Videoage International May 2018

TM & © 2018 Fox and its related entities. All rights reserved. RENEWED FOR A SECOND SEASON RETNI N A T OI N A L ww w.V i ed goA .e org THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION May 2018 - VOL. 38 NO. 3 - $9.75 By Dom Serafini I f the financial world venerates family scions, Hollywood reveres family pedigrees, and Gina Brogi (pictured at right) has one, having grown up on various studio lots (with a mom who worked at Paramount and a grandpa at MGM). After growing up around studio talk, and with 20 years of her own personal involvement in the entertainmentbusinesswithvarious Hollywood studios, Brogi is now president of Global Distribution for Twentieth Century Fox Television Distribution (TCFTVD). Brogi’s understanding of the in- tricacies of VoD windowing in its various forms — SVoD, AVoD, and TVoD, among nine or so others — did not escape Mark Kaner, TCFTVD’s overall president. Kaner saw to it that Brogi would, for the first time in the history of the Fox studio, be the only executive responsible for overseeing the sales of all TV series and feature films across global Pay-TV and SVoD services, as well as international free and basic TV channels. Brogi entered the entertainment The Digital Sink or Swim World of Fox’s Gina Brogi (Continued on Page 36) My 2¢: Forget history to avoid restrictions due to past practices Sección en Español: Nollywood, Turquía en EEUU, TV de Canadá L.A. Screenings: Who are the indies screening at the InterContinental? L.A. Screenings: The Pilots for 2018-19 cut the clutter Page 46 Page 25 Page 14 Page 10 T ony Friscia is the “father” of the “ultimates,” a tool to guide content sales for the U.S. studios. His contribution was making the distribution business into... a business. Throughout his 43-year career, Friscia worked for eight studios. Since 2005, he’s run his own company. His ability to dissect content into tiny fragments, and then assign them dollar values, helped the studios maximize sales for their shows. The “ultimates” are where complex studio production contracts began to take real form. Tony Friscia in the Int’l TV Distribution Hall of Fame (Story on Page 40) (Continued on Page 38) I n 1986, the Latin American TV scene was starting to emerge as a force in the export market (so much so that VideoAge launched a Spanish-language version, VideoEra ). At the time it was the first such publication for the LATAM sector. VideoEra enjoyed but a brief shelf life because — even though the territory was awash with television- related activities — it had not yet reached the “critical mass” needed to support a trade publication. Add to that the fact that the content sellers, mostly Americans, were still struggling with collections in that vast territory, and were thus less inclined to promote their shows in LATAM. The Ups &Downs Of The LATAM ExportTVMarket