I N T E R N A T I O N A L www.V i deoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, STREAMING, PRODUCTION, DISTRIBUTION August/September 2022 - VOL. 42 NO. 5 - $9.75 ???? (Continued on Page 10) Let’s start with the mother of all international TV trade shows: MIPCOM, coming up on October 1720, 2022, with MIPCOM Jr., the children’s TV market, taking place during the preceding weekend at the JWMarriott Hotel in Cannes. The market organizers, RX France, didn’t waste any of their summer period promoting and publicizing it, with multiple e-blasts that started as early as June. And, apparently, the international TV industry has responded in kind with all the U.S. studios planning to attend. Now, if both Russia’s Vladimir Putin and China’s Xi Jinping will just behave, the market promises to be a resounding success. All Eyes Are on the AFM: Success at Any Cost Airfares are highly unfair due to short management vision NAB Show to finally reconnect in New York City Singapore opens to an in-person ATF after initial hesitation My 2¢: The industry fosters execs raised in the era of plenty Page 11 Page 4 Page 4 Page 3 It’s going to be a crucial year for the 43rd edition of the American Film Market (AFM). It has to be successful in order to survive, considering that close to 90 percent of the budget to run it is said to be generated from the market, and the two recent years without a market (due to COVID concerns) really affected its finances. Fortunately, for this 2022 event, all indications are that things are heading in the right direction, with 164 film sales companies already registering to exhibit as of August 29, 2022. These include ACI, Electric Entertainment, Lionsgate, MGM, Multicom, and Vision Films from the U.S.; Studio 100 from Germany; MIP Cancun To Gain as LATAM In-BetweenMart (Continued on Page 8) The Pre-Markets Edition: Fall Trade Events Preview Being sandwiched between MIPCOM and NATPE Global (which will take place in Nassau, the Bahamas), MIP Cancun is sure to have an effect on both as far as the LATAM presence at the two markets is concerned. And because of costs, small content distribution companies will surely have to choose at least two (Continued on Page 6) The exhibition floor will be unrecognizable, with many stands shifting from their onetime spots, like Paramount taking Disney’s former tent, while Unifrance is keeping CBS’s old corner spot on the Riviera, and NBCUni is taking back its stand and terrace on the fourth floor. Italy’s RAI is moving from its traditional stand at the Riviera, taking one across the
The 38th International Co-Production & Entertainment Content Market Join the world’s greatest gathering of TV professionals for a supersized edition of MIPCOM! www.mipcom.com MIPCOM® is a registred trademarks of RX France - All rights reserved 17-20 October 2022 Palais des Festivals The Mother of All Entertainment Content Markets awaits you in Cannes
3 My 2¢ Aug/Sept. 2022 Thus far, only David Zaslav has diverged from the “streaming first approach.” The entertainment industry is going throughaperiodof transition, fromawelloiled business model to the unknown. “Transition” is also code for “no one is making money” and “no one knows what to do.” The streamers are all losingmoney (with some AVoD exceptions); broadcast stations no longer have a “license to print money;” producers are making money, but lost back-end benefits; distribution companies are not making money; movie theaters are closing; trade shows are losing steam; and what is left of the trade press is barely surviving. This is the picture in Y2.2K (to use the modern term for the year 2022), but let’s digress from this sad state of affairs for some trivia. The expression “license to print money” was often attributed to TV/film producer Lew Grade, who was said to have uttered this during the early years of television in the U.K., but it was most likely borrowed from a 1943 article about baseball in the sports section of Montreal’s Gazette. In England, the first use of the phrase is found in a July 8, 1958 edition of Manchester’s Guardian. Now back to the “transitional” state of the industry. One of the problems is that the current management was formed and trained during the “years of plenty,” when the sector was making lots of money, and are therefore unaccustomed to the current uncertainties. Over the years, entertainment — television in particular — went through several stages: from the “Golden Age” of the 1950s (in terms of popularity and innovative programming), to the “Event Television” of the 1960s (with the Vietnam War, the assassinations of JFK and Martin Luther King Jr., the Moon landing), and the “Riches of Television” of the 1970s-1980s, when the U.S. studios took notice of the large amount of money the TV networks were making with their programs, and the TV networks realized the golden pot the studios were sitting on because of syndication. Then, in the 1990s, the golden pot grew even larger with the advent of cable television, premium television, and home video. Those were the so-called “Years of the 500 channels.” Entertainment reached its peak in the 2000swith the advent of digital television, when there were six main windows and 80 rights to manage. Executives became experts at slicing content (as programs are now referred to) to extract even more money, and the looming turmoil couldn’t be foreseen. Then, over a period of just a few short years, the number of windows dropped down to two, just like during the 1980s. Looking back before the “years of plenty,” veterans recall some “bumpy” periods, like when the TV networks weren’t making money, but they say that what’s going on today is “unprecedented.” Some media executives have called 2022 a “transitional year,” indicating that this period of uncertainty will soon end, but my 2¢ are that, thus far, only David Zaslav has diverged from the “streaming first approach.” Recently, a headline on CNBC’s website stated: “Warner Bros. Discovery CEO David Zaslav embraces the past as he plans his company’s future.” Dom Serafini The entertainment industry is going through an unprecedented era of transition, with new-school executives who find it hard to deal with the daily innovations. But exceptions are starting to emerge in the formof executives who are learning from the past. MAIN OFFICES 216 EAST 75TH STREET NEW YORK, NY 10021 TEL: (212) 288-3933 WWW.VIDEOAGEINTERNATIONAL.COM WWW.VIDEOAGELATINO.COM P.O. BOX 25282 LOS ANGELES, CA 90025 VIALE ABRUZZI 30 20123 MILAN, ITALY EDITOR-in-CHIEF DOM SERAFINI EDITORIAL TEAM BILL BRIOUX (CANADA) ENZO CHIARULLO (ITALY) LEAH HOCHBAUM ROSNER (NY) SUSAN HORNIK (L.A.) CAROLINE INTERTAGLIA (FRANCE) OMAR MENDEZ (ARGENTINA) LUIS POLANCO (NY) MIKE REYNOLDS (L.A.) MARIA ZUPPELLO (BRAZIL) PUBLISHER MONICA GORGHETTO BUSINESS OFFICE LEN FINKEL LEGAL OFFICE STEVE SCHIFFMAN WEB MANAGER BRUNO MARRACINO DESIGN/PREPRESS CLAUDIO MATTIONI, CARMINE RASPAOLO © TV TRADE MEDIA INC. 2022 “The way I figure it, if we fire the most competent, our jobs will be safe!”
4 World V I D E O A G E Aug/Sept. 2022 in Manhattan, will have 250 exhibitors. Both figures are down slightly from 2019. “We are thrilled to be back in person in New York and look forward to delivering an exceptional experience for exhibitors and attendees,” said Chris Brown, NAB executive vice president and managing director, Global Connections and Events. “The success of NAB Show in Las Vegas reinforced the power of live events and the desire for a return to in-person trade shows. NAB Show New York is an important touch point for the industry to re-engage with the technology and thought leaders who are revolutionizing the art of storytelling and moving the business forward,” Brown concluded. ATF Officially In Person It took three full years for the Asia TV Forum (ATF) to return to an in-person market. During the first two years of the pandemic, organizers RX Global (formerly RX Singapore, and before that Reed Exhibitions) managed to stitch the market together with virtual events, and even as recently as May, its website was hinting at yet another virtual event to come. Then, a few months later, in July, it changed course with the official announcement that the 2022 market was, once again, going to be held in person, December 7-9, a week later than it’s traditionally held. In an interview that Sonia Fleck, CEO of Singapore-based Bomanbridge, gave to Video-Age in November 2021, she predicted that there would “absolutely [be] an in-person ATF” in December 2022. Last year’s ATF managed to have an in-person component, although it was limited to the opening day’s activities, which took place at the Marina Bay Sands on December 1. Attendance was by invitation only. There was a free, on-site COVID-19 testing facility there, and foreign participants had to abide by Singapore’s quarantine requirements. Some 200 in-person participants attended, primarily from Singapore, who basically listened to speeches that day. One of the most interesting conferences of the six so far announced for NAB Show New York, October 17-20, 2022, is “TV 2025: Monetizing the Future,” scheduled on October 19. This is how the organizers describe it: “C-Suite broadcasters, financial analysts and investors gather to explore the profit potential of emerging opportunities; the impact of NextGen TV, streamlining of traditional workflows, cybersecurity, tackling the recruitment crisis and how to capitalize on opportunities in digital, the cloud and evolving revenue streams.” NAB ShowNew York is the sister event that follows theWashington, D.C.-based National Association of Broadcasters’ Las Vegas show in April, which, at its first in-person post-pandemic event, attracted 52,468 participants, of which 11,542 were international attendees, a 50 percent reduction from the 2019 Las Vegas event. NAB Show New York will also return in person for the first time since 2019, and is expected to attract an estimated 10,000 participants for the conference, which will begin on October 17 at the Jacob K. Javits Convention Center. The exhibition, held October 19-20, also at the Javits Convention Center NAB Show to Reconnect in New York City
Discover the #1 Latin American Entertainment Content Market www.mipcancun.com MIPCANCUN® is a registred trademarks of RX France - All rights reserved 13-16 November 2022 Moon Palace Resort Hotel, Cancun, Mexico The unique 1-to-1 meetings formula for the TV Distribution and Co-Production Markets
V I D E O A G E Aug/Sept. 2022 6 TV Markets Preview ertainment, and Marco Bassetti, CEO of Banijay Group, will each present a keynote address. Their sessions, on the first and second days of the market, will be part of the Media Mastermind keynote series. The Cannes Diversify TV Awards will return to MIPCOM with a total of 11 winners who will be recognized for championing diversity and inclusion through representation in television series and entertainment programs. This year, such global awards will also include new honors, such as the Behind The Scenes Impact Award and the PremioMIP Cancun for various achievements. The MIPCOM Diversify TV Awards are organized by MIPCOM with founding partner Diversify TV, in association with presenting partner A+E Networks and award partners Telefilm Canada and All3Media International. The awards will be given out on October 19. The pre-pandemic “Personality of the Year” award will not take place at MIPCOM 2022. On the other hand, the number of sessions in the 2022 program will be similar to pre-pandemic periods. So, will this MIPCOM be returning to its old glory? Tarmo Kivikallio, head of Acquisitions & Commissioning for Finland’s Yleisradio, is “not sure if it will be at the level of pre-pandemic but I believe it will be a good market. Even many U.K. and U.S. companies seem to be returning to Cannes.” Reiner Moritz of Germany’s Poorhouse International expanded: “I am looking forward to a very good market. Whether it will be on a par with pre-pandemic periods we will know by midSeptember. My clients seem to be returning 100 percent. The in-person meetings have priority andmost of the broadcasters I have been speaking to do want to meet again. We already had the impression at MIP that people were relieved to be able to meet again.” Added Beatriz Cea Okan, vice president and head of Sales and Acquisitions for Turkey’s Inter Medya: “We have great plans for this special year that we celebrate Inter Medya’s 30th anniversary. It is [also] very pleasing to hear that there is an interest in Turkish TV content in particular.” Concurred Ivan Sanchez, Sales director, Latin America, for Turkey’s Global Agency: “MIPCOM has always been an important market for the big buyers in LATAM [and] later we will meet many others who are not able to make it all the way to France and prefer to attend the regional markets.” Finally, Lucy Smith, director of MIPCOM and Entertainment Division director of RX France, gave a statement: “The industry is coming out on the other side of the pandemic transformed, in ways we couldn’t have imagined, and it’s fair to say we have too. MIPCOMCannes will be the 38th International Co-Production and Entertainment ContentMarket. Andwhat’s newin this supersized edition is our placing a new co-production market up front and center. We are launching the Seaview Producers Hub, a 1,000-square-meter event and networking space overlooking the Riviera. This fantastic venue will serve as the deal-making hive for creators, producers, commissioners, financers, development executives, and commercial partners. The client response has been exceptional since announcing these plans with many from the business of co-production citing the new space as a key reason to attend.” (Continued from Cover) aisle that in pre-pandemic times was occupied by Germany’s Studio 100, while RAI’s former stand will be taken by Germany’s ZDF. Argentina’s Telefilms will also be in a new location, but still on the P1 level. In addition, the upcoming edition of MIPCOM will see the reopening of major outdoor stands along the Croisette and surrounding the Palais des Festivals. The market will also feature a new coproduction market: The Seaview Producers Hub, a networking lounge and event space for attendees to explore early-stage development and co-production partnerships. This year, the market starts a week later than it did in 2021, but that’s not all that unusual. Indeed, in the 1980s it tended to mostly start in the middle of October. And, in 2019, it opened its doors on the 14th. This time, however, it’s not going to be a “bracelet” edition (as MIPCOM was labeled last year in a VideoAge story for requiring multiple bracelets to prove that participants were COVIDfree), though the new safety requirements regarding COVID infections were a bit murky. On the official MIPCOM Jr. site, it reads: “We are pleased to inform that the vaccine pass is not mandatory anymore to access MIPCOM.” And: “Although it is no longer a legal obligation to wear a mask, MIPCOM strongly recommends and encourages that all participants wear masks inside the Palais des Festivals when they are unable to respect social distancing.” Then on the official MIPCOM site, it says: “Per application of the sanitary regulations, to access the show, participants must provide a valid vaccine pass.” The discrepancy was cleared up with a note to VideoAge from market organizers who reported that “the French authorities do not require a vaccine pass to enter the country or inside any buildings.” Another official statement that needed to be clarified regarded the attendance figures. According to the MIPCOM website in late August, there were 1,703 expected participants, with 1,384 buyers and 375 exhibitors, which would leave only 319 executives manning 375 stands. “At the moment it’s misleading,” commented a rep for the organization. “The database shows those who have self-registered, and exhibitors who are confirmed, but it doesn’t yet reflect all participants who come with that stand.” Nonetheless, the market promises to be a winner as it will most likely also attract executives leaving the MIA market in Rome, Italy (October 11-15) or preparing to go to Monte Carlo for Sportel Monaco (October 24-26). Unlike with MIPCOM 2021, this time gatherings seem to be encouraged. Indeed, RX France initiated a landmark achievement by a global studio or platform by creating the first Studio of Distinction Award that will be presented to BBC Studios at MIPCOM. The award will be presented in the same week that the BBC reaches the milestone of 100 years of public service broadcasting in the U.K. and 90 years internationally. Receiving the honor will be Tom Fussell, CEO, BBC Studios; Tim Davie, DirectorGeneral, BBC; and BBC Studios’ Kids & Family managing director Cecilia Persson. Then, Charlie Collier, CEO at FOX Ent- “The industry is coming out on the other side of the pandemic transformed, in ways we couldn’t have imagined, and it’s fair to say we have too.” — Lucy Smith
8 V I D E O A G E Aug/Sept. 2022 Road to MIP Cancun out of the three markets, with RX France (the organizers of both MIPCOM and MIP Cancun) coming out on top since what they’ll lose in Cannes in October will certainly be gained back in Cancun in November. At MIPCOM, some 100 LATAM participants are expected, even though as of mid-August the number was just 42 (mostly from the South Cone, where it was just winter). More are expected to register by early October from other LATAM regions, and a few more will attend but won’t officially register. According to a LATAM executive from Peru who wished to remain anonymous, even though MIP Cancun is the premier market for Latin Americans, the presence of Turkish companies at MIPCOM will attract some LATAM buyers who are looking to acquire Turkey’s popular telenovelas. Approximately 466 participants attended MIP Cancun 2021, a 40 percent decline from the 2019 edition, with the bulk from LATAM. However, this year, participation at MIP Cancun is expected to return to pre-pandemic periods. Conversely, in the past, NATPE boasted some 3,500 participants, mostly, if not all focusing on LATAM, with a small U.S. syndication component. The MIP Cancun event in Mexico will begin on November 13, 2022. That is just 23 days after MIPCOM, and 60 days before NATPE 2023, which will put a lot of pressure on the former NATPE Miami market in order for it to, if not gain more participants from its last in-person market in 2020, at least not lose them because it’s now taking place in the expensive Baha Mar resort in Nassau, Bahamas. However, during a VideoAge interview last June, NATPE’s CEO JP Bommel insisted that the new NATPE venue will be less expensive than the last one at the Fontainebleau in Miami Beach. This year, the eighth in-person MIP Cancun will kick off on Sunday (instead of Tuesday like in 2021), which could generate some extra traffic with the vacationing weekend crowd. Originally, the dates were set for November 15-18, but were later moved to the current November 13-16, 2022. The official reason for this change is that it was done “for a combination of operational reasons and after taking into account feedback from delegates.” The market will also have a new director, Russia was able to send a delegation of seven TV executives representing five companies, since it was before the embargo following the Russian invasion of Ukraine. On the buying side, the U.S. sent the largest delegation with 24 acquisition executives, followed by Mexico with 16. Brazil was a distant third with eight buyers. The market organizers guaranteed each distribution company a minimum of 17 total meetings (and up to 25) with buyers. The process of registering for the market was easy since badges were sent via e-mail. The hotel registration, set up in a separate area from vacationing tourists, took some time due to the large crowds of MIP attendees trying to check in. On the other hand, obtaining the negative COVID test certificate, which was needed to enter the MIP convention area, took less than 30 minutes to procure. The test was free for MIP participants. For other guests it cost U.S.$19. As an extra precaution, the market floor was sanitized every three hours, with meetings interrupted for each cleaning. Plus, wearing facemasks was required. MIP participants also had to wear two bracelets throughout the market. The first was needed to access the sleeping rooms (and for other hotel services). The second was worn to show proof of a negative COVID test. During the three days, the market hosted 16 conferences, three parties, and the Produ Awards, which is returning this year on November 15. Ecuador-born Maria Perez-Belliere, following the departure of Benedicte Touchard de Morant, who last year led a team of 16 people. The MIP Cancun 2021 market began on November 16 and was held at the Moon Palace Hotel in the Mexican resort city. The hotel fully reopened that summer following the COVID emergency. The success of that MIP Cancun 2021 edition came against all odds. Indeed, it started with a Cancun that had once been declared a high COVID-19 contamination area, but managed to become a safe or “green zone.” Then came a shootout between rival gangs at a downtown Cancun hotel in early November. This was followed up by a full week of rain during the market. The market ended on November 19 after three days of intense meetings between 82 distribution companies from 22 countries and 96 buyers (also from 22 countries). Among the sales contingent, the largest number came from the U.S. with 20 companies, followed by France with 16 distribution companies, and Turkey with nine. (Continued from Cover) Maria Perez-Belliere, new director of MIP Cancun VideoAge’s Dom Serafini with Pedro Lascurain of Mexico’s TV Azteca at MIP Cancun 2021 Meeting tables at the Moon Palace Hotel Originally, the dates were set for November 15-18, but were later moved to the current November 1316, 2022 ... after taking into account feedback from delegates.
AFM®22 SANTA MONICA | NOV. 1-6 AMERICANFILMMARKET.COM | BRINGING FILM TO LIFE®
V I D E O A G E Aug/Sept. 2022 10 AFM Preview (Continued from Cover) TF1 Studios from France; ICEX from Spain; and ANICA from Italy, in addition to a slew of U.K.- based companies. And more are expected to sign on before opening day. So far, this compares to 375 exhibitors for the 2019 edition, the last inperson market before the pandemic made the AFM move to virtual events. In May, the AFM marketing department sent a note to all potential exhibitors and participants to announce that, for its first in-person market in years, “all office costs are lower than 2019.” This is ostensibly because the event will be three days shorter than in the past. It’ll now take place November 1-6. As usual, the offices will be located at the Loews Santa Monica, and this year, according to the note sent by Robin Burt, VP of Marketing for the AFM, “the full conference program is moving from the Fairmont Hotel to the Loews.” The conference program lists 15 sessions, starting on November 2, and all will be held at the Arcadia, which is on the 5th floor, one level above the lobby. Another hotel to lose out is the Marriott, which (just like in 2019) will not have sales offices located there. During the pre-pandemic period, the Marriott, which is adjacent to the Loews, was a vibrant AFM meeting place. The two other announcements were that the 43rd edition of the film market will start on Tuesday, November 1, 2022, one day earlier than its traditional Wednesday start, and that the last full day of the five-day market will be Saturday, November 5, with office move-out on Sunday. Previously, on May 3, 2022, AFM’s organizer, the Independent Film & Television Alliance (IFTA), announced that Jonathan Wolf, managing director of its AFM, and EVP of the IFTA trade association, would step down when his current term ended on June 30, 2022. Wolf, who has led the AFM for 24 years, will continue on as an advisor through the 2022 AFM, but no replacement has so far been announced. Some believe that he will probably not be replaced to save some operational costs. Finally, the AFM will have its traditional umbrella stand at MIPCOM 2022. The companies confirmed for the IFTA Pavilion are: Cinetel Films, Film Mode Entertainment, Highland Film Group, Multicom Entertainment Group, Premiere Entertainment, Resurgence Media, and VMI Worldwide, with additional companies still confirming. As for hotel reservations in Santa Monica, market organizers said that guests could, in advance, request/reserve the same hotel and room type that they had during the last in-person market in 2019. The deadline for this “Priority Hotel” request was September 2, 2022.” However, participants can still request “Best Hotel Rates” upuntil September 30, 2022. Jennifer Garnick, IFTA’s VP of Communications, explained that the AFM has “arrangements with 19 hotels in the city to offer participants the guaranteed lowest rate when reserving accommodations through us.” The AFM website specifies that “AFM prequalifies every buyer who attends to ensure they are serious and credible,” and that “AFM exhibitor[s] will be privy to the full list of all the accredited buyers a month before AFM commences.” In 2019, the market accredited 1,300 buyers. “A lot of people will be at the AFM,” predicted ACI’s George Shamieh, whose Van Nuys, California-based company skipped the Toronto Film market TIFF because, he feels that the theatrical market has dried up and the AFM is preferred for TV rights sales. However, according to veteran Canadian film and TV distributor Nat Abraham, “the TIFF crowd is a completely different crowd than the AFM buyers. More independent but also with some major studio premieres. You don’t really see the studios at AFM. TIFF is also open to the general public to see the films. AFM isn’t open to the public.” Added Irv Holender, chairman of Beverly Hills, California-based Multicom Entertainment Group, “Yes, the AFM will be a good market, but upfronts and pre-sales will be a thing of the past. Expect sales of lots of finished product and library material.” Ken DuBow, an AFM veteran from the Los Angeles-based Access Entertainment, will be attending as a participant, or at the most taking a table, because he’s “now doing less international business, and more U.S. deals.” In his view the AFM will be good if AVoD becomes a big factor. Meanwhile, he said “not to expect many Asian buyers because of COVID restrictions, a concern not while in the U.S., but for when travellers return to countries like China where, if positive, they are forced to a strict quarantine.” An updated AFM preview story will be featured in VideoAge Daily at MIPCOM on October 18 with on the spot interviews and comments taken on the exhibition floor. The oceanfront terrace at the Loews Santa Monica Beach Hotel The AFM will be a good market, but upfronts and pre-sales will be a thing of a past. Expect sales of lots of finished product and library material. — Irv Holender, Multicom Entertainment The lobby at the Santa Monica Beach Hotel is the main AFM meeting spot
11 V I D E O A G E Aug/Sept. 2022 Event Planner Airfares, Due to Short Management Vision, Are Unfair Qantas, the Australian airline, recently asked 100 of its executives to pitch in with baggage handling duties at its Sydney and Melbourne airports because, due to a manpower shortage, it hasn’t been able to hire enough workers to do the job. Other airlines around the world have been dealing with reduced workforces and increased passenger load, by hiking airfares to both discourage travelers and make more money at the same time. Either way, the burden falls on consumers. Unfortunately, airline executives saw the pandemic as a long-lasting problem and thus dismissed a good number of employees (but still collected government subsidies and handouts). Apparently, no provisions were made to re-hire them, so the dismissed workforce went elsewhere to work. As far as overall increases, in March 2022, airfares set a new record for a one-month increase, jumping 11 percent from the previous month. In April, they spiked 18 percent, and in May, fares went up 12 percent. VENICE FILM FESTIVAL August 31-Sept. 10 Venice, Italy Tel: (39 041) 521 8718 www.labiennale.org UNIFRANCE RENDEZVOUS September 4-8 Biarritz, France Tel: (33 1) 4753 9580 www.unifrance.org MIA INTERNATIONAL AUDIOVISUAL MART October 11-15 Rome, Italy Tel: (39 366) 590-8808 www.miamarket.it MIPJUNIOR & MIPCOM October 15-16 October 17-20 Cannes, France Tel: (33 1) 4756 5000 www.mipcom.com AMERICAN FILM MARKET November 1-6 Santa Monica, CA, U.S. Tel: (310) 446-1000 www.americanfilmmarket.com MIP CANCUN November 13-16 Cancun,Mexico Tel: (33 1) 4756 5000 www.mipcancun.com Recognized standard of quality in Audio Description Descriptive Video Works is committed to providing access to all forms of visual media With more than 40,000 television shows, feature films and LIVE shows completed, you can rely on us to deliver your project on budget and on time. Our technical expertise guarantees a top quality product - a commitment we’ve made to our clients for more than 17 years. Request a Quote info@descriptivevideoworks.com descriptivevideoworks.com
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