discovery Europe (German-speaking Europe).

    This documentary looks back at the events of September 1972, when, at the Munich Olympics before the eyes of millions of television viewers, 11 Israeli athletes were murdered by Black September, a radical group within the PLO. It features testimonies never heard before from Mossad agents who carried out Israel’s bloody revenge to reveal the true story behind the most incredible government-sponsored mission in the history of the War on Terror.

    In a further agreement, History of Football: The Beautiful Game (13 x 1 hour) will be broadcast on Germany’s History Channel to coincide with World Cup fever. Narrated by Terrance Stamp, this series tells the definitive story of the game that generates more excitement, passion and wealth across the world than any other sport.

    Other German deals will see crime drama Homicide (55 x 1 hour) will air on AXN, while Sex In The Bush: Australian Animal Attraction (2 x 1 hour) will be seen on Arte (Germany / France). This series combines stunning footage with amazing and sometimes shocking stories from passionate wildlife experts on the subject of courtship and reproduction among the animal kingdom in Australia – where the truth really is stranger than fiction.