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C Ntentasia 21 March-3 April 2016 Page 2
#GreatJobs page 6 ! s r a ye 2 0 C 016 g 1 NTENT - Celebratin www.contentasia.tv l https://www.facebook.com/contentasia?fref=ts facebook.com/contentasia l @contentasia l www.contentasiasummit.com 21 March-3 april 2016 Vietnam tops Asia’s format charts MAIN COLOR PALETTE 10 GRADIENT BG GRADIENT R: 190 G: 214 B: 48 46 titles onR: 0 G:Q1 0 B:2016 0 slate,Take the green and the blue Take the green and the blue C: 30 M: 0 Y: 100 K: 0 C: 75 M: 68 Y: 67 K: 90 from the main palette. from the main palette. Opacity: 100% Opacity: 50% R: 0 G: 80 B: 255 R: 138 G: 140 B: 143 Blending Mode: Normal Blending Mode: Hue C: 84 M: 68 Y: 0 K: 0 withC: China49 M: 39 Y: 38 at K: 328 Vietnam was Asia’s most active formats market in Q1 2016, with 46 titles on air, in production or in waiting. ContentAsia’s updated Formats Outlook puts China sec- ond by volume, with 28 formats, although China is spending the most money by far. Full story on page 2 Streaming mania in Southeast AsiaC Battle heats up as Sky,M Astro pile in Y CM U.S. studios and everyone else with a MY show to peddle have a new best friend forever in Southeast Asia. Actually,CY call that a whole lot of new BFFs as OTTCMY plat- forms prepare for battle. K Full story on page 16 History Asia clears 4-nights for Roots Day & date Asia premiere set for 31 May History premieres mega-drama Roots in Asia at the end of May, scheduling the epic four two-hour episodes across four nights from 31 May. -
France's Banijay Group Buys Endemol Shine to Create European Production Giant
Publication date: 28 Oct 2019 Author: Tim Westcott Director, Research and Analysis, Programming France's Banijay Group buys Endemol Shine to create European production giant Brought to you by Informa Tech France's Banijay Group buys Endemol Shine to 1 create European production giant France-based production company Banijay Group has reached agreement to acquire Endemol Shine Group from Walt Disney Company and US hedge fund Apollo Global Management. The price for the deal was not disclosed but is widely reported to be $2.2 billion. A statement from the group said the deal will be financed through a capital increase of Banijay Group and debt. On closure, subject to regulatory clearances and employee consultations. Post-closing, the combined group will be majority owned (67.1%) by LDH, the holding company controlled by Stephane Courbit's LOV Group, and Vivendi (32.9%), which invested in Banijay in 2014. The merged group said it will own almost 200 production companies in 23 territories and the rights for close to 100,000 hours of content, adding that total pro-forma revenue of the combined group is expected to be €3 billion ($3.3 billion) this year. Endemol Shine Group is jointly owned by Disney, which acquired its 50% stake as part of its acquisition of 21st Century Fox last year, and funds managed by affiliates of Apollo Global Management. Endemol Shine has 120 production labels and owns 66,000 hours of scripted and non- scripted programming and over 4,300 registered formats. Our analysis Endemol Shine Group has been up for sale since last year, and Banijay Group appears to be have been the only potential buyer to have made an offer, despite reported interest from All3Media, RTL Group-owned Fremantle and others. -
Trends in TV Production Ofcom, December 2015 Contents
Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands. -
Limitations on Copyright Protection for Format Ideas in Reality Television Programming
For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers. -
The Nation Speaks Back!
Formats TBIvision.com October/November 2016 It’s time to listen to the people... The nation speaks back! FormatspOFC OctNov16.indd 1 04/10/2016 19:58 THE iconic new game show Coming to screens in the UK and the Netherlands FormatspIFC-01 Talpa dps OctNov16.indd 2 03/10/2016 20:21 THE iconic new game show Coming to screens in the UK and the Netherlands FormatspIFC-01 Talpa dps OctNov16.indd 3 03/10/2016 20:21 Logic will get you from A to B. Imagination will take you everywhere. Pop-Science format now in its fifth season. Over 50 episodes of smart entertainment. One of the highest-rated series of all time on National Geographic. MIPCOM stand C16.C fngcontentdistribution.com 03041Formatsp02-03 - FOX MipCom Fox OctNov16.indd Ad BRAIN GAMES 2 V1.indd 1 28/09/2016 10:27 26/09/2016 21:08 Logic will get you from A to B. Imagination will take you everywhere. Pop-Science format now in its fifth season. Over 50 episodes of smart entertainment. One of the highest-rated series of all time on National Geographic. MIPCOM stand C16.C fngcontentdistribution.com 03041 - FOX MipCom Ad BRAIN GAMES V1.indd 1 Formatsp02-03 Fox OctNov16.indd 3 28/09/201626/09/2016 21:0810:27 8 x 60’ SERIES + FORMAT CHALLENGING FASHION CHANGING LIVES MASSIVE SOCIAL MEDIA PRESENCE: 4 MILLION An engaging and entertaining UNIQUE VISITORS TO Hosted by new competitive series, creating a new thefashionhero.com BROOKE HOGAN reality in the world of fashion. VISIT US AT MIPCOM, BOOTH P-1.B85 Created by or contact Nha-Uyen Chau, Looking Glass International: [email protected] CAROLINE BERNIER or Nathalie Bourdon Beauty World Search: [email protected] Beauty World Search Formatsp04 Beauty World OctNov16.indd 1 26/09/2016 18:03 J9758_FASHION_HERO_TBI_FP_MIPCOM_ISSUE_FORMATS_ADVERT_AW.indd 1 26/09/2016 17:47 CONTENTS INSIDE THIS ISSUE 6 This issue 12 6 TBI Interview: Ben Silverman and Howard T. -
Earnings Call Transcript
“Balaji Telefilms Limited Q2FY 2018 Earnings Conference Call” November13, 2017 MODERATOR: MR. VIKRAM RAMALINGAM—RESEARCH ANALYST, MAYBANK KIM ENG SECURITIES MANAGEMENT: MR. NACHIKET PANTVAIDYA - CEO OF ALTBALAJI MR. SANJAY DWIVEDI - GROUP CFO-BALAJI TELEFILMS LIMITED MR. KARTIK SANKARAN - SENIOR VP- INVESTOR RELATIONS- BALAJI TELEFILMS LIMITED Page 1 of 19 Balaji Telefilms Q2 FY18 Earnings Call Moderator: Ladies and Gentlemen, Good Day and Welcome to theBalaji Telefilms LimitedQ2 FY 2018 Earnings Conference Callhosted by Maybank Kim Eng Securities. As a reminder, all participant lines will be in the listen-only mode. And there will be an opportunity for you to ask questions after the presentation concludes. Should you need assistance during the conference call, please signal the operator by pressing “*”then “0” on your touchtone phone. Please note that this conference is being recorded. I now hand the conference over to Mr. Vikram Ramalingam. Thank you and over to you, sir! Vikram Ramalingam: Thanks, Lizzan. Good Afternoon, Everyone. Maybank Kim Eng is please to host the management team from Balaji Telefilms Limited to discuss Q2 FY 2018 Results. We have with us the Balaji management team represented by Mr. NachiketPantvaidya -- CEO, ALTBalaji; Mr. Sanjay Dwivedi -- Group CFO, Balaji Telefilms; and Mr. KartikSankaran -- Senior Vice President (Investor Relations), Balaji Telefilms. I now hand over the call to Mr. Kartik, for his opening remarks. Over to you, Kartik! Kartik Sankaran: Thanks, Vikram. Good Evening, Everyone. Welcome to our Q2 FY 2018 Earnings Call. We announced our Second Quarter and H1 Results on Friday the 10th of November. The Results Presentation and other material is now available on the Company website, www.balajitelefilms.com. -
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#GreatJobs C NTENT page 7 www.contentasia.tv l www.contentasiasummit.com Endemol Shine production exits Singapore Production goes global Singapore focus on sales Endemol Shine Group is pulling the plug on Singapore-based production, shifting regional production to global hubs and refocusing a pared-down team in Singa- pore on format sales. The decision tops a record three years in both format sales and production across Asia, including co-development projects such as The Society Game with CJ E&M In Korea and a co-development deal with JTBC, also in Korea. The transition, expected to be com- plete by mid-2018, will be overseen by Asia managing director, Fotini Paraskakis out of Singapore. Operations in China and India, which are run separately from Southeast Asia and the rest of North Asia, are not impacted. More on page 2 A+E Networks ups China originals Nanking doc boosts 2017 co-pros to nine hours A+E Networks has upped its global China originals announced this quarter to three hours, adding Nanking docu- drama Scars of Nanking with Jiangsu Broadcasting Corporation to the Silk Road feature, Silk Road – Reborn, an- nounced in October. More on page 3 20-26 november 2017 page 1. C NTENTASIA 20-26 november 2017 Page 2. Endemol Shine pulls the plug on Singapore production base Asia restructure shifts global, Mumbai/Singapore teams to focus on sales Endemol Shine Group is pulling the plug on Singapore-based regional produc- tion, shifting to global hubs for formats production and refocusing a pared- down team in Singapore on both format licensing and finished tape sales. -
Copyrightability and Formats of Television Shows Under English Law
This is an Accepted Manuscript of an article that will be published by Bloomsbury Professional in the Communications Law journal (volume 23, issue 2, pp. 89-92) Copyrightability and formats of television shows under English law Alexandros K. Antoniou, PhD, FHEA University of Essex School of Law Abstract The article discusses the High Court decision in Banner Universal Motion Pictures Ltd v Endemol Shine Group Ltd (Ch D) on whether the format for a television game show can be eligible for copyright protection under English law. It analyses the conditions required for the format of such shows to be classified as dramatic works and considers the importance of the decision for the media industry. Keywords: copyright, format rights, television, dramatic works Background The case in Banner Universal Motion Pictures Ltd v Endemol Shine Group Ltd & Anor1 related to a television game show format called Minute Winner, in which members of the public, who have been randomly selected and without warning, could win a prize after successfully completing a minute-long challenge. It was devised in 2003 by Mr. Derek Banner, a Danish citizen, and could be broadcast as daily or weekly show, either singly as a one-minute fill in;, or between, other main programmes;, or in a programme break; or as a feature length 30-minute show involving several games. Mr. Banner argued that in 2005 he held meetings in Stockholm with Friday TV, a Swedish production company, at which confidential information was disclosed and Minute Winner was mentioned. Following the meeting, Mr. Banner sent the co-founder of Friday TV an unsolicited email to which he had attached a version of the document in which the Minute Winner format was contained (the Minute Winner document). -
Lulu Wilkinson A: 5 Ocean Grove Collaroy NSW 2097 E: [email protected] M: 0402 120 597 Dob: 25/08/1978 W: Linkedin.Com/In/Luluwilkinson
Lulu Wilkinson a: 5 Ocean Grove Collaroy NSW 2097 e: [email protected] m: 0402 120 597 dob: 25/08/1978 w: linkedin.com/in/luluwilkinson Objective The job can change but the objective has always been the same – create really great work and have a good time doing it. Oh - and get fantastic results. Someone recently described me as having a “too diverse, erratic” set of skills. It wasn’t meant as a compliment but I took it as one. I’ve worked in content over a significant period of time and I’ve experienced how it can shift and manifest in different ways according to what the audience needs. I’m platform agnostic – I have got my hands dirty in all sorts of ways – print, online, TV. What matters is that you know your audience and you make quality content they’ll devour. My career objective is that simple – deliver work that activates audiences: to buy, to read, to watch, to engage, to laugh or to cry. I have had a lot of experience managing teams – big and small. I love managing people – I like to motivate them, I enjoy mentoring and the feeling of watching your team reach a satisfying and effective solution is a great one. I get the best out of people. I love entertaining audiences and I believe that comes down to excellent storytelling. I have travelled the world in my role and personal life and found that content that resonates has one thing in common – it means something to people. Whether it is as grand as making their lives better or as simple as starting and ending the day with a smile. -
COMING SOON! Contentasia's
ATF programme picks C NTENT page 16, 17 & 18 www.contentasia.tv l www.contentasiasummit.com 25 November-1 December 2019 HBO takes lead in new WarnerMedia SEA Asia team Distribution, program- ming, production, stream- ing & biz dev go to HBO; Turner keeps ad sales, consumer marketing WarnerMedia Entertainment Networks’ Clement Schwebig has unveiled his Southeast Asia leadership team, putting HBO Asia execs in five of the seven roles – including programming and original production – announced today, and flagging an upsized investment in origi- nal programming. Full story on page 2 Heliconia preps MasterChef Thailand All Stars 2020 prime-time premiere on Ch7 Thai production house Heliconia H Group premieres an All Stars edition of competition format, MasterChef Thai- land, in Feb 2020, expanding its five- season relationship with Endemol Shine. The new version will continue to air in the Heliconia-owned prime-time airtime block on Ch7. Full story on page 4 PLUS... Apple TV+’s See beats Disney+’s The Mandalorian in China; Rewind Networks breaks into Korea; mm2 launces short- form video streamer in 2020; and more... C NTENTASIA THE QUIZ25 novemberSHOW IN YOUR-1 December OWN HOME 2019 Page 2. Page 2. HBO execs take the lead in new WarnerMedia SEA team Distribution, programming, production, streaming & biz dev go to HBO; Turner keeps ad sales, consumer marketing xxxx xxxx formats that innovate Clement Schwebig, Managing Director, Southeast Asia, Pacific, China, WarnerMedia Entertainment Networks WarnerMedia Entertainment Networks’ Clement Schwebig has unveiled his Southeast Asia leadership team, putting HBO Asia execs in five of the seven roles – including programming and original production – announced today, and flagging an up- sized investment in original programming. -
C Ntent 7 January 2018 L
4 December 2017- C NTENT 7 January 2018 www.contentasia.tv l www.contentasiasummit.com Happy Holidays! C NTENTASIA ContentAsia is taking a break for the holidays. We will be back on 8 January 2018. Here’s wishing you the happiest of holidays and all good things for 2018! ATF 2017 plays against backdrop of upheaval Endemol Shine, Discovery, Disney lead the change This year’s Asia TV Forum (ATF) ran against a backdrop of more upheaval than usual in Asia’s regional content industry. The full story is on page 3 PLUS: Thailand, Indonesia, Japan lead Asia’s formats conversation (page 2); HBO Asia top channel at this year’s PromaxBDA Awards (page 4); China’s iQiyi ramps up in- ternational engagement (page 2); Lifetime Asia to air first Korean original (page 3) and Sony One tops Korean channel rankings (page 4) ... and a whole lot more C NTENTASIA 4 December 2017-7 January 2018 Page 2. China’s iQiyi Asia formats sentiment patchy ramps up Thailand, Indonesia, Japan lead Asia’s formats conversation int’l footprint HK, Malaysia, Singapore pick up original drama Mainland Chinese streaming platform iQiyi has sold online drama, Tientsin Mystic, to leading Hong Kong broad- caster Television Broadcasts Ltd (TVB) for Hong Kong and Macau, Astro for Malaysia and Brunei, and StarHub for Singapore. iQiyi said Tientsin Mystic, an adventure show set in the 1930s, had been viewed almost two billion times by the end of November. The show premiered in July this year. Netflix holds rights for other internation- al territories, along with Southeast Asia Hit It, Xtreme Media & all3media international While Asia’s pan-regional formats market second season of MasterChef Thailand, this year was slower than hoped and which premieres on Channel 7 Thailand, there’s no recovery in sight from China, in February 2018 and will run Sundays from country-specific formats activity – led by 6.20pm. -
Media Industries You Will Need to Consider
Media Series - TV Student Notes Media Industries You will need to consider: • Processes of production, distribution and circulation by organisations, groups and individuals in a global context • The specialised and institutionalised nature of media production, distribution and circulation • The significance of patterns of ownership and control including conglomerate ownership, vertical integration and diversification • The significance of economic factors, including commercial and not-for-profit public funding, to media industries and their products • How media organisations maintain, including through marketing, varieties of audiences nationally and globally • The regulatory framework of contemporary media in the UK Regulation (including Livingstone and Lund) at A level • Cultural industries (including Hesmondhalgh) at A Level Media Series - TV 1 Media Series - TV Student Notes Humans • ‘Humans’ • Series 1, Episode 1 (2015) • Original Broadcaster : C4/aMC (UK/US) • Co-production between C4 - commissioned Kudos Film & TV, distributors Shine Ltd and aMC in the US • Based on the Swedish series “Real Humans” which ran for 20 episodes across 2 seasons and was sold to 50 + countries • C4’s highest-rated drama since 1992. 2 series of 8 episodes each. • £12M for first series • Released 14/6/15 in UK and 28/6/15 in US. Staggered release Series 2 – 30/10/16 in UK, 13/2/17 US. Channel four • Research Channel 4 • Launched in 1982 with an alternative programming remit Media Series - TV 2 Media Series - TV Student Notes Kudos • Commissioned by aMC and C4 . Made by Kudos Productions, a UK based production company. ‘We work with the best global talent to create, develop and produce popular, innovative, award winning drama and comedy series’.