Tag: TV formats

  • Keshet International replaces outgoing CEO Alon Shtruzman with Keren Shahar

    Keshet International replaces outgoing CEO Alon Shtruzman with Keren Shahar

    Mumbai: With over 20 years of experience in the international entertainment industry, 18 of which have been spent working at Keshet. Keren Shahar has been confirmed as the CEO of Israeli media company Keshet International (KI). Shahar will commence her new role on 1 January 2023, replacing Alon Shtruzman, who leaves as the global content producer and distributor at the end of this year, having led the company for a decade. 

    Widely regarded as one of the leading pioneers of the Israeli format sales market and named one of the 25 most powerful women in global television by The Hollywood Reporter, Shahar first joined Keshet Media Group in 2004. She was named Keshet’s formats manager in 2006, where she oversaw global market sales. Two years later, in 2008, she took on responsibility for Keshet broadcasting’s acquisitions department, licencing formats such as The Money Drop, Make Me A Baby, and MasterChef—which has just finished its 10th successful season on Keshet 12—for adaptation locally in Israel.

    After stepping up to take on the role of COO, Shahar was announced to lead the KI’s (established in 2012) sales team, becoming Shtruzman’s second in command. During her 10-year tenure, she was involved in overseeing business and operational aspects across the company’s activities.

    Shahar has also been responsible for the distribution of many of Keshet’s scripted formats, such as Prisoners of War, which became Showtime’s multi-Emmy-winning Homeland, as well as False Flag and When Heroes Fly, which have recently been adapted as Suspicion and Echo 3 for Apple TV+ by Keshet UK and Keshet Studios, respectively.

    As KI’s CEO, Shahar will handle the company’s network of production and distribution hubs: KI in Tel Aviv, Keshet UK, Tresor and Keshet Tresor Fiction in Germany, Keshet Studios in the US, and a majority stake in Greenbird Media. She will be tasked with expanding KI’s international production output further while also boosting its curated catalogue of international dramas, factual entertainment shows, and formats with a view to also building the distribution side of KI’s business. As an influential player in the international content market, KI has seen a long list of its series and formats picked up by television networks such as HBO, NBC, and the BBC, as well as streaming platforms including Netflix, Apple TV, Disney+, and Amazon Prime, during its first decade in operation.

    Speaking on the appointment, Shahar said, “Having the privilege of leading a company like Keshet International is far beyond what I could have imagined when I first started at Keshet 18 years ago. I just wanted to be around the people who “made television.” I’d like to thank Shtruzman for his mentorship and friendship and for showing me what infinite optimism can achieve. Thank you also to the Keshet board and to Nir in particular, for all his support and multiple votes of confidence over the years. Last but not least, I want to thank the extremely talented group of people who “make television” at KI. I am looking forward to our next chapter together and seeing what we can achieve in our second decade!”

    “In just a few weeks from now, Apple TV will launch Echo 3, Keshet Studios’ US adaptation of Keshet’s When Heroes Fly, which is truly one of this year’s most ambitious television productions. Flashback to 2012 and Keshet International’s inception: standing centre frame is Keren Shahar, determined to bring Israeli TV to a world that didn’t know what it was and didn’t know it needed it. Returning to 2022 as we celebrate its 10th birthday, Keshet International is now an internationally recognised name—a global-scale content, production, and distribution company with a history of challenges, successes, and achievements—all with Keren as its deputy CEO. I’m happy to announce the promotion of Keren to Keshet International’s CEO. Keren will lead the international activity from the Tel Aviv office starting in January next year. Flash forward to the next decade, and I predict that, thanks to her experience, competence, and many skills, Keren has taken Keshet International and Israeli TV, along with the rest of the management team at KI and Keshet, to new horizons. Good luck from all of us at Keshet, Keren!”, added Keshet Media Group CEO Avi Nir.

  • MipTV: Docubay to double content offering via content partnerships

    MipTV: Docubay to double content offering via content partnerships

    Mumbai: The longest-running global TV market MipTV kicked off on Monday. Major international production companies, distributors and buyers showcased their ‘wares’ at the industry event that includes programming such as drama, documentary, kids, and factual formats.

    Last year’s edition of MipTV took place virtually and there is a bit of excitement about returning to the on-ground festival this year, according to the industry. The trade event that is held in the Palais de Festivals in Cannes, France brings together a rich conference programme, matchmaking events, and a dedicated co-production marketplace for international producers, buyers, commissioners, and distributors.

    This year, Zee Entertainment Enterprises, Docubay (IN10 Media Network) and GoQuest Media Ventures are attending the event on the buyers’ side whereas IndiaCast, Zee Entertainment Enterprises, One Life Studios, and IndianTelevision.com are attending on the exhibitor’s side.

    As per media reports, Zee Content Sales, the licensing and distribution arm of Zeel, is bringing 40 new shows launched over the last two years to the marketplace. Zee’s lineup includes Bollywood films such as “Sooryavanshi,” “Sanak,” “Squad,” “Uri – The Surgical Strike,” “Rashmi Rocket” and drama series such as “Bhagya Lakshmi,” “Kundali Bhagya,” “Kashibai Bajirao Ballal” and “Baker’s Table.”

    On the buyer’s side, IN10 Media Network senior AVP acquisition and syndication Adita Jain said, “We are excited to meet our colleagues from the industry after two years. This year we wish to expand our content offering by 2X through content partnerships.”

    IN10 Media Network operates several TV channels and OTT platforms. It operates a factual entertainment streaming service called ‘Docubay’ and a recently launched kids’ entertainment channel called Gubbare.

    “We are looking to engage with new emerging aggregators and studios to find a home at our OTT platform, Docubay, for their latest releases. We are also hoping to renew existing partnerships and sign a few new ones,” said Jain.

    “We also hope to find the latest and innovative kids animation series for our kid’s channel – Gubbare. We are very keen to showcase anime, slapstick comedy, chase and adventure series,” she added.

    Post pandemic, Jain remarked that documentaries that find favour with audiences are the ones that are about world leaders, technology, electric cars, digital currencies, e-commerce, sports and adventures, and world politics. She will also be attending the session on ‘Factual and Documentary Trends’ on Monday presented by K7 Media.

    Recently, broadcasters have started developing unscripted shows based on a range of international formats and adapting them to suit Indian viewers. The most successful example is “Shark Tank India” televised on Sony Entertainment Television which is based on a TV format developed by Nippon TV called “Dragon’s Den.” Last year, Zee Tamil had launched the show “Survivor” based on the popular CBS unscripted series of the same name. This year, Viacom18 is launching a bold new unscripted format with “The Inventor Challenge” on its English entertainment channel Colors Infinity based on the American series “Everyday Edisons.” In the previous year, it had launched a reality series “The Big Picture” helmed by actor Ranveer Singh as the host that was based on a format owned by British production and distribution company ITV Studios.

    TV production accounts for 97 per cent of the content in India at 1,55,820 hours of content produced annually excluding 400,000 hours of news bulletins, as per FICCI-EY media and entertainment Report 2022. This is followed by 2512 hours of OTT content and 1972 hours of film content.  

  • The TV Formats business is doing very well, thank you!

    The TV Formats business is doing very well, thank you!

    MUMBAI: The production volume generated by the TV format business globally was in excess of 9 billion euros as estimated by a FRAPA study in 2009.  Estimates are that this could have crossed euros 10 billion by now.

     

    Indiantelevision.com calculations place the size for the business in India at around Rs 950 crore nationally, for shows which are produced from international, indigenous formats and even format TV show imports.

     

    Dance India Dance,  one of the most popular original Indian formats in recent times, and has now branched out and in its four season run, spawning three spin-offs’ viz., Dance India Dance: Super MomsDance India Dance: Li’l Masters and Dance India Dance DoublesCadbury Bournvita Quiz Contest remains India’s oldest original format to be still in production, since its inception back in 1972; and still remains India’s longest running quiz contest. India has adapted quite a few international reality formats, namely, Who Wants to Be a Millionaire, MasterchefBig BrotherBritain’s Got Talent, American Idol, Dancing with the Stars and Road Rules, along with adaptations of scripted formats such as 24 and The Killing currently in production.

     

    Earlier this month, UK research firm Madigan Cluff released its annual state of the union update and report on the business titled TV Formats in Europe 2014. It states that despite the global prolonged advertising recession and the fact that several major titles have peaked, the TV formats market in Europe is showing remarkable resilience. The value created by the top 100 formats was $2,931 million in 2013 for 84 European channels across the 16 territories and 21 distributors, according to the TV Formats in Europe report. The value created by formats for UK broadcasters was $600 million in 2013, down from $677 million in 2012. The number of hours broadcast reached 28,386 in 2013. France’s TF1 ($332 million) was the leader with Italy’s Rai 1 at No 2 and the UK’s BBC1 at third spot. Russia’s 1TV entered the top 10 in 2013 —by more than doubling its formats revenues in the year.

     

    The UK, followed by France is the TV formats leader in Europe. France recorded $599 million in 2013, up from $547 million in 2012. The UK, France, Germany and Italy accounted for 72 per cent of Europe’s total value created in 2013.

     

    The total number of hours broadcast in Europe for the 100 formats was 28,386 in 2013 with the UK coming up as the leader again, despite its 2013 total was estimated at 3,935 being considerably lower than in 2012, which was estimated at 4,623. Romania took third place, having added 645 hours to its total in 2013.