La propuesta del canal es ofrecer contenido para promover la participación y la construcción ciudadana desde la infancia. Es un proyecto que responde a dos principios inspirados en la línea editorial de Ciudadanía, Cultura e Infancia de Capital: la ciudadanía en el centro y la inteligencia colectiva’, explica a Prensario, Ricardo Cortés, Productor de contenidos audiovisuales ciudadanía, cultura y educación en Canal Capital / Eureka.

El canal, lanzado en agosto de 2021, busca reconocer a su audiencia como ciudadanos que participan como fuente, protagonista y co-creadores en el diseño, producción, circulación y evaluación de los contenidos audiovisuales y estrategias digitales. Esta propuesta del canal también incluye una experiencia fuera de la pantalla, donde buscamos generar un espacio de participación nombrado “Generación Eureka”, donde organizamos encuentros para que los niños participen y así generar ideas en torno a los temas que manejan hoy en día. En 2022 y 2023, hemos tenido talleres donde los grupos de niños han aportado ideas de nuevas producciones’, destaca.

La propuesta de Eureka se distribuye a través de una canal en TDT, una franja dedicada en la señal lineal y abierta de Canal Capital, su sitio web (eurekatucanal.com), un canal de YouTube, y presencia en redes sociales como Facebook, Instagram y TikTok.

La señal TDT, con emisiones de 24hs, tiene 3 franjas de contenidos. La primera, “Hora de Jugar”, dedicada a la primera infancia en las mañanas (de 6 am. a 12 pm.); la segunda, “Hora de Acción, dedicada a chicos y chicas de 7 a 12 años en las tardes (12 pm. a 6 pm); y el tercer bloque “Parche Eureka”, enfocado en adolescentes de 13 a 16 años (luego de las 6 pm.)

La parrilla programática está compuesta de contenido propio y de terceros (nacionales e internacionales) En la actualidad, los contenidos son 66% de licencias gratuitas, de proveedores aliados como MinCulturas, MinCiencias, Ministerio TIC, RED TAL o UNICEF;  17% que se deriva de adquisiciones de contenidos nacionales e interna, y el 17% restante que corresponde a producción propia o co-producciones.

Algo muy importante en su estrategia de programación, son las campañas bimensuales desarrolladas en ejes temáticos como: equidad de género, medio ambiente y sostenibilidad, prevención del bullying, y ciudadanía y derechos. ‘A lo largo de este año estaremos desarrollando una campaña anual sobre ciudadanía digital, que se extenderá hasta mediados de 2025’, agrega Cortés.

Éxito en audiencia y programas más vistos

Con indicadores aportados por Kantar IBOPE de la franja lineal de Eureka en Canal Capital, este espacio goza de un promedio de audiencia de 27700 personas, cuyos títulos más vistos el pasado mes de marzo fueron prueba Total, DOT, Los Extraños Millie y Willie y  Ask Lara.

‘En marzo tuvimos 50.088 reproducciones en nuestras cuentas de TikTok, Instagram, Facebook y YouTube y un alcance de 60.676 en nuestras cuentas de Instagram y Facebook’, agrega.

El canal asiste a ferias, mercados y festivales para compartir su experiencia y visión en el fomento de contenidos entretenidos y responsables a audiencias desde la primera infancia, pero a su vez para explorar negocios como la coproducción o el intercambio de contenidos. ‘Asistimos a mercados para buscar posibles coproducciones o intercambio de materiales con señales pares de otros países o con distribuidores y productores afines que con sus contenidos disponibles puedan enriquecer y ampliar nuestra oferta para niñas, niños y adolescentes’, resalta el ejecutivo.

En sus dos años y medio de existencia, Eureka ya cuenta con 26 premios y 48 nominaciones en los más relevantes festivales de televisión pública y televisión infantil del mundo con formatos para niños y niñas de 7 a 12 y fundamentalmente con programas para adolescentes. Algunos de ellos: INPUT en España, (2022), Taiwan (2023) y en Estados Unidos (2024); Premios TAL,  América Latina (2022-2023); Science Film Festival, Brasil y Asia (2022-2023);  Prix Jeunesse, Alemania (2022); Ojo de Pescado, Chile (2022); FINNOF, Argentina (2024), entre otros.

La entrada Eureka: la apuesta de Canal Capital por contenidos infantiles con impacto social se publicó primero en Prensario Zone.

En entrevista con Prensario, Luis Guillermo Villanueva, VP Ejecutivo de Somos TV, destacó el buen momento que vive la señal, sus estrategias de programación y su visión del mercado dentro del segmento infantil.

‘Nuestra oferta son la clave en un momento en que los padres desean apoyo y garantía de entretenimiento sano para sus hijos’, resaltó Villanueva, refiriéndose a la posición de Semillitas en un segmento complejo y competitivo den América Latina, donde existen pocos jugadores, pero desde hace unos años, compiten también con las plataformas de streaming.  ‘Otro factor único en la aceptación del canal es su relevancia cultural, manteniendo una identidad latina y promoviendo el uso correcto del idioma español’, agregó.

Por su cuidada programación, el canal fue reconocido con el premio Outstanding Achievement: Spanish Media de Estados Unidos por el American Council of the Blind, en la edición 2023 del Audio Description Awards Gala.

La señal tiene una estrategia de programación diseñada para entretener de forma positiva a los niños con contenidos de duración variada: ‘Nuestros intersticials están diseñados para promover una televisión activa y no pasiva, tratando de estimular la reacción de los más pequeños con trivias, preguntas y temas de educación básica’.

El ejecutivo recalca que esta programación va orientada a mercados con tasas de natalidad muy alta, donde los canales infantiles son una adición importante en los planes básicos de TV Paga.

Las series animadas de Semillitas suelen ser licenciadas de productores y distribuidores internacionales con gran reconocimiento en el segmento infantil. ‘Buscamos darle una personalidad propia al canal con la incorporación de más de 40 horas de clips educativos de producción propia in-house que enriquecen la pantalla y hacen de Semillitas un canal único, que responde a las expectativas que los padres tienen con relación a lo que sus hijos deberían ver en televisión’.

El canal cuenta con más de 300 horas de programación con alto porcentaje de exclusividad, mezclando calidad visual, y temáticas acordes a la edad del público. Uno de sus grandes destaques son los clips originales, que ofrecen temas educativos para preescolares en un lenguaje sencillo. ‘Otro de nuestros grandes diferenciadores es que la programación está hablada en un español neutro, libre de acentos’, resaltó.

En cuanto a los bloques de programación, la parrilla se compone de segmentos de contenido para niños de 2 a 4 años en las primeras horas de la mañana y de la tarde para el segmento de 2 a 4 años; y el final de la mañana y la tarde para los mayores, de 3 a 5 años.

Las series animadas son los contenidos de mayor repercusión y engagement, con títulos como Angelina Ballerina, Bob El Constructor, Bali, Sid El Niño Científico, Little People y La Abeja Maya, como los contenidos que mejor han funcionado dentro del público preescolar. ‘Podríamos decir que el segmento de edad más atendido por nuestra programación es de 3 a 5 años’.

‘Canales como Semillitas, con un claro posicionamiento y con las protecciones necesarias para la población más vulnerable, generan la confianza y seguridad entre los padres de que sus hijos están entreteniéndose y educándose con una televisión sana. La programación en bloques, libres de comerciales, también evita el monitoreo y selección constante, factor que es mencionado como de fatiga para la audiencia. Por estas razones nos definimos como aliados de los padres, quienes a estas edades son los que seleccionan y evalúan el entretenimiento de sus hijos’, concluyó.

La entrada Semillitas: 14 años ofreciendo contenido seguro y educativo se publicó primero en Prensario Zone.

En entrevista con Prensario, Bea Bartolomé, directora de Premios Quirino, comparte sus impresiones del evento, reflexiones sobre el estado actual y las expectativas futuras de la industria de la animación en Iberoamérica.

Una cita obligada para profesionales de la animación

Para esta edición de los Premios se presentaron un total de 247 obras de 15 países, un 10,7% más que en la edición anterior-, por lo que en toda su existencia, el evento ya suma 1729 títulos postulados en sus siete convocatorias.

Un total de 25 obras de siete países compiten este año, siendo España, Brasil y México los países que encabezan las nominaciones con 26, 11 y 8 títulos respectivamente. Le siguen obras de Portugal (7), Argentina y Chile (6 trabajos cada uno), Colombia (5), Ecuador (3) y Perú (1). El cortometraje español Conej Steps Out y el mexicano Humo acumulan el mayor número de candidaturas, cuatro cada uno. Mientras le siguen con 3 nominaciones el aclamado largometraje de Pablo Berger Robot Dreams, el corto Lulina e a Lua y los dos cortometrajes de encargo para Star Wars: Visions Volumen 2 En las estrellas y Sith. También la obra brasileña Lulina e a Lua de Marcus Vinicius Vasconcelos y Alois Di Leo, destaca en las nominaciones.

Loa ganadores serán seleccionados por un jurado conformado por los directores José Miguel Ribeiro (Portugal), Marcela Rincón (Colombia) y Wesley Louis (Reino Unido), junto a Zane Valeniece (directora de adquisiciones de la televisión pública letona LTV) y Emmanuèle Petry (cofundadora y productora de la francesa Dandelooo), en una ceremonia que se llevará a cabo el sábado 11 de mayo en el Teatro Leal de La Laguna (Tenerife).

Bartolomé también menciona que en esta edición se incluyó una nueva sección que premia al Mejor Videoclip de Animación, donde participan tres obras, All the Best, un video musical de Pablo Roldán para la banda argentina Siamés; O Futuro Que Me Alcance, una canción del poeta y músico Reynaldo Bessa animada por la ilustradora y animadora brasileña Nat Grego y I Inside the Old I Dying de los directores chilenos Cristóbal León y Joaquín Cociña (La Casa Lobo, Los Huesos) da vida a un tema del último disco de la artista inglesa PJ Harvey.

Otra de las novedades que es que este año se entregan trofeos en las categorías “Mejor Cortometraje de Escuela de Animación”, “Mejor Animación de Encargo”, “Mejor Animación de Videojuego”, y en tres categorías técnicas: “Mejor Desarrollo Visual”, “Mejor Diseño de Animación”, y “Mejor Diseño de Sonido” y “Música Original”.

Consolidación del Foro de Coproducción

‘Por un lado en pocos años se ha posicionado la parte de los premios y lo que hemos visto respecto al año pasado, es que se ha consolidado más la parte del foro de coproducción y negocio. Y se ha visto reflejado en la cantidad de reuniones en el mercado, que pasaron de más de 700 a más de 1.200, lo que responde a gran participación por parte de canales, distribuidoras, como también creadores de contenido y productoras. Pero además pudimos involucrar y acoger a más países participantes en el foro, pues pasamos a recibir a delegados de 26 países, cuando lo normal eran como 19-20 países’, expresa Bartolomé.

Justamente este nexo entre televisoras públicas y creadores o productores ha sido una de las grandes iniciativas del Foro. En la pasada edición en el Encuentro de Televisoras Públicas estuvieron presente 18 cadenas e instituciones de todo el mundo, quienes debatieron el rol de los medios públicos y cuáles son las necesidades del sector. ‘Se hacen las reuniones entre creadores y televisores públicas y también se hace la mesa de trabajo de las televisoras, por lo que no solamente vienen a ver proyectos sino que vienen también a verse entre ellos de manera que también pueden crear colaboraciones. Empujamos a que estén aún más en contacto, y este punto anual en Tenerife hace que se fomenten mucho más esas coproducciones y cada año intentamos que vengan más países de Iberoamérica. El año pasado México iba a venir y al final no pudo venir, el año pasado invitamos a Brasil que no pudieron venir y este año esperamos que sí que vengan, entonces bueno cada vez que intentamos que vengan más, que no sean solamente los países grandes incluso los países chicos que puedan venir’.

Otro de los encuentros que regresan en esta edición es el de Mujeres en La Animación, donde participan festivales y mercados hermanos como Annecy, Animation! – Ventana Sur y Pixelalt. Acá nuevamente se reunen profesionales de la industria para compartir prácticas, explorar nuevos negocios y potenciar el rol de la mujer en el segmento.

Asimismo Ibermedia NEXT anuncia una nueva edición de su línea de ayudas en alianza con Premios Quirino y La Liga de La Animacion. El programa impulsado por la Unión Europea, orientado a la aplicación de nuevas tecnologías en proyectos de animación o con alto contenido de animación, así como la formación y dinamización del sector en este campo.

Tendencias y necesidades de la industria de la animación

La directora del foro asegura que los modelos mixtos de coproducción con ventaneo mixto, son los más usados en la industria infantil, por lo que vaticina que estos esquemas de producción se seguirán viendo en el futuro. ‘Hay un aumento de estos tipos de coproducciones, tanto en series como en largometrajes, pero aparte creo que también hay mucho co-desarrollo. O sea, no proyectos que tienen un acuerdo de coproducción como tal, sino que las empresas latinoamericanas, sobre todo, que están con un proyecto en el que necesitan delegar parte de la animación, delegan parte de la producción y colaboran con otras empresas con las que han trabajado ya. No es una coproducción al uso porque no hay un acuerdo de coproducción, pero sí hay mucho co-desarrollo que se está viniendo haciéndose en muchos años, estos últimos años, pero cada vez más’, agrega.

También Bartolomé señala la creciente necesidad de formación y profesionalización en la industria. ‘Hace falta personal cualificado porque hay mucha gente que sale de las escuelas, pero con muy poca experiencia’, comenta.

Finalmente, anticipa una mayor colaboración entre eventos como Annecy, Pixelatl y Premios Quirino, destacando la estrecha relación y colaboración entre los organizadores. Estos eventos seguirán trabajando juntos para promover y fortalecer la industria de la animación en Iberoamérica.

La entrada Premios Quirino 2024: impulso vital para la animación Iberoamericana se publicó primero en Prensario Zone.

Producciones de estudios independientes como Un día más con vida (2018, co-pro España, Polonia, Bélgica, Alemania y Hungría), pasando por La Gallina Turuleca (2020, co-pro España-Argentina), Chicken for Linda! (2023, co-pro Francia, Italia y Armenia), y más recientemente Robot Dreams (2023, co-pro España-Francia), ya están compitiendo de cerca con títulos de grandes compañías de animación, las cuales generalmente acaparan los escaños en las nominaciones.

El éxito de la enorme vorágine de las producciones de animación en la región se debe básicamente a la coproducción como modelo de negocio para llevar adelante proyectos. Pero además, los potentes incentivos audiovisuales regionales, y las ferias y festivales audiovisuales, han potenciado como nunca las asociaciones y los negocios en torno de este segmento.

De acuerdo al último informe del Observatorio Europeo Audiovisual, hasta 2021, la región producía cerca de 55 filmes de animación por año, siendo Francia, Rusia y Alemania los principales países productores. Pero además, generalmente estás producciones eran resultado de coproducciones con socios de regionales. Sin embargo, en estos territorios, el género obtienen una cuota de mercado menor que las películas de todas las categorías.

En tanto, si vamos a la animación para la TV, el panorama es un poco más favorable, puesto que la OEA estimó que para 2019, el volumen anual de producción de animación televisiva en Europa era de unos 220 títulos, unos 5.200 episodios, o unas 830 horas de contenido. Esto impulsado también por las coproducciones y por el compromiso por el contendí regional de las televisoras públicas.

Soporte de incentivos fiscales

Gran parte del éxito de las producciones se debe a los incentivos fiscales regionales. Incentivos que suelen cuantificarse entre el 15% y el 45% de determinados costes “elegibles”, con una media del 30%.

Algunos de ellos van desde los llamados refugios fiscales (tax shelters), sistemas basados en agentes tributarios con alta capacidad fiscal para un determinado impuesto destinando parte de sus obligaciones tributarias, obteniendo a cambio deducciones o incentivos fiscales; las devoluciones de impuestos (tax rebates), un sistema mucho más sencillo que el anterior, que empieza a convertirse en el medio más utilizado por los países de toda Europa como sistema de apoyo al sector cinematográfico. O los créditos fiscales (tax credits), muy similar al anterior, con la particularidad de que a través de los “créditos fiscales” primero se reduce la carga fiscal del propio productor y, una vez reducida ésta, se devuelve el excedente, si lo hubiere.

En un artículo publicado en Audiovisual451, Iván Agenjo, presidente de ProAnimats y vicepresidente de Animation Europe, recalcó que ‘el marco jurídico actual debería ser un impulso para las coproducciones y las productoras independientes de animación’. Mencionó iniciativas como Animar_BCN, la conferencia impulsada por PROA (Federación de Productoras Audiovisuales) y ProAnimats, donde se analizan cada año los distintos marcos jurídicos vigentes para establecer coproducciones exitosas en la industria de la animación europea.

Algunas de las propuestas del foro incluyen el Convenio del Consejo de Europa sobre la coproducción cinematográfica, la cual aún requiere ajustes; también la creación de una base de datos por país que contenga especificaciones y requisitos para el acceso a financiación pública. Y finalmente destacó la importancia de ajustar las líneas de ayudas públicas para que abarquen no solo a los largometrajes sino también a las producciones televisiva.

La entrada Animación europea: crecimiento impulsado por las co-pros regionales y los estímulos fiscales se publicó primero en Prensario Zone.

Pero fue justamente tras el desembarco de MAX en América Latina a inicios de este año, que la compañía planteó claros objetivos para su unidad de contenidos infantiles y de animación, liderada por Pablo Zuccarino. El ejecutivo, quien participó en la reciente edición de Content Americas, junto al SVP de Contenido de Entretenimiento General para Latam, Mariano Cesar, donde se refirió a estos como ‘una ecuación compleja’, pero destacó que el catálogo que maneja la empresa es bastante sólido y por ello convive en un espacio dedicado dentro del (ahora) servicio insigne de WBD.

Uno de los puntos que el ejecutivo precisó es que, siguiendo la tendencia global, dejaron de lado los ‘enormes’ volúmenes de contenidos comisionados, para adaptarse a estrategias de producción más reducidas pero relevantes. ‘El gran reto desde la unidad que lidero es dar con el volumen de contenido indicado de producción original con el ecosistema de streaming como prioridad, donde no hay slots para llenar’, dijo.

Para que esto sea sustentable, el ejecutivo se refirió a que justamente el lanzamiento de MAX en la región les está dando espacio para estudiar nuevas formas de monetización: ‘el negocio necesita a la publicidad para alcanzar la sustentabilidad de realización de contenido. Creo que será posible eventualmente’.

Si bien la unidad se ha mantenido con producciones controladas, sigue asistiendo a mercados con fines de establecer acuerdos de coproducción para explorar nuevos contenidos e IPs. Uno de estos, es la serie animada de acción y comedia Rey Mysterio Vs. La Oscuridad, creada por los afamados realizadores Hermanos Calavera, y coproducida entre Viva Calavera! y Cartoon Network Studios, basada en el popular luchador de la WWE del mismo nombre, que tuvo su estreno el 8 de diciembre de 2023 en lineal y en streaming. La serie fue anunciada en la edición 2020 del Festival Pixelatl.

Adult Swim en América Latina

Una de las grandes novedades recientes de la unidad que el ejecutivo lidera, fue el lanzamiento de [adult swim], la legendaria marca de la compañía enfocada en un segmento más adulto que se consolidó en los últimos años gracias a franquicias como Rick & Morty.

‘Al introducirnos en este panorama, buscamos no solo satisfacer la demanda existente sino también sorprender a los fans con una propuesta única que abarque animaciones, historias de DC Comics, animé y contenido de juegos, este último gracias a Warner Play. La variedad es la clave, y queremos que los fans disfruten de [adult swim] a través de distintos canales, desde el canal lineal hasta MAX y las redes sociales. La conexión es la clave, y estamos emocionados de ser parte del viaje de entretenimiento de la audiencia latinoamericana’, expresó Zuccarino a Prensario.

Uno de los puntos que precisó el ejecutivo fue el relativo al diferencial programático respecto a la versión en USA, donde explicó que aunque los valores y calidad son consistentes en ambos mercados, la región disfrutará de una programación adaptada a las tendencias de consumo de la audiencia.

En cuanto a contenido local, el ejecutivo fue enfático al referirse que uno de sus objetivos iníciales es la consolidación de esta propuesta, pero ya están dando los primeros pasos en lo que parece ser asociaciones con players locales para sumar contenido con identidad latina. La primera alianza fue por Sociedade da Virtude, la afamada serie web con animación estilo cómic ‘alineado’ al estilo del vertical de WBD.

‘Nuestra misión es buscar más socios para ampliar nuestras colaboraciones y enriquecer aún más nuestra oferta original en la región’, concluyó.

La entrada WBD LatAm: desafío en la producción de contenido infantil, Adult Swim, y más se publicó primero en Prensario Zone.

Siendo uno de los puntos centrales en la última edición de The Children Media Conference, la consultora aseguró que este declive es especialmente evidente en el mercado estadounidense, donde las comisiones de contenido infantil han disminuido drásticamente en los últimos años. En los Estados Unidos, por ejemplo, las comisiones para servicios de streaming y VOD han caído a 87 títulos durante el período de 12 meses, con un cierre casi completo en el volumen que solían encargar los canales de TV paga.

Este descenso ha sido impulsado principalmente por los principales estudios de Hollywood, de acuerdo a Cyrine Amor, Senior Analyst en Ampere Analysis, quien apuntó a grupos como Comcast, Disney, Paramount y Warner Bros. Discovery, los cuales han reducido sus inversiones en contenido infantil tanto para los servicios de TV paga como para el streaming, con disminuciones que superan el 40% y el 50%, respectivamente. Esta tendencia refleja los cambios en el modelo de negocio de la televisión de pago en los Estados Unidos, donde la competencia de servicios de suscripción en línea está ejerciendo una presión cada vez mayor sobre los ingresos.

En Estados Unidos, el número de comisiones de contenidos infantiles pasó 134 proyectos entre mayo 2021 a abril 2022, a 87 títulos entre mayo 2022 a abril 2023. Lo mismo pasó con los proyectos para TV paga, pasando de 84 a 49 proyectos en el mismo periodo.

Pero el panorama no es negativo en todos los mercados, la consultora destacó especialmente la región europea, la ha presentado ligeras y positivas diferencias que el norteamericano. Aunque también se ha registrado un descenso en la comisión de contenido infantil, los broadcasters públicos continúan desempeñando un papel importante en la producción y distribución de este tipo de proyectos. ‘Este enfoque más estable garantiza una mayor consistencia en la comisión de programas infantiles en la región’, agregó Amor.

Impulsadores de esta tendencia

La consultora cree que en los Estados Unidos, el predominio de los servicios de streaming está alterando la dinámica tradicional de la TV Paga, lo que lleva a una disminución en las inversiones en contenido infantil. Además, los datos sugieren que el acceso al contenido infantil puede influir en las decisiones de suscripción, con familias con niños mostrando una mayor satisfacción por ls plataformas, las cuales ofrecen este tipo de contenido. Sin embargo, para la mayoría de los streamers, el acceso al contenido infantil no es una prioridad principal para los suscriptores potenciales.

‘Esta divergencia en la importancia del contenido infantil en el proceso de suscripción refleja la naturaleza única del consumo infantil. A diferencia de otros géneros, los niños tienden a estar más comprometidos con el contenido que ya conocen y disfrutan, lo que reduce la necesidad de nuevas adquisiciones. Además, los niños son menos decisivos en el proceso de suscripción, lo que significa que su influencia en las decisiones familiares puede ser limitada’, puntualizó la ejecutiva.

La ejecutiva cree que esta tendencia se debe a que para las plataformas, la comisión de nuevo contenido infantil no es tan importante como para las televisoras públicas, quienes comisionan del 25% al 40% de todos los contenidos nuevos en el mercado infantil.

Otro punto que destacó Ampere Analysis es el de la distribución, donde ha venido observando una correlación positiva entre la popularidad del contenido infantil y su disponibilidad en múltiples plataformas. En los mercados occidentales, el contenido distribuido en una sola plataforma tiende a ser menos popular que aquel disponible en varias plataformas. Además, los títulos no exclusivos tienden a mantener una popularidad constante o incluso aumentar con el tiempo, en contraste con los títulos exclusivos que experimentan una disminución más rápida, una estrategia que usan los canales públicos para mantener intacta su base de audiencia en este segmento.

La entrada Comisión de contenido infantil en declive: ¿Un cambio de paradigma en la TV? se publicó primero en Prensario Zone.

En conversación con Prensario, Yago Fandiño, director de Clan y de contenidos infantiles en RTVE, comentó el momento que vive el canal, el cual se ha adaptado a los nuevos paradigmas de consumo, programación y de financiación de proyectos.

‘Estamos por cumplir ya una década adaptándonos a la situación general del audiovisual a nivel mundial, que abarca cambios de consumo, cambios en la producción de formatos, y también cambios en las formas de financiación. Pero seguimos con nuestro compromiso: buscar cómo ser útiles a la sociedad española, ofreciendo contenidos de alta calidad’, expresó.

Uno de los principales desafíos que menciona Fandiño es en la lectura de los datos de audiencia, resaltando que, ‘si, tenemos datos de audiencia, como toda la vida, pero somos conscientes que cada vez más los datos de audiencia tradicionales, los ratings de share lineal, te dan una información más desdibujada de lo que está pasando’, por lo que explicó que ya estas métricas, si bien son importantes, los ha obligado a adoptar un enfoque más estratégico, apostando por la consolidación de marcas y series a medio plazo en lugar de ajustes diarios basados únicamente en las cifras de audiencia.

En cuanto a la oferta de contenidos, la señal ha logrado un equilibrio entre la adquisición de títulos reconocidos y consolidados, y la producción de contenidos únicos y disruptivos. Según Fandiño, este enfoque ha permitido al canal mantenerse relevante en un mercado cada vez más competitivo. Además, la proporción de producciones propias ha aumentado significativamente en los últimos años, pasando de un 10% a entre un 30% y un 40%.

‘La colocación de productos tremendamente consolidados sigue siendo una de nuestras estrategias claves, no es en vano el por qué estamos viendo tantos revivals de series de los 90 y los 2000, porque además nos permite mantener a audiencias que crecieron y que siguen viendo temporadas de grandes clásicos. Bob Esponja es uno de ellos, y en el medio, intentamos construir productos que sea lo más únicos posibles, sabiendo que para ello tenemos que fracasar muchas veces hasta llegar al indicado’, resaltó.

Uno de los contenidos más recientes de Clan es la serie de animación Samuel, escrita y dirigida por Émilie Tronche, coproducción franco-española a cargo de los estudios Les Valseurs y Pikkukala, en colaboración con ARTE France, RTVE, y Televisió de Catalunya (3Cat y SX3). La historia sigue a su protagonista mientras transita de la infancia a la adolescencia y a la madurez psicológica desde su punto de vista, mientras recoge sus experiencias en un diario.

‘Samuel es una serie que viene de un proyecto que descubrimos en Cartoon Forum, y que a priori estaba dirigida a un público de 20 años, pero por su tema y sensibilidad, decidimos aportar a ella para la última franja de edad que tenemos en el canal, y nos ha funcionado muy bien, ya que la hemos ubicado al lado de de series cargadas de color y ritmo, haciendo un puente entre niños de 10-12 años a chicos de 16-17 años’, dijo.

En este sentido, Fandiño destacó el papel fundamental de las coproducciones, que han permitido a Clan diversificar su catálogo y ofrecer una amplia gama de contenidos. Actualmente, el canal está involucrado en más de una docena de coproducciones en distintas etapas de desarrollo.

A la hora de analizar el panorama audiovisual infantil, el ejecutivo también hizo hincapié en la importancia de atraer audiencias nuevas. ‘En un entorno donde los niños cambian constantemente sus preferencias, la capacidad de ofrecer contenido fresco y relevante, esto es esencial para mantener la fidelidad del público’.

Finalmente, en cuanto a la relación entre Clan y RTVE Play, Fandiño fue enfático a decir que ambas plataformas ‘complementan’ la oferta de contenido infantil de la cadena. ‘Mientras que Clan se centra exclusivamente en contenido para niños, RTVE Play ofrece una variedad de programas para toda la familia, por lo que el contenido de Clan también está disponible en nuestra plataforma, lo que brinda a los espectadores la flexibilidad de acceder a su programación favorita en diferentes ventanas’.

La entrada Clan de RTVE: adaptándose al cambiante mundo del audiovisual infantil se publicó primero en Prensario Zone.

More or less people being the last edition? Let’s see during the week. On one hand, some people say they want to attend as it is the last time. MIPTV till the end would be the second event of the calendar after Mipcom, last year with 5600 participants from 86 countries. For independent companies in Europe, the event is to attend for sure. But, on the other hand, MIPTV has been involved into a negative trend for years, and the announcement should deep the not coming. We imagine 4500/5000 people this April, with good push of the AVOD/FAST sector, whose summit was the great success at last MIPTV.

Last existential comment… is it fine the RX decision of replacing MIPTV by a London event in February? We would have liked to see the same MIPTV in time and format, but in another city, with lower costs. The problem was not the attendance or the traffic, it was the cost-benefit outcome due to Cannes costs of booths, logistics, hotels, etc. An the always unfair comparison to Mipcom. But well, let’s see MIP London next year. We agree, it is easier to perform well with a brand-new event than to revert an existing one. And London is now the epicenter of the high-end European content industry.

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Highlights of Cannes weekend, from today? The journey begins with the classic tips & trends of The Wit, in its “Fresh Garden: Content Creators” session on Saturday at 2:00 p.m. Later in the day there are “MIPDoc Pitchs”, the traditional pitching of docs & factual contents, and the case study of Destination X, the successful competition and adventure format (Be TV, Belgium) told byNBCUniversal and BBC (UK).

On Sunday,the day starts with the keynote of documentary filmmaker Dawn Porter from Trilogy Films, telling his unique evolution in the genre. Also, there is the “MIPDrama Selection” an early-stage showcase for buyers and press, focused on series and miniseries projects. And lastly,the “MIPFormats Pitch”takes place, sponsored by GermanZDF Studios.

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In parallel, Canneseriesdevelopes its usual Festival activitiesduring the weekend, open to public and with premiere screenings: the first one is This Is Not Sweden, the copro between RTVE Play, TV3 and SVT 1. AlsoGloboplay Original series Living On A Razor’s Edge(Brazil) andiQiyi’s drama To the Wonder (China) are screened at the event.On Sunday night, Becoming Karl Lagerfeld, the bioseries produced by Gaumont and distributed by The Walt Disney Company (Benelux) BV, will handle the main screening, with the presence of main protagonists.

Canneseries, though the end of MIPTV, has announced that will continue as usual in Cannes in April 2025. So, content industry members will have this option to continue the traditional spring push in the south of France. Some people say that the festival couldcreatealso a market as other French Festivalshaveset up, as SeriesMania in Lille, but it is still too early to speak about.

Nicolás Smirnoff, Alberto Buitron

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La entrada The last MIPTV, with MIP Doc, MIP formats and MIP drama first in the weekend se publicó primero en Prensario Zone.

Prensario has made a survey among buyers attending MIPTV, about their acquisitions priorities. Answers? Sandro Sgrulloni, WBD Italia: ‘Fiction crime series and animated series for kids’. Gui Barros, Globo TV, Brazil; ‘At MIPTV we’ve looked especially for dating realities, game shows with play along elements and also family entertainment shows, for broad audiences. In fictions, rom-coms and dramas’. Tatiana Shliapnikova, MDC Armenia: ‘Female oriented stories, from different genres’. Erika Tothova, TV Joj, Slovakia: ‘European series from fresh origins, plus feature films’. Guillermo Sierra, HITN (USA): ‘As usual, lifestile, documentaries and kids programming’.

Anais Malvoisin, TV Monaco: ‘Series, films, shorts, docs, nature, wildlife’. Laura Montero, RTVE, Spain: ‘Procedural light for free TV, variety for the platform’. Mizaki Nansai, Nippon TV, Japan: ‘Non-fiction, funny TV, feel good programming’. Doris Vogelmann, V-Me (free TV, USA): ‘Preschool, animals and investigation’. Yesim Sezdimez, Kanal 7, Turkey: ‘Asian dramas from Korea, India. Unscripted formats from the world. Female daily programming’. Aldo Di Felice, TLN, Canada: ‘Lifestyle: travel, sports, and the new hit of course’.

James Change, Tempo, Taiwan: ‘New dramas, feature films, for broadcasters; kids content, as I provide Nick channel‘. Nuno Vaz, RTP, Portugal: ‘We see very cheap or very expensive unscripted formats, we look for the middle’. Gordan Bobinac, KIP Croatia: ‘Content to develop FAST channels in CEE’. Dragan Petrovic, VT, Serbia: ‘Product to sell per very low price in CEE places where nobody else arrives. We sell even per week’. Manuel Villanueva, TV UNAM, Mexico: ‘Docs of Science, Culture, History. Difficult to find nowadays’.

Nicolás Smirnoff

La entrada What do the buyers want at MIPTV? se publicó primero en Prensario Zone.

Focusing on the Customs and Practices of Altay, Xinjiang, China, It Tells the Story of the Prairie from a Delicate Perspective

To the wonder unfolds from the perspective of Li Wenxiu, a Han Chinese girl living in Altay, Xinjiang, China, recreating the prairie scenery and lifestyle of Altay, as well as the cultural and folk customs of Xinjiang and the simple and resilient spirit of the local herdsmen. It expresses the thematic connotation of respecting nature and seeking true self.

The two episodes screened at the Cannes TV Festival showcase the local customs and scenery of Altay, reproducing the prairie life from a delicate perspective. The characters introduced in the first two episodes, such as Li Wenxiu, Batai, Zhang Fengxia, Sulitan, and Daken, all have their own vivid and bright characteristics. The persistent pursuit of dreams by Li Wenxiu and Batai, and how they seek solutions to conflicts with their parents’ beliefs, are eagerly awaited. In addition, Zhang Fengxia’s transparency, Sulitan’s adherence to nomadic life, and his respect for nature are all moving. The sincerity of the lead actors immersed in their roles and stories resonates with the audience. The plot of the friendly coexistence between the Han Chinese girl Li Wenxiu, her mother Zhang Fengxia, and the Kazakh people in the first two episodes reflects the friendly and kind nature of the local people. The unique customs and traditions of Altay and the traditional Chinese concept of «family» presented in the film are very touching.

Quality Production Explores Prose-like Creation, Cinematographic Lens Showcases the Magnificent Scenery of Altay

The exploration of prose-like expression, cinematographic lens, and exquisite music showcases the magnificent scenery of Altay. The cinematographic lens reproduces the beautiful scenery of herds of cattle and sheep, blue sky, and green grass. The overall music in the drama is mainly based on the melodious and atmospheric folk songs of the Kazakh ethnic group, which, combined with the prairie scenery, brings a unique audiovisual experience to the audience.

It is worth mentioning that the cast of To the wonder is very high-quality. Ma Yili, who plays Zhang Fengxia, is a well-known Chinese actress who has starred in many quality dramas. She plays Zhang Fengxia, a mother who is very perceptive in dealing with people and things. Facing the difficulties encountered by her daughter Li Wenxiu, she carefully analyzes and guides her, with every words pointing out the direction and comforting her daughter. This time, Ma Yili’s delicate and sincere portrayal of a Han Chinese woman living in the Altay region, bursting with free and vibrant vitality on the vast prairie, forms a sharp contrast with her previous roles. Zhou Yiran partners with Ma Yili to play mother and daughter, and the unique chemistry between them in To the wonder has aroused much empathy among the audience. Yu Shi’s portrayal of Batai’s sincere and passionate emotions when facing his beloved horse TaXue is touching. The audience said: He brought the free and sincere prairie teenager on horseback to life.

After the screening, the audience and the media gave high praise to the drama, believing that the creators’ ambition and difficulty in adapting this essay into a TV drama are admirable. Through this drama, they felt the vastness of Chinese land, gained a deep understanding of the lives of traditional herdsmen, and saw the magnificent snow-capped mountains and clear lakes of Altay. It subverts the narrative style and expression of traditional TV dramas and will bring more inspiration to the innovation of TV drama expression.

La entrada MIPTV 2024: Chinese Drama «To The Wonder» premieres at Cannes se publicó primero en Prensario Zone.

Zhang Zhuo, the CEO of Huace Group’s Beijing Business Group, presented the inspiring costume drama «Flourished Penoy» to the international market. The drama stars Yang Zi and Li Xian, and revolves around career and emotional subplots that blend seamlessly with the story. The protagonist, He Weifang, is a merchant’s daughter who divorced a purely transactional relationship, with the help of Jiang Changyang, the «most corrupt official in the world». After coming to Chang’an, He Weifang used her exceptional skills in cultivating rare peonies and business acumen to form a team with Jiang Changyang’s investment. They lead a group of women, who have had a difficult life, to start their own business.

Peony, the national flower of China, has a rich historical significance. The story of «Flourished Peony» is set in the glorious Tang Dynasty era. Against this backdrop, it depicts the famous peonies of the capital city and endeavors to unravel the cultural significance behind them.

The creative team behind «Flourished Peony» has worked closely with experts to recreate the atmosphere of the prosperous Tang Dynasty. They conducted in-depth research on various aspects including culture, etiquette, architecture, and clothing to ensure accuracy. The team focused on depicting not only the temples but also the urban life of ordinary people, with attention to detail to accurately represent the light and shadows of life in the Tang Dynasty.

One of the seven selected masterpieces of «Beijing Audiovisual», «Flourished Peony», was exhibited by the Beijing Municipal Bureau of Radio, Film, and Television at this year’s MIPTV.

Huace International Group promoted another key drama series «Best Choice Ever». This series is based on Yi Shu’s classic novel of the same name and features the talented actors Yang Zi and Xu Kai. The show will premiere tonight on both CCTV-8 and Tencent Video.

The story is set in the bustling city of Shanghai, and it follows the lives of female characters who are striving to achieve their dreams and build their careers amid globalization. The drama delves into the challenges that working women face while trying to balance their personal and professional lives. In addition to pursuing love, career success, and personal fulfillment, the female character is also working hard to establish equal, respectful, and harmonious family relationships. This drama explores the complex mother-daughter relationships in East Asian culture and sheds light on the emotional, workplace, and personal challenges that women across the globe face. It presents a unique perspective of Asian women that is both cross-cultural and international.«Best Choice Ever» is not only bound to captivate Asian audiences but also inspire viewers worldwide to contemplate the modern roles of women and life in international cities.

Huace Group has been a key player in bringing high-quality Chinese content to the global market for over 30 years. It has attained a leading market share and significant influence in this regard. To date, it has successfully distributed over 150,000 hours of content to more than 200 countries and regions and has won numerous international awards, including Emmy Awards, Cannes International Television Festival, Seoul International Drama Awards, and others. The company is committed to further promoting Chinese culture abroad, striving to move beyond mere «export» to «localization» and «making waves».

La entrada Huace Group MIPTV Promotion: “Flourished Peony” and “Best Choice Ever” inspire the global audience se publicó primero en Prensario Zone.

Lucy Smith, Director MIPTV and MIPCOM CANNES offered a press conference on the penultimate day of MIPTV 2024 to offer details about the recently announced RX MIPLONDON 2025 market, and in turn, to offer the traditional wrap-up of this edition of the market, where he revealed that the event brought together 3537 delegates from 84 countries, including over 1100 buyers; with 135 exhibitors, including major studios and distributors, hosting stands on the show floor and pavilions covering 11 countries.
The format that MIPLONDON will have, the next new market that RX will launch in February of next year with which they seek to ‘respond to the needs of the market’. MIPLONDON will have a different form, it will be held in the same week as the London TV screenings, and at the same time as the classics, BBC Studios presentation showcases.

The executive explained that this decision is motivated because since three years ago, the London TV Screenings have been more formally established, with cooperation on the calendar, with each company running their events independently. ‘This year, there were 29 distributors and over 750 buyers in London, coming from all over the world,’ explained Smith.
When referring to whether the event will replace or compete with others, Smith said that this “will not aim to compete, but will be complementary, because it will shape the industry’s business during the first quarter of each year,” she added.
Another point that she touched on is that the market will retain exclusive invitations to buyers (broadcasters and streaming platforms), so they will be able to attend the event completely free of charge.
Regarding the format, she mentioned that they will bid farewell to the exhibition stands, welcoming three pillars: screenings, scalable meeting lounges, and enhanced networking.
‘MIPLondon is a content marketplace, but it’s not about a big showroom. We are looking for event spaces, where we can offer distributors meeting spaces. Buyers will be offered a central hub, where they can connect, and of course, have meetings with distributors,’ she said.
Regarding the factual and animated content (historical in MIPTV), the executive was emphatic in saying that the event will respond and present opportunities for all content segments, so it will not have specific focuses. ‘We are very careful to develop an offer for everyone’.
The Market will be held at the Savoy Hotel (one of the historic landmarks of the British capital), and the IET London Savoy Place, a very high-tech four-story event space. ‘We want to provide maximum meeting space for every attendee’.
MIPTV wrap-up
Among the data that Smith gave regarding MIPTV this year, he said that of the total delegates attending the market, the largest proportion hailed from France followed by (in order) the UK, USA, Germany, Spain, Italy, Türkiye, China, Canada and Belgium.
Likewise, he highlighted that the pre-MIPTV weekend, focused on MIPDOC and MIPFORMATS, with a packed 2024 conference program running Saturday to Sunday aimed to bring together executives from the factual and documentary segment and aimed to offer key conferences and sessions to reinforce the highly in-demand production trend.
Finally, Smith took the opportunity to announce that the 40th edition of MIPCOM CANNES, ‘the mother of all entertainment markets’, as he called it, will take place 21-24 October 2024. Plus, dates for the 41st edition of MIPCOM CANNES were also confirmed for 13 -16 October 2025.
‘The plan was for MIPTV to have a stellar send-off and the last few days have been just that,’ said the executive. ‘We’re grateful to the international TV industry across generations, geographies and genres for their support of MIPTV over the last six decades. All our energies on the Croisette will now be solely focused on MIPCOM CANNES, and on delivering and growing the flagship international entertainment content market for the industry, starting with the 40th-anniversary edition later this year.

La entrada RX France: MIPLONDON details and MIPTV 2024 recap se publicó primero en Prensario Zone.

Tatoğlu, who before Kanal D was the Director of Brand & Marketing at Tabii (TRT streaming platform), commented on the enormous expectations of leading the company’s international distribution group, mentioning verticals such as content, international channels and development of new businesses, especially in the digital segment.

‘It is my first market within the Kanal D structure and the truth is that it has been a very good experience. We are a great player within the industry, so the objective is to consolidate the path already conquered’, said Tatoğlu.

The company had a prominent participation at MIPTV 2024, especially because its flagship seasonal title, Secret of Pearls, the drama produced by BKM and starring Yilmaz Erdogan, Hazar Erguclu, Selma Ergec, and Kubilay Aka, had its own screening at the Palais during the first day of the market, generating very good comments among attending buyers.

Regarding the new thing that the executive adds to the strategy that Kanal D was already doing, Tatoğlu said: ‘one of the objectives, apart from continuing what has been done well at Kanal D, is to generate more sales on streaming platforms. I see that there is potential to develop our products in the AVOD and FAST market, so I identify great opportunities in these segments. We already have Kanal D International, which is moving very well in the market where it is available, but there are still many more veins to exploit. We want not only to extend but to sophisticate, that is, to make more intelligent actions’.

In addition, the executive mentioned that other businesses that she hopes to explore are within the development segment, sales of fiction formats and getting into co-production projects.

La entrada Kanal D: Elif Tatoğlu maps out strategies for international distribution se publicó primero en Prensario Zone.

In the “Salon Diane” of the Majestic Hotel in Cannes, Global Agency held a press conference with the star cast of the drama. Among them, Barış Kılıç, Evrim Alasya, Sıla Turkoglu and Dogukan Gungor.

Faruk Turgut, producer and president of Gold Film, was also present, along with the series’ screenwriter Melis Civelek, acclaimed for having written other hits such as Forbbiden Fruit.

At the conference the entire cast was questioned by the journalists present. As well as Turgut, who answered questions about the narrative potential of the series, for which he responded: ‘It is a drama that, although it takes place in Turkey, can be perfectly understood globally and reach new markets that have nothing to do with the series’.

On the other hand, Civelek was asked about the challenges of making a series that deals with local religious issues. ‘I think that regardless of what you believe, it is a series with universal values of beliefs, but above all, accepting that we can coexist between different ways of thinking’, she added.

The series gained great impact in Türkiye, where it was a success on FOX TV Türkiye. And it continues to expand this success, since it was acquired by Mediaset España last year and this year it reached its first agreement in Latin America with TVN Chile.

La entrada Global Agency: drama series «One Love» garners attention at MIPTV in Cannes se publicó primero en Prensario Zone.

After participating in Content Americas, NATPE Global and other events during the first quarter of the year, RTVE is at MIPTV presenting its seasonal catalog, where also its Spanish–Swedish comedy-drama TV series created by Aina Clotet, This is not Sweden , is part of the official competition at CANNESERIES 2024.

In an interview with Prensario, Rosalia Alcubilla Alonso, Head of Global Clients, commented on the titles that stand out in the market, recent agreements, market perspectives and future plans that include the company’s showcase next May.

‘In these months fiction has been very important for us, because there seems to be a need for these, both in short or long format, and also soap operas’, explained Alcubilla, who mentioned that they have been generating interest with the police series and suspense Detective Touré, a co-production with Tornasol Films and DeAPlaneta, which has not had its premiere in Spain, but was recently released in Portugal after being acquired by a private TV broadcaster.

Another of the featured titles in its catalog is the fiction and drama miniseries The Law of the Sea, which was one of the featured contents at Glance conference during the market. The series was produced by Studio 60 and stars Blanca Portillo, Luis Tosar and Sonia Almarcha, which received very good reviews from the specialized press, in addition to being the second most viewed series on Netflix Espain after being acquired by the streamer.

‘The RTVE brand is very strong internationally, both for its fiction and for the ecosystem of channels it distributes: Pay TV and recently FAST Channels. And now more than ever its editorial line, added to the fact that today more than ever Spanish fiction is in trend, makes the catalog very attractive for buyers from all over the world’, said Alcubilla.

In addition to the titles mentioned above, the company presents in its catalog on MIPTV La Moderna, Operación Barrio Inglés, 4 Estrellas, in addition to its wide repertoire of linear international channels, which continue to gain subscribers around the world: the generalist channel TVE, the news program 24 Horas, the fiction program STAR TVE and the children’s program Clan, which reaches millions of homes in 17 American countries, including the United States.

Likewise, it continues to promote exclusive access to the RTVE Play+ video-on-demand platform available throughout America with more than 100,000 hours of subscription content and the four linear channels available in streaming.

La entrada RTVE at MIPTV 2024: leaders on Spanish fiction se publicó primero en Prensario Zone.

Apart at this same daily, we provide a full article with Smith’s comments about MIPLONDON. She’s mainly stressed: ‘We are developing a new event format that the market was requiring. Forget the exhibition floors, we want to provide a premium networking experience based on buyer areas, scalable meeting lounges -according to the size of the venture- branded meeting tables, country pavilions, private club rooms, 2 screenings theatres and spaces for events. It will be different too from MIPCANCUN. We have already 50 top confirmed buyers, and growing. They have full free invitations’.

‘We’ll be held at the Savoy hotel of the West-End, February 24-27, the same week of the LONDON SCREENINGS, that in 2023 joined 29 distributors and 150 buyers. We’ll be complementary, adding more buyers, international business and networking supported solutions. We’ll be allocated 10 minutes walking from them. There won’t be conferences either during our market days, but we are analyzing if we include some the previous Sunday (Feb 23). We want just networking. Though LONDON SCREENINGS are focused on fictions, we will include special offers for our doc, formats and kids communities. Many news are to come’.

Read More…

La entrada MIPTV 2024, wrap up: Hi MIPLondon se publicó primero en Prensario Zone.

In conversation with Prensario, in Cannes, García spoke of the good moment that the distribution unit of the company based in Colombia is experiencing, which assists the market with a very competitive catalog, full of drama, formats, and subgenres such as music and bioseries, the which have global appeal.

‘Our stories attract a lot of attention due to the incredible level of invoice and because we are present in each of the industry’s key markets. But in addition to that, because we offer everything from classic melodrama to fiction with twists’, García commented.

The company’s distribution unit is having a great presence in international markets, even is participating in markets like Africa ones, such as the flagship RX event in this region, MIPAFRICA.

As a global trend, the executive commented that although there are many distributors and providers of melodrama content of more than 60 chapters, Caracol TV‘s content has stood out for its freshness and stories that adapt to the changes in society.

La entrada Caracol TV at MIPTV: solid international perspectives se publicó primero en Prensario Zone.

One of the highlights of the company in the market, which had its debut last January on the company’s linear channel in Turkey, proposes a ‘classic’ story, which Sibel Levendoğlu, the company’s sales manager, assured that Buyers from all over the world will love it.

The melodrama premiered on January 25 with very high ratings in Turkey, seeking to generate business in the market.

La entrada Kanal D unveils «Secret of Pearls» to global audience at MIPTV se publicó primero en Prensario Zone.

The executive presented a map of the countries that make the most channels available in FAST services, led by the USA with 1815, followed by the UK with 671 channels, Canada with 589, Germany with 509 and France with 471.

‘Just this year we entered a phase where we can say that the segment is growing in Europe, where the average number of channels for markets outside the United States is already considered significant’, Lombardo noted.

One of the trends that this segment has experienced is that traditional companies such as studios and linear channels are moving within the FAST segment, launching verticals dedicated to it, as is the case of WBTV Watchlist, Universal Crime, Moviesphere by Lionsgate, among others.

Another of the data that he presented was the consolidation of Pluto TV, Samsung TV Plus and Rakuten as strong players, as undisputed kings of the AVOD and FAST segment. Which have accumulated more than 100 channels each in the markets where they are located.

La entrada Global FAST & AVOD Summit at MIPTV: What’s next se publicó primero en Prensario Zone.

Frédéric Vaulpre, Senior Vice-President of Glance, reported that the total TV + Streaming viewing in 2023, in the United States alone, was 4 minutes 16 seconds, 5 minutes more compared to 2021. Streaming is one of the enhancers of this figure, with a 43% share, followed by cable 31%, and then networks 26%.

‘This is because everyone now has a streamer because they are finding appeal drivers for Young audiences, but also taking benefit of strong live audiences’, Vaulpre explained.

One of the growing trends, especially in Europe, is the BVOD (Broadcaster video on demand) model, a content distribution model in which users access titles online and on-demand from traditional free-to-air broadcasters. This trend is a growing European response from public channels, with players such as TF1+, France TV, My Canal, ITVX, BBC Player, Atresplayer, M6+, RTL+, among others.

This has attracted more content and therefore more audience compared to 2018, due to the extension of the availability window, since some platforms make available Premium content, FAST channels, or pre-linear TV Broadcast.

Another trend that the consultancy has observed is content scheduling, which was successful among SVOD platforms, but seems to have been ironed out, regarding the growth of live streaming, by AVOD platforms or FAST channels.

However, something that keeps TV Channels current is live viewing, which remains dominant. Where the live viewing proportion in total TV viewing in North America among total audience share is 85%, meanwhile among Young adults is 86%. As for Europe 88% (total audience), 84% (Young adults); in Asia is 95% (total audience) and 94% (Young adults); Oceania 88% (total audience) and 87% (Young adults).

This trend is largely driven by live events such as sports, where platforms have taken part of the exclusive rights to tournaments that historically belonged to traditional TV. Amazon Prime Video signed an 8-year exclusivity agreement with the NFL, which in 2023 allowed it to concentrate a good number of live online viewers.

Top launches in 2023

More than 60% of the top-performing programs were launched in the 1Q 2023. The best performing launch is an unscripted series in more than 2 out of 5 territories (up from 2022).

Among the best-performing unscripted releases in 2023 are the entertainment game show The 1% Club (Seven – Australia), the game show Intervilles (RTVE, La 1 – Spain), and the reality competition I can See Your Voice (Keshet 12 – Israel).

One of the trends of this edition of MIPTV is the appetite for Asian formats. The consultancy highlighted the show Battle In The Box, produced by MBN, and distributed by Something Special, which already has an adaptation underway in Spain.

While in terms of factual formats, the documentary Kum Suomi Muuttui (Yle TV1 – Finland) stood out. Also, the production of Silverback Films and The Open University, distributed by Banijay Rights (UK) Wild Isles, debuted on BBC One in 2023.

While in the scripted genre released in 2023, the drama series The Swarm (ORF 1 – Austria), fiction drama series What Will You Do, Ieyasu? (TVP1 – Poland), and soap opera Street Birds (ATV– Turkey).

La entrada From BVOD to Live Events: «One TV Year» key takeaways se publicó primero en Prensario Zone.

Breaking new ground in the realm of studio entertainment, Lovers or Liars? challenges a celebrity panel to distinguish the genuine married couple among four pairs of contestants. This collaboration marks the first project to emerge from the partnership between All3Media and Japanese TBS, with North One Productions (All3media) spearheading the development.

Smith emphasized the importance of aligning with a partner who shares common goals while bringing diverse perspectives to the table. He noted the synergy between All3Media and TBS, highlighting the cultural exchange that enriched the format’s development. From daring ideas like hidden cameras to incorporating dance choreography, the collaboration pushed boundaries and yielded creative breakthroughs.

Fukaya echoed Smith‘s sentiments, highlighting the mutual learning experience that characterized the co-development process. Embracing elements from both sides, Lovers or Liars? seamlessly integrates diverse cultural influences, resulting in a format that resonates across borders.

The international appeal of Lovers or Liars? lies in its ability to tap into universal themes of relationships and human behavior. Blending elements of dating shows and social experiments, the format captivates audiences with its intriguing premise and interactive storytelling. From deciphering body language to unraveling hidden connections, viewers are immersed in a riveting journey of discovery.

Moreover, the format’s versatility allows for adaptation in various territories and budget levels. Whether produced as a studio-based spectacle or a sleek entertainment extravaganza, Lovers or Liars? offers flexibility without compromising on quality. Fukaya emphasized the global relevance of themes like singing, dancing, and love letters, underscoring the format’s adaptability to diverse cultural contexts.

La entrada All3media and TBS at MIPTV 2024: how “Lovers or Liars?” became a global sensation se publicó primero en Prensario Zone.

Steve Matthews, Content Executive at Banijay, began by mentioning that production conditions are low due to costs, so co-productions are ‘more important than ever’, especially in terms of formats. The executive referred to the patronage they offer to smaller production companies around the world, a strategy that they have been leading in different markets where the group has development units.

‘Patronage is a great bundle that we offer to a large number of production companies. Now there are around 60 companies working under this model, from Australia, New Zealand, Brazil, Europe, to India, etc. It’s a great bundle, I’ve been on that unit for a year and I’m just thinking about it, to be honest. My perception is that, being the patronage center, one of the things that I really liked about leading these from the outside was how well I think they have managed to do with the production of titles. I think they are very good at charging companies with maintaining their identities and making their specialty. My role is partly to provide Patronage headquarters, in addition to procurement. We usually have a Scripted fund, if the company wants a little more money for a book or something, we have BookScout, as well as other ways to finance them’, explained.

On the other hand, Max Malka, Head of Scripted, Endemol Shine Finland, showed images of his recent high-end projects. One of them was the co-production made in alliance with Finnish broadcaster Yle and Netflix for the 10-episode drama Dance Brothers, being the first commission made by Banijay in this market since it opened its operations in Finland.

‘We are looking for international partners, whether they are talents, co-producers, financiers, who are creative in the content, but also in financing, which is really very important for us,’ said Malka.

Meanwhile, Elisabeth d’Arvieu, CEO of Mediawan Pictures, referred to the tremendous work they have done helping creators, directors and developers of premium independent content, offering financing and creative freedom.

‘As for the others, budget problems are present at Mediawan Pictures, so we are carefully selecting what we should invest in, but we must also be able to respond to these needs, and develop in the space that the audience is consuming: documentary, which has been very important in the last year, because a good story, a good documentary series, a good crime series in Docs, can lead to a very good unscripted adaptation’, concluded.

La entrada Mediawan, SkyShowtime, and Banijay discuss content challenges amid industry crisis se publicó primero en Prensario Zone.

Yesterday trends? Through the different conferences and panels, there has been good focus on what broadcasters and traditional TV players are doing to refresh business. Everybody stresses that advertising is down on free TV, but global ad spending has grown… digital ventures are taking a big slice of the pie. In fact, apart from the thousands of VOD/FAST options, now live streaming TV is gaining the scene as a new big thing, with the strongest initiatives receiving big brands to advertise, instead of looking for them. Ad players love the detailed segmentation, full feedback reports and young audiences focus.

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La entrada MIPTV 2024: how to turn new the old TV, with ‘BVOD’ and ‘Patronage’ se publicó primero en Prensario Zone.

However, Beatrice Rossmanith, Head of Global Business, reported that the number of non-scripted series released in the last 12 months has decreased, from 6,614 in 2022 to 5,921 last year, this represents a 10.5% decrease. She explains that this is due to changes in the industry, whose companies have been unified, but above all that, the number of production companies is moving from linear channels to delivering finished titles to platforms.

True crime continues to be the dominant theme, with more than 400 award-winning titles in 2023. And precisely thanks to these themes, factual content continues to be the one that performs best in 2 out of 5 territories.

In addition to true-crime, documentary titles on sports, culture, music, and the arts have grown in demand from the audience and from streaming platforms. While on the linear channels, history, and society documentaries are the most in demand.

In terms of business models, the consulting firm has observed that in terms of true-crime, multi-platform agreements have grown, which has represented opportunities for the FAST and AVOD segment, where YouTube has been one of the great beneficiaries. Missing, Presumed Dead (10×60′), signed a windowing agreement on A+E Networks EMEA and on the FAST channel FD Crime.

La entrada Key insights from Glance at Pre-MIPTV weekend: the rise and shift of factual content se publicó primero en Prensario Zone.

The first format presented was Apartment 404, a mystery-solving variety show based on real-life events that took place in housing apartments across different time periods and locations. The show is produced by Jung Chul-min for the broadcasting network tvN, distributed by CJ ENM, which first season aired on Amazon Prime Video from February 23 to April 12.

‘Apartment 404 stands out for many reasons, but one of them is that it connects viewers with a certain nostalgia, and I think this theme can be adaptable for any other country. But it is also a format that can attract different generations to the screen, and I think that is why this show is very attractive, and is based, among other things, on mysterious events that have not been resolved’, said Jully Kim, sales executive at CJ ENM.

Meanwhile, Something Special showed the reality game format Still Alive, where contestants find clues and complete challenges in a mysterious mansion and must stay alive for 24 hours by not breaking the hidden rules, including a veiled “death rule” that causes immediate elimination. This show was created with Something Special by Korea’s top-tier creators, Miyeon KIM and Bora LEE.

It was acquired by the French company Mediawan through its Spanish production companies Boomerang TV and Veranda TV.

‘Still Alive will attract the audience for its unexpected moments, both because the contestants achieve a lot of engagement with viewers, and because of the surprise effect that the program has’, said Praise Chanmi Shin, Head of International Business at Something Special.

And finally, MBC and the Swedish MASTIFF (part of Banijay Group) showed in their case study Bloody Game, the competition reality series where one fierce survivor walks away with a grand cash prize. The format was acquired by Banijay into an exclusive multi-territory format rights in nine countries.

La entrada K-Formats shone on the second day of MIPTV 2024 se publicó primero en Prensario Zone.

This Sunday, April 7th, Beta Film held its traditional dinner at Le Colombe d’Or, and prior to that held a special screening in the Diane Room of the Majestic Hotel, to welcome its guests. There they presented an exclusive first preview of the high profile series ‘Rise of the Raven ‘ and the first episode of their medical drama Krank Berlin.

In addition, during the screening attended by some 20 guests, Beta Film welcomed the cast and crew behind the series Maxima and Operation Sabre, of which they showed a preview. The day continued at Le Colombe d’Or, where 55 guests, including company clients and journalists, attended.

About the screenings:

Rise of the Raven (10×60′): is a project of Hungarian-born, Canadian-based producer Robert Lantos. The series revolves around the extraordinary feat of Hungarian army commander Janos Hunyadi, played by Gellért L. Kádár, who in 1456 won a bloody and brutal battle of Belgrade against a vast Ottoman force twice the size of his troops, who were often farm laborers armed with slingshots and patriotic fervor.

Keank Berlin (8×60′): A project created by British writer Samuel Jefferson, it is set in Berlin’s toughest and most overcrowded hospital. Underpaid, under-equipped, chronically fatigued and with an indispensable dose of black humor, the doctors in this ward must recognize that they are all in the same boat and pursuing a common goal: saving lives and standing up to a ruthless healthcare system.

Máxima (6×60′): A modern fairy tale arrived on the French Riviera. From the moment the Argentinian Máxima appears at the side of the Dutch Crown Prince, she finds herself in the spotlight. But when Willem-Alexander asks her to marry him, the past catches up with her. Máxima premieres Tuesday, April 9 at 8 p.m. at the Grand Auditorium Lumière at the Palais des Festivals; and will be available on RTL Netherlands ‘ Videoland from April 20. The Millstreet Films production has been sold by Beta to Warner Bros. Discovery for Latin America, RTL Germany, HRT Croatia, ORF Austria, HOT Israel and Latvia, LV1 and Slovakia.

Operation Sabre (8×60′) is the true story of the 2003 assassination of Serbian Prime Minister Zoran Đinđić and the subsequent investigation that marked a turning point in the nation’s history. As Đinđić attempted to dismantle a deeply entrenched network of corruption and criminals embedded within the government, now those searching for his killer are becoming targets. The series will celebrate its world premiere in Competition at Canneseries on Monday, April 8 at 3 p.m. at the Grand Auditorium Lumière.

La entrada Beta Film: over 400 hours of new dramas, exclusive screening and a traditional dinner se publicó primero en Prensario Zone.

‘We want to support the whole family, so the offer is very inclusive and represents the interests of the family. We have a multitude of 14 to 15 channels destined within the portfolio of match channels and streaming applications and so on’, said Oliver, who also mentioned the linear and streaming vertical launched last year by Sky Kids, which was born to meet the demand for content. childish.

But regarding the conference that he starred at Pre-MIPTV program MIPDocs, the executive spoke about Sky Documentaries, the operator’s factual proposal, launched in 2020, and which has become a fundamental part of his television proposal in Europe. ‘We could see the young audience’s growing appetite for documentary content, but particularly for the stories of current personalities’.

In this content vertical, partnerships are important for Sky Group, which has strong partners such as HBO, who provides documentary content with the quality that distinguishes them. ‘We have a long relationship with HBO, so we have positioned many of their documentaries very well on Sky Atlantics, but we understood that they were not the place for them, and that was the reason we launched a channel dedicated to documentaries’, he explained.

The narrative pillars of Sky documentaries are ‘communication, provocation and entertainment’, so the content of this genre can cover any focus, but these aspects must predominate.

As for the searches that the executive undertakes in MIPDocs this year, they are artists, sports, icons and crime scandals. ‘These are topics that interest us, since they have a lot of reach with our audience, since although many of these personalities are well-known, we are characterized by going deeper and offering information that is not common,’ he remarked.

Also, Oliver referred to the acclaimed documentary Epstein’s Shadow: Ghislaine Maxwell, which follows in the footsteps of the controversial character. This project had several partnerships behind it, Blue Ant Studios, Abacus and NBCUniversal, with a team of women in charge of production and development.

Finally, the co-production director referred to the budgets for documentaries, explaining that they objectively study the focus of the project and allocate specific resources or explore forms of financing, whether co-production, co-financing and even requesting funds for production in countries with incentive policies.

La entrada MIPDocs: Sky UK unveils plans for its documentaries vertical se publicó primero en Prensario Zone.

If you consider MIPTV 2023 figures -5600 participants from 83 countries- this year event is clearly down. But even this time, the market is showing its friendly combination of global business with elite exclusivity. You meet global top people with more time than Mipcom. This condition has been not enough to make the event perdure, but many attendees that come, enjoy and will miss this April experience.

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La entrada MIPTV 204: the last dance, but with good opportunities se publicó primero en Prensario Zone.

The idea for this partnership arose in 2020 when both giants of the television industry were looking for ways to innovate and offer unique experiences globally. The premise of Destination X is simple ‘but exciting,’ Havard explained. The plot of the format follows a group of contestants who will travel around the world in a special vehicle, facing challenges and mysteries in different unknown locations. The contestant furthest from the starting location will be eliminated, while the audience is also kept guessing about the fate of the contestants.

What makes Destination X particularly special is the transatlantic collaboration between NBCUniversal and BBC. ‘This partnership allows format creators and developers to access global resources and international audiences in an unprecedented way. Both companies are committed to the success of the program, which is reflected in the meticulous attention paid to every detail, from development to production’, said Irtizaali.

‘The partnership between both companies also provides a platform for innovation and creative risk’, both executives assured. Also, Havard said that by joining forces, both companies can take on ‘bolder challenges and carry out ambitious projects that would not otherwise be possible’. ‘In addition, collaboration allows for the sharing of resources and knowledge, resulting in greater efficiency and quality in content production’.

‘Destination X is just the beginning of this exciting partnership between NBCUniversal and BBC. With a focus on creativity, originality and excellence, both companies are committed to taking unscripted television to new heights. Viewers can expect a unique and exciting experience that will challenge their expectations and take them on an unforgettable journey around the world’, Irtizaali concluded.

La entrada MIPFormats: NBCUniversal and BBC forge new paths with format Destination X se publicó primero en Prensario Zone.

Michelle Lin, Associate Director of Operations on the consultancy firm,  reported that the number of premieres that the British format, original from Studio Lambert, reached 57%, with premieres in MAX (Spain), in Finland and Germany. In fact, the title will have at least nine releases this year, increasing the number of adaptations in the world.

The format is part of All3media’s international catalogue, and the consulting firm even revealed that its success boosted sales of other titles on its seasonal slate.

Another of the formats that has had special recent success is The Floor by the renowned John de Mol, and which is part of K7 Media’s “Formats to Watch” selection, for which 11 premieres of local adaptations await this year.

The consultancy highlighted that Fremantle’s Family Feud had a revitalization in the international market, as did Amazon’s LOL: Last One Laughing, cataloged as a “Streamer Format Star”, which gave Prime Video the “Rising Format Buyer” award.

The consultancy also referred to the situation of the decrease in advertising revenues and lower program budgets, explaining that broadcasters refrained from production risks, which is why they went for ‘safer formats with proven success’. ‘In 2023 we see a significant increase in the number of classic formats and franchises returning to our screens,’ Lin concluded.

La entrada MIPTV 2024: K7 Media unveils top format trends se publicó primero en Prensario Zone.