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  • ‘We deliver natural history with a powerful brand at a global level’ : National Geographic Wild senior VP, Development Janet Han Vissering

    ‘We deliver natural history with a powerful brand at a global level’ : National Geographic Wild senior VP, Development Janet Han Vissering

    A new entrant in the infotainment space, Nat Geo Wild launched in India last year to cater to the need for high quality wild life and natural history content.

     

    The channel, which is on two DTH platforms, is looking to push distribution with a clear focus on digital. It is also doing an India specific show called Wild India which goes on air next year.

     

    National Geographic Wild senior VP, Development Janet Han Vissering is responsible for commissioning over 250 hours of original programming per year for broadcast in 166 countries, 330 million homes and 34 languages worldwide.

     

    Vissering manages a team to source and develop all original programming for Nat Geo Wild. Previously she was SVP of Strategic Development and Co-finance for seven years. As part of Development, she has been responsible for developing key programmes such as Engineering Connections, Big Bigger Biggest and Animal Autopsy among other highly rated shows.

     

    Prior to acquiring her current position, Vissering served as vice president of International Acquisitions at NGCI from August 1998 to March 2000. She joined NGCI from Discovery Networks International, where she was Head of Program Acquisitions and Development from 1995 to 1998.

     

    In an interview with Indiantelevision.com‘s Ashwin Pinto, Vissering talks about the challenges of creating unique content in an increasingly competitive television environment.

     

    Excerpts:

    What challenges do you face as a content production executive with more lifestyle and entertainment channels launching?
    It is the same challenge in India as it is around the world. The expansion of technology and bandwidth is allowing more channels to live together.

    How do you make programming different?
    My job is made easier as we deliver a channel that serves an audience that is begging for animals and natural history. They want family friendly content.

     

    We deliver natural history with a powerful brand at a global level. That is how we differentiate ourselves. At NGC we deliver by expanding genres like science, adventure, history and exploration.

    In terms of how Nat Geo Wild is programmed and scheduled, is there a difference between India and other countries like Singapore and Malaysia?
    It is independent. It is scheduled differently. We do shows to the viewers‘ choice which are relevant. People in Hong Kong love fish based shows. Here shows on snakes and big cats do really well. People are used to seeing these animals. Indians empathise with shows featuring these animals better. It is easier to identify with Wild even if it is not India specific. The flagship is harder as there are more genres.

     

    We have different genres of wildlife film. We leave it to our regions as to how they schedule to conform to the local needs.

    For Nat Geo Wild, what have been the learnings from NGC?
    You learn logistical things. We also learned the priority of customisation. We know what animals have rated better in each region. We know what animals do not rate. It was a great way for Nat Geo Wild to dip its toes into the water to find out what works and what does not. This is not just from a content basis but also from a logistical point of view. We know what the lead time is in terms of scheduling shoots.

    What response has Nat Geo Wild received in India and globally since launch?
    We are number one in our genre in Hong Kong, Singapore and Malaysia. We also had record ratings in the UK last week. We are a successful young network. In India we are on two DTH platforms – Dish TV and Tata Sky. Our focus is on digital. It is still young days here.
    ‘Nat Geo Wild is programmed & scheduled differently. In India, shows on snakes & big cats do really well. People in Hong Kong, on the other hand, love fish based shows‘

    What is its USP vis-a-vis other channels and shows dedicated to animals and wildlife?
    We have a foundation of scientific, factual research. No other network offers this perspective. Being part of Nat Geo offers us access to many places that other filmmakers do not gain access to. I think that also we feature scientists that are a part of the National geographic Explorer base. Heinrich Sala is a marine biologist and we are making a show on sharks that features his work. Access and scientific research are our USPs.

     

    We have the foundation of all our shows on factual research and science. We are the only network that has this guarantee. We are always about animals and the wild world. The main goal is to bring viewers closer to that natural world.

    Why didn‘t National Geographic launch a show for wildlife earlier?
    We launched the channel as wildlife is only one of many genres that National Geographic Channel has. Wildlife was a small part of their lineup but it consistently delivered ratings. We looked across the market and saw the channel that would meet viewer needs for high quality natural history content. This need was not being met. Viewers want programming that is safe that everybody in their family can watch. They want a channel that will always deliver high quality visuals, information and be a destination channel. We look at launching later as a benefit. We saw what was not there.

    Could you give me an overview of how the production process works at Nat Geo Wild?
    I work out of the DC office. As part of this, we have eight executives that reach out to over 300 production companies around the world. They work with outsourcing ideas. We also have a global website where anybody can actually submit their projects into. I on behalf of Wild meet with the National Geographic team to sift through the best ideas every two weeks. On a monthly basis, we have greenlight meeting with all departmental heads and the head of programming Jeff Daniel. This is where projects are greenlit and put into production.

    Before giving an idea the go ahead, what do you look for?
    I look for a myriad of things. I look for exclusivity. What is the USP? Why are we doing this show now and why are we using this filmmaker? There has to be great cinematic value. The market is competitive. There are a lot of options. I have to give a show that nobody can do anywhere else. This is key for me. Our shows are shot 100 per cent in HD.

    How much research goes into making a successful show like Engineering Connections on NGC?
    This is a show that I really pushed for. It involved a UK star Richard Hammond. He has passion for engineering. What we wanted to do was show all collections of how a guitar vibrating in a room can relate to an oil platform. The show builds a bridge between different subject matters. It took over a year to do. We picked ideas which were iconic like a Formula One vehicle but had really good connection an odd connection. A+B has to equal C.

     

    Every step of production including the music was important to me. Hammond was immersive. We had to make sure that he was okay in doing stunts. There was one moment where he was strung up on a bridge and he was scared. That made great television.

    Could you talk about the upcoming ‘Wild India‘ series on Nat Geo Wild?
    This goes on air early next year. This will be a three hour special. It is a coffee table celebration of India and its wildlife. We felt that there hadn‘t been a really good natural history series on India for ten years. The last good show was Land Of The Tiger that the BBC has made. Things have moved on since then. A whole new young audience is interested in India‘s natural history. The technology has also moved on.

     

    We have more interesting camera techniques to capture intimate animal behaviour. We have HD cameras, night film cameras, infra red and thermal cameras. We can, thus, film in the night. We want people to experience a much more personal wildlife.

    Did the economic downturn put pressure on budgeting?
    The global economic situation has made everyone think twice. But we continue to do projects. I scrutinise every penny more. It is up to us and the filmmakers to make sure that the investment being made is sound. So we rely on reliable production companies like Icon Films. The production team on Wild India is largely Indian. The crew is from Tamil Nadu, Karnataka and Gujarat. So cameramen can be on the field for longer. We do not have long haul flights to pay for. We can be more responsive.

     

    You have to respond to the natural environment. This is a homegrown product which is important. With any film whether it is from Russia, Asia, Japan or Scandinavia, I want to make sure that filmmakers can get access and give viewers the feeling of being right there next to the environment.
    What have been the learnings from localisation in terms of what works and what does not globally?
    I am in a lucky position that wildlife has few cultural barriers. Everyone loves tigers, big cats, snakes. There are few cultural issues I have to worry about.
    Is it a collaborative effort working with production companies?
    Yes! We always have one of our Nat Geo Wild or NGC executive producers who is working in partnership with an executive producer from the production company side by side all the way through the film. We have an internal production group from National Geographic television that make shows with us often featuring our own scientists.

    How long does it take for a show to be made?
    It depends. Wild India will take a year to make. They will shoot in March and April. It takes at least six months but most shows take nine months. We can do a quick turnaround on a topical subject matter, though. When the Gulf oil spill happened in the US, we did a show within four weeks of that accident.

     

    But natural history does not work on human timelines. We have to work hand in hand with Mother Nature. A tiger will show up when it wants to. Animals are unpredictable. If they were predictable, my life would be easier bur probably less exciting. It is the moment of capturing that bit of footage that makes it worthwhile. To give you an idea of how challenging making wildlife content can be, on Wild Mississippi the temperature was minus 30 degrees Fahrenheit. We had to use urine to prevent the camera from freezing.
    What are the trends we are seeing in environmental and wildlife film making?
    Having a first point of view, less narration and giving the impression that people are there next to the cameraman is very important now. Less is more. Beautiful cinematic images are important. Having characters that can deliver adventure and the journey of exposition in a very visceral way is also important. People want to be vowed.
    What role is HD playing in boosting the documentary genre?
    Each show is on HD. This is a non negotiable discussion with any show going on air. This is a must before we commission anything. From a visual aspect it is different and an enhancement from Standard Definition. When you watch Wild India, you will feel that you are flying on a plane over India on your own. On Standard Definition images are cloudy. It is like looking through muddy waters. On HD you get the true essence of where you are. You can almost smell where you are. We will deliver 100 hours of premiere HD content every year.
    Balancing traditional story telling techniques with technical innovation is key for the success of factual content. How does NGC manage this?
    We have the ability to film wildlife in HD at night. This gives you the perspective of three cameras that allow you to see how animals work at night.
    What other recent commissions have been done?
    Following Wild India we also have Wild Mississippi, Secret Brazil. These are three part specials like Wild India. That will celebrate the journey into natural areas. We also have hosted shows that are young and contemporary. We will have a show featuring a heli cowboy in Australia. At the end of the year we have our annual Big Cat Week to bring awareness about conservation. We will have shows on the Jaguar, American Cougar and the Indian Cloud Leopard.
    How does NGC use new media platforms like YouTube to leverage its brand?
    We have our site, links and blogs. This is additional information for viewers. We will expand on this as our network grows. As we send filmmakers to exotic places, we will look for conversations on Twitter and other media.
    Are you looking at long term projects?
    Absolutely. We are still in negotiations though. We are also a young network.
  • NGC commissions ‘Seconds From Disaster’ for third time

    NGC commissions ‘Seconds From Disaster’ for third time

    MUMBAI: Following the success of the first two series of Seconds From Disaster National Geographic Channels International (NGCI) and National Geographic Channel (NGC) have commissioned Darlow Smithson Productions (DSP) to produce a third series of the show.

    Each of the 13 one hour shows have been filmed in high definition and investigates some of the world’s most infamous disasters.

    The show will use CGI and dramatic reconstructions to recreate the fateful moments that led to each catastrophe. Eyewitness testimony from survivors coupled with visuals and scientific analysis heightens the emotional impact of this series, filmed in locations around Europe and the US.

    The show will explore events including the sinking of the Titanic in 1912. That saw over 1500 people perish. The fateful journey of Air Florida Flight 90 crashed into the Potomac River in Washington, DC in 1982 killing 78 people. It also looks at the 1972 Olympic massacre in Munich resulting in the deaths of 11 athletes and one German police officer at the hands of international terrorists; and the devastation of the recent Asian Tsunami which claimed the lives of more than 230,000 people.

    Darlow Smithson head of factual Tom Brisley says, “The first two series were highly successful for DSP, NGC and NGCI, and we are delighted that it has become such a strong returning brand. Each series has brought to life disasters with gritty realism through the use of cutting edge CGI effects and reconstructions.

    “In the third series particularly, we’ve been able to secure exceptional access to survivors who have been unwilling to talk in the past. In true DSP style, we’ve approached this third series with greater ambition, covering bigger and more complex events than ever before”.

    NGCI executive VP content Sydney Suissa says, “Right from its first broadcast, Seconds from Disaster established itself as one of our signature series. The production values combined with powerful storytelling and impeccable research make the series compelling week in and out. I am delighted that we can offer our viewers a third season”.

    NGC US executive VP John Ford says, “Viewers have enthusiastically embraced this series because it gives them the opportunity to understand disasters from a scientific point of view, leading to new insights into how these tragic events occurred in the first place. To know exactly what happened, and to see it through the magic of CGI, is a stunning new technique.”

  • Nat Geo Intl commissions two hour global special on ‘Bin Laden’s Spy’

    Nat Geo Intl commissions two hour global special on ‘Bin Laden’s Spy’

    MUMBAI: Following the success of the documentary special Inside 9/11, National Geographic Channels International (NGCI) and National Geographic Channel have commissioned Towers Productions for a two-hour special Bin Laden’s Spy in America.

    Bin Laden’s Spy in America, details the secret case of an Islamic fundamentalist who joins the US Army while playing a key role in terrorism plots on the road to 9/11. The two-hour documentary will premiere in the US on 28 August and internationally on 10 September 2006.

    NGCI executive VP content Sydney Suissa says, “This is an unknown and astounding story of the deception that allowed 9/11 to happen. It’s far more riveting than any spy novel could ever be”.

    The film tells the story of an ex-Egyptian Special Forces major who infiltrated the US intelligence community while working for terrorist organisations like Egyptian Islamic Jihad and al Qaeda. He successfully enlisted in the US Army despite having been listed as a suspected terrorist on a State Department’s watch list.

    While serving in the US Army, he provided training to several of the terrorists who took part in the 1993 World Trade Center attack. He also compiled an al Qaeda terror manual using information from documents taken during his stay at Fort Bragg; and coordinated bin Laden’s relocation from Afghanistan to the Sudan. He later became an FBI informant at around the same time that he was training terrorists in al Qaeda camps in the Middle East.

    The documentary is in part based on the upcoming investigative book Triple Cross by Peter Lance. Following its premiere, Bin Laden’s Spy in America will be available for international distribution at the television event Mipcom, which takes place in Cannes in October.

  • NGCI to launch new channel Wild on broadband platform in HK

    NGCI to launch new channel Wild on broadband platform in HK

    MUMBAI: National Geographic Channels International has announced the launch of a new wildlife channel Wild. It will debut first on Hong Kong’s Now broadband TV platform, ahead of its global rollout.

    National Geographic Wild launches on Now TV on 21 August 2006. Wild will be National Geographic’s first bilingual channel, offering a choice of either English or Cantonese soundtrack. Wild was unveiled yesterday at a preview in Hong Kong Wetland Park by National Geographic herpetologist Dr Brady Barr.

    Among the slate of programmes the channel will be showcasing include, Croc Chronicles; Snake Wranglers; Kill Zone; Built for the Kill; Beauty and the Beast Leopard Story and Zambezi Troop.

    Zubin Gandevia, managing director and executive vice president, National Geographic Channel Asia said, “For many years, National Geographic Channel has brought high calibre and entertaining documentaries of all genres to Hong Kong viewers. Hong Kong is a very important market for us and we are delighted to introduce a channel in the local language for our viewers here. National Geographic Wild marks a new milestone in our commitment to Hong Kong.”

  • NGCI, CCTV consolidate partnership

    NGCI, CCTV consolidate partnership

    CANNES: National Geographic Channels International (NGCI) and China Central Television (CCTV) have announced the completion of a two-part high-definition television documentary Inside the Forbidden City.

    NGCI CEO David Haslingden says, “We are delighted to partner with CCTV in producing a historically and culturally rich film for our global viewers this fall. It is a valuable step forward as part of NGCI’s commitment to developing local content everywhere and expanding our collaboration with CCTV”.

    Inside the Forbidden City brings the epic tale of China’s Forbidden City to a vast global audience. Until the early 20th Century, any commoner who dared enter the palace would pay with his or her life. Now, this historic two part series gives viewers unparallel access to the Forbidden Palace.

  • TWI to acquire independent production firm Darlow Smithson

    TWI to acquire independent production firm Darlow Smithson

    MUMBAI: Sports content producer and distributor TWI has acquired the London based factual independent production company Darlow Smithson Productions (DSP).
    TWI, will finance the acquisition entirely with capital from parent company IMG. The acquisition significantly expands TWI’s non-sports production output, enabling it to become a market leader in high quality factual programming, as part of its continuing growth strategy.

    For DSP, the agreement enhances its position as one of the top global factual production companies and gives access to new opportunities and new technologies.

    Key to the acquisition is DSP’s outstanding worldwide reputation as an innovative, factual programming leader, delivering ground-breaking documentaries, series and docu-dramas with a growing annual output of more than 100 hours and an annual turnover of £20 million. In a global peer poll just released, DSP has been named as one of the seven most notable companies in the world in non-fiction production, selected for its inspirational and trendsetting programmes.
    DSP’s programme portfolio includes multi episode returning series I Shouldn’t Be Alive (Channel 4, Discovery US), Seconds From Disaster (NGC/NGCI) and Channel 4 documentaries The Falling Man, Blitz: London’s Firestorm and The Somme. DSP’s Touching the Void was the UK’s most successful ever theatrical documentary.

    TWI senior VP production and business development Alastair Waddington said, “We are delighted to acquire such a prestigious company as Darlow Smithson Productions, whose reputation in the factual arena inspires admiration all over the world. The respect that DSP commands from global broadcasters and clients is reflected in its growing stature, increased turnover year on year and more than 25 international awards to date. DSP harnesses some of the industry’s most creative and technical talent, and we look forward to its continued success and growth, while maintaining its distinctive identity as a producer of top quality programming.”

    DSP executive chairman and creative director John Smithson said, “This is an exciting opportunity for us at the right time in the growth of our company. The Darlow Smithson name remains – same people, same creativity, same editorial standards. But going forward, it will bring much more. TWI and IMG Media will provide us with an extensive international structure to help us grow DSP, including areas like new media where it has significant experience, strengthening our relationships with clients and enhancing our creative development.”

    IMG chairman and CEO Ted Forstmann said, “IMG is already a major player in worldwide distribution, rights management and multi-platform exploitation including new media, and the acquisition of Darlow Smithson Productions will enhance the company’s global assets and help us achieve our growth ambitions. Going forward, we are prepared to invest in development and production of content, and intend to pursue additional innovative business partnerships in order to maximise those goals.”

  • Nat Geo Intl to bring ‘Korea to the World’

    Nat Geo Intl to bring ‘Korea to the World’

    CANNES: National Geographic Channels International (NGCI) and Korean Broadcasting Institute (KBI) have announce the first co-production partnership to cultivate local filmmaking talent.

    The partnership will facilitate the production of quality made-in-Korea documentaries for global viewers. It will provide $1.2 million in filmmaking funds for 4 one-hour films, titled Korea to the World.

    NGCI CEO David Haslingden says, “We are proud to be the first international factual network to partner with KBI and are delighted to expand NGCI’s presence in Asia. We want to develop and bring Korean talent to the notice of our global audience in 162 countries and in 27 languages worldwide”.

    KBI president Gyun Yu says, “We are excited to establish this partnership with NGCI. As a renowned international television network, NGCI, provides the perfect platform for Korean documentaries to reach viewers globally”.