Video Age International November-December 2015

12 December 2015 V I D E O A G E MIPCOM Review and business was recorded at all levels (sales, co- productions, dubbingandnetwork-commissioned series). More than 400 new scripted series across all platforms from the 2015-2016 U.S. TV season were introduced at MIPCOM (last season there were about 370). Overall, among all exhibiting companies, VideoAge estimated that buyers were able to shop over 4,000 new shows. For LATAM buyers, MIPCOM represented their most important market after the L.A. Screenings and NATPE. Despite economic problems, especially in Brazil and Argentina, an estimated 150 LATAM buyers were in Cannes, including some from Central America. Sellers from Latin America were represented by 280 companies from nine LATAM countries (215 with stands), including those from the Hispanic U.S. Disney Media Distribution Latin America (DMDLATAM) for example, was in Cannes with their largest contingent of executives ever, announcing local productions like Hasta Que Te Conoci ( Until I Met You ). Telemundo Internacional made two announcements: The agreement to become the exclusive distributor of HBO Latin America Originals in Europe, Middle East, Asia, Africa, and Oceania as of January 2016, and the signing of a long-term agreement withMega Chile, giving Telemundo exclusive rights to distribute the Chilean channel’s fiction productions worldwide. Other announcements were made by Telefe and Keshet for game show BOOM! and with Endemol- Shine Argentina for the series, El Gran Jugador . Plus, Comarex entered into an international distribution agreement with Canal 13 Chile and Italy’s Mediaset. In addition, Cisneros Media Distribution signed a deal with Getty Images Latin America and has established Mobius.lab Productions. Cisneros, MTV LATAM and UNFPA joined forces to produce a campaign for awareness in the prevention of pregnancies in adolescents. Germany-based Studio 100 announced a deal with Al Jazeera Media Network and Scripps’s TVN launched an online original production in Poland. Over 140 distribution companies from all over the world that attended MIPCOM will travel to Santa Monica just 26 days later to exhibit at the American Film Market (in 2016, only 19 days will separate the two markets). This represents 37 percent of AFM content exhibitors, which is not an attractive proposition for buyers looking for “gems” at the AFM. Curiously, it’s almost the same MIPCOM-AFM ratio as in 2011 (34 percent). However, many of these same exhibitors will be taking different product to the film market, preferring to continue negotiations with buyers who were at MIPCOM for the television content seen in Cannes and focus on new buyers for their new theatrical offerings. In effect, the AFM has become an extension of MIPCOM, after giving buyers and sellers a few days back in their offices in between. One advantage of AFM is that many of the exhibitors can sleep at home, since it’s held in the Los Angeles area, and the actual cost of participation is limited to the rental of suites at the Loews Hotel, the market headquarters. Now, back to Cannes. As for the numerous conferences that dotted MIPCOM every day, the focuses were Turkish TV production, 4K ultra high- resolution challenges and the usual predictions on the future of TV. Showtime’s David Nevins and CBS’ Armando Nuñez expanded on those points, also including the rising demand for premium content on multiple platforms around the world, and how television is attracting world-class talent both in front of and behind the camera. Televisa’s Hugo Treviño summarized this MIPCOM: “We were super busy and very happy to be alive after the storm.” Studio 100’s Patrick Elmendorff with JCC’s Saad Saleh Al Hudaifi Multicom’s Jesse Baritz, Susan Hewitt, Irv Holender (Continued From Page 10) Breakthrough Entertainment’s Nat Abraham and Jodi Mackie with Corus’ Jerry Diaz