Realscreen Cover.indd 2 Cover.indd Realscreen 2015-11-09 4:33 PM 4:33 2015-11-09

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premium play, ‘Breakthrough’ ‘Breakthrough’ play, premium

Nat Geo taps the A-list for its latest latest its for A-list the taps Geo Nat NOVEMBER / DECEMBER 15 DECEMBER / NOVEMBER Are you our next winner?

Celebrating excellence in non-fi ction and unscripted entertainment

Awards will be presented at the 2016 edition of Realscreen West, Santa Monica CA, June 9, 2016

Final entry deadline: Friday, February 5, 2016

To submit your entries go to awards.realscreen.com

RS.27203.27200.RSARSW.indd 3 2015-11-10 10:05 AM contents november / december 15

DiscoveryVR intends to teach 13 viewers How to Survive in the Wild 22 through immersive content.

BIZ Vice pacts with A+E, Rogers for cable channels; Montgomery set to lead ITV Studios U.S. Group ...... 9

INGENIOUS Legendary rock icon is the focal point of Amy Berg’s latest, Janis: Little Girl Blue. Amy Berg celebrates Janis Joplin ...... 13

SPECIAL REPORTS

26 SCIENCE FOCUS Three science projects that tackle breakthroughs and big questions; a chat with Science Channel’s Marc Etkind ...... 16

Couldn’t make it to Realscreen London? See what you VFX/ANIMATION missed in our photo page. Looking at the big picture for virtual reality content; Rebuilding history with CGI ...... 22

“It’s so diffi cult now to REALSCREEN LONDON deliver visual spectacle The scene at our UK conference’s second edition ...... 26 that makes your eyes AND ONE MORE THING open again.” 18 Chris Evans talks ...... 27

NOVEMBER / DECEMBER 15 on the cover National Geographic Channel’s global doc strand ‘Breakthrough’ tackles topics from aging to

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003

Contents.indd 003 2015-11-10 9:56 AM OF VICE AND November + December 15 Volume 19, Issue 2

ITS VIRTUES Realscreen is published 5 times a year by Brunico Communications Ltd., all knew one during our formative years, and some of you may have 100- 366 Adelaide Street West, , Ontario, Canada M5V 1R9 Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com been fortunate enough to be one – the Cool Kid who would saunter We nonchalantly through the high school corridors, all eyes cast enviously upon him or her. Some of us would be invited into the Cool Kid’s inner circle and, as the VP & Publisher Claire Macdonald [email protected] loyal entourage, would not only get to bask in the Kid’s glory, but would also have a little Editor and Content Director Barry Walsh [email protected] bit of the shine rub off on us as well – or so we would hope. News Editor Manori Ravindran [email protected] Research Editor Kelly Anderson [email protected] For some time now, has been the modern media equivalent of the Cool Kid. Staff Writer Daniele Alcinii [email protected] Whether it’s been through Vice’s virtual cornering of the millennial market, its ability to Contributors Chris Palmer, Kevin Ritchie, John Smithson develop monetization models that work in the online content space, or the canny deal- Associate Publisher Carrie Gillis [email protected] making prowess displayed by CEO Shane Smith, the Vice brand has been inextricably Senior Account Manager Kerry Lanctot [email protected] linked to two trains steaming their way through the content and media industries today Account Manager Kristen Skinner [email protected] Marketing & Publishing Coordinator Aimee Ross [email protected] – disruption and expansion. Creative Manager Andrew Glowala [email protected] Both of those trains can actually run in tandem with each other, and don’t have to be Art Director Mark Lacoursiere [email protected] on a collision course, and the recent deals struck by Vice Media in the television sector Production/Distribution Manager Robert Lines [email protected] – outlined on page 9 – illustrate that. Sure, many believe that Vice – with its stable of Event Producer Tiffany Rushton [email protected] 11-and-counting online channels – is leading the charge in sounding a digitally-driven

death knell for television. But anyone who has followed the moves made by the company Webmaster Farhan Quadri over the years – from its beginnings as a free, alternative publication based in , audience services to its forays into books, fi lms, music and eventually, TV content via its programming for Manager, Audience Services Christine McNalley [email protected] HBO – knows that multimedia penetration has always been a top priority. corporate And while some recent stats and studies concerning viewership, cord-cutting and cord- President & CEO Russell Goldstein [email protected] VP & Editorial Director Mary Maddever [email protected] nevers may provide digital doomsayers with ammunition for proclaiming that linear is VP & Publisher, Kidscreen Jocelyn Christie [email protected] dead – or even worse, irrelevant – the dealmakers and their dollars tell a different story. VP Administration and Finance Linda Lovegrove [email protected] If, as speculated, Vice is moving towards an IPO, then amassing more cash and scale Senior Director, Events and Creative Services Brenda Wilford through myriad international TV deals – be they cable or free-to-air – won’t hurt the [email protected] cause. As Smith told the Financial Times in late 2014, in advance of the “deal spree” of this Senior Director, IT and eBrunico Eddie Ting [email protected] year, “There’s no time in the foreseeable future when Vice will not be doing a major media deal.” Sounds rather platform-agnostic to me. All letters sent to realscreen or its editors are assumed intended for And while some may argue that the joint ventures with A+E in the U.S. and Rogers in publication. Realscreen invites editorial comment, but accepts no Canada point towards a “cash for cachet” bid by the more traditional media companies, it responsibility for its loss or destruction, howsoever arising, while in its offi ce just might prove to be smart business for them to be aligned with a brand that possesses or in transit. All material to be returned must be accompanied by a stamped, self-addressed envelope. Nothing may be reproduced in whole or in part such intense loyalty from a coveted, hard-to-reach demographic. without the written permission of the publisher. It is true that some newer millennial-focused networks have struggled to break through with big hits, and while Vice’s “voice” continues to connect with growing audiences ISSN number 1480-1434 © Brunico Communications Ltd. 2015 worldwide online, one might wonder how its irreverent style (sample Vice story: “Inside London’s Hedonistic, Polyamorous Unicorn Movement”) will translate on a 24-hour cable U.S. Postmaster: Send address changes or corrections to realscreen, PO Box 1103, Niagara Falls, NY, 14304 | Canadian Postmaster: Send undeliverables channel. One might also ask how the proliferation of deals could dilute Vice’s “outsider” and address changes to realscreen, PO Box 369, Beeton, ON, L0G 1A0. status among its core audience. Canada Post Publication Agreement No. 40050265 Printed in Canada But I view this cross-pollination with excitement and a little bit of hope. From a programming perspective, a little infusion of digital daredevilry could do wonders for To subscribe, visit www.realscreen.com/subscribe, email linear. If the Cool Kid wants to come over to hang, why would you say no? [email protected], call 416-408-2448, or fax 416- 408-0249. Subscription rates for one year: in the US, US$59.00; in Canada, CDN$79.00; outside the US and Canada, US$99.00. Cheers, Barry Walsh ™ Realscreen is a trademark of Brunico Communications Ltd. Editor and content director realscreen

004 November / December ‘15

Editor.indd 004 2015-11-11 2:22 PM IMPACT

"ROADCASTs4HEATRICALs$IGITALs/UTREACH SCIENCE MEDIA FOR ALL AUDIENCES

www.biointeractive.org www.tangledbankstudios.org

RS.27114.Tangled.indd 1 2015-11-10 10:09 AM COUNTDOWN TO THE SUMMIT

ow! It feels like just a couple of months ago I was updating you all UPCOMING ADVERTISING on the 17th edition of the Realscreen Summit, and here I am to fi ll & SPONSORSHIP OPPORTUNITIES Wyou in on the next one – just a couple of months away. We’re moving back to our old ‘hood in Washington DC via our new home JANUARY/FEBRUARY in the Marriott Marquis, which is kitty corner to our long-time location, the Stock Footage and Archive Report Renaissance. Located in Penn Quarter, there’s a wonderful variety of restaurants and watering holes within walking distance. Realscreen’s Trailblazers Once again, we’re fortunate to have the support and counsel of a stellar Development and Commissioning advisory board that is working closely with Barry Walsh, realscreen’s editor and Report content director, and conference producer Tiffany Rushton to develop content that aligns with the evolving face of the international non-fi ction and unscripted Bonus distribution business. Helming the board are Jana Bennett, president and general manager, NATPE, Realscreen Summit, History, and Brent Montgomery, CEO, Leftfi eld Entertainment. Board members are Meredith Ahr, NBC’s EVP, alternative programming; Avi Armoza, CEO, Armoza Formats; Gary Binkow, founding partner and chief content offi cer, Collective Studio 71; Chris Bonney, CEO, Cinefl ix Rights; Kathleen Finch, chief Booking deadline programming, content and brand offi cer, Scripps Networks Interactive; Chris December 16 Grant, CEO, Electus; Beth Hoppe, chief programming executive and general manager, general audience programming at PBS; Tim Pastore, president, For information on any of these or original programming and production, National Geographic Channels; Doug for Realscreen Summit sponsorship Ross, founder and CEO, Evolution Media; SallyAnn Salsano, president, 495 Productions; Henry Schleiff, group president, Investigation Discovery, American opportunities, call realscreen sales at Heroes Channel and Destination America; , president, Warrior 1 416 408 0863. Poets Entertainment, and Geoff Suddleson, agent in the alternative television department at UTA. In tandem with the events team, this formidable group will ensure that you’re presented with the most current information and inspiration designed to drive your business forward. Confi rmed sessions include a look at how innovators in online content are changing the game; a panel on 4K from production to post; and “Revenge of the Doc”, which will take a look at the premium content/ documentary renaissance that’s impacting the non-fi ction industry globally. Please see our ads on page 12 and 14 for more details.

‘Til next time, go well. Claire Macdonald VP & publisher realscreen

006 November / December ‘15

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On the road to

fter months of speculation in our global roll-out of networks around concerning the fate of a the world,” added Smith via the offi cial A potential channel partnership statement. “First: It allows us to be between A+E Networks and Vice truly platform agnostic and enable our Media in the U.S., both parties have audience to view our content wherever confi rmed the joint venture that they want. Second: It represents a will see Vice program and produce continued growth in our content quality content for a 24-hour channel, with and raises the ceiling even higher for the working title of Viceland. our brilliant teams to attack stories from The new channel will launch early next long-form features to multi-episode year – perhaps as early as February – in series and even short-form interstitials approximately 70 million homes through that will challenge the accepted norms various cable and satellite operators. of current TV viewing. Third: We will A+E’s It will feature hundreds of hours of test new and innovative monetization Nancy content produced completely in-house strategies placing Viceland at the pointy Dubuc by the Vice Media team. tip of the spear of the rapidly changing A+E will oversee technical operations terrain of TV advertising.” and distribution of the channel, and While Vice is effectively taking over will work with Vice Media on the ad in the U.S., the History off-shoot sales and sponsorship front. Creatively, will still be carried internationally. It the channel will be overseen by Vice is currently viewed in 68 territories. Media CEO Shane Smith and his team, The release issued by A+E stated that including fi lm director and Vice Media the company is “committed to H2’s creative director , who will international expansion as well as the also serve as CD of the new channel. production of informational-based A+E and Vice’s new channel A+E will reportedly up its stake in historical content.” Vice Media to more than 15%, building This will be the second rebrand of an joint venture marks what A+E on the 10% stake it secured in 2014. A+E network since Dubuc took the reins Programming on the channel, in the at A+E as president and CEO, following president and CEO Nancy works for several months, was featured the successful rebrand of Bio to FYI. Dubuc calls “a strategic fi t” and in a Vice upfront in May and includes Shortly after the news broke about such series as Gaycation with Ellen Page, the A+E/Vice joint venture, Canada’s what Vice CEO Shane Smith Weediquette, Huang’s World with Eddie Rogers Media and Vice announced Huang and Noisey. a 24-hour channel set to replace Bio calls “the next step in the In a statement, A+E Networks in Rogers’ specialty stable in the evolution of our brand.” president and CEO Nancy Dubuc said winter of 2016. That channel will that Vice carries “a bold voice and a also be called Viceland, but will be a distinctive model in the marketplace,” distinct entity from the U.S. operation. BY BARRY WALSH adding: “This channel represents a While it will carry some of the U.S. strategic fi t and a new direction for the channel’s content, a sizeable amount of future of our portfolio of media assets. programming will come from the Vice “Shane Smith has led Vice from a Canada studio established through the fl edgling magazine into a global media Rogers/Vice deal announced in 2014. brand and all of us at A+E are excited Vice has also established a local channel to work with him and his passionate in Greece via Greek broadcaster Antenna. and innovative team.” Recently, Smith told the UK press of plans “This network is the next step in the to launch a dozen networks in Europe evolution of our brand and the fi rst step over the next 12 to 19 months.

009

BIZ.indd 009 2015-11-13 10:14 AM BIZ

Greenlit &Gone POINTED ARROW: A look at what’s on the way A Producer’s Perspective BY JOHN SMITHSON from assorted networks, various events I’ve attended Many indies are already part of a bigger and what’s on the way out. recently I’ve met many fl edgling business and many others are wanting to be. At indie producers who all testify Creativity doesn’t take a back seat in these to just how tough it is out there. It’s even instances; it simply fuses with the commercial tougher on the more experienced talent, who demands. So given these fundamental are struggling to generate any momentum for changes to the balance of power, it’s no their production companies. surprise that there’s a bit less love and rather I’ve always believed that this indie business more fi sticuffs around. is not for the faint-hearted, but that has never Where this really has an impact is on the next felt so true as now. Our world, for good and for wave of production companies. bad, has become noticeably more diffi cult. I still believe this is a fantastic business to be Legal and business affairs has always been a in, and my creative passion burns as brightly as battleground, but now the creative end is also it ever has. But if you want to take the plunge, considerably more combative. go carefully, have your eyes wide open and The Rap Game I’ve been on the front line for some time now only do it if you have an absolute burning Produced by: Intuitive and am battle-hardened, but in the recent past desire to enter the fi ght cage. Entertainment I’ve heard grim stories from all corners of the I’m struck by how many people still want to Network: Lifetime battlefi eld that have shocked me. take the risk. Is it the ever-evolving creative Sadly, I think it’s inevitable. This is no longer opportunities? The hope of making some Selling It: In the ATL a cottage industry with bespoke artisan outfi ts serious money? Perhaps it’s both. Produced by: World of operating out of their spare bedrooms and It’s not universally bleak. There is still a core civility to our business, which is largely GREENLIT Wonder and Kingdom Reign nurtured by a kind broadcaster. Entertainment The stakes are higher, whatever your run by a very affable bunch of consenting Network: WE tv perspective, and the fundamental changes in adults, bound together by some resilient core our once cozy world destabilize and aggravate. values, relentless creativity and a base level of Botched By Nature On the network side of the trenches, it’s tough. acceptable rules of behavior. Produced by: Evolution Media The public service broadcasters are under As the battle gets tougher, so the Network: E! renewed threat, especially on my home turf camaraderie gets stronger. At December’s here in the UK. always agreeable gathering of the World Networks everywhere are under intense Congress of Science and Factual Producers America’s Next Top Model commercial pressure, as viewers fi nd their – held this year in Vienna – there remains a Produced by: 10 by 10 content in increasingly diverse ways. These warmth amongst the returning delegates, Entertainment, The Tyra networks, which are used to being top dog, even as hot stories from the front line make it Banks Company now have to scrap for every eyeball and every back to the bar by closing time. The omertà Network: The CW dollar of ad spend. It creates huge stress that that is integral to indie interaction is as strong GONE percolates down the managerial hierarchy. The as ever, as we all gear up for another year, and King of the Nerds executive merry-go-round rotates ever faster another tour of duty. Produced by: Electus, 5 x 5 as careers crash and burn. John Smithson is the creative director of Media Just across no man’s land are the indies – no Arrow Media, an indie he co-founded in 2011. Network: TBS longer a mass of little guys, but now clusters Previously he was chief executive at Darlow of powerful and assertive creative businesses. Smithson Productions.

010 November / December ‘15

BIZ.indd 010 2015-11-10 4:28 PM BEST PRACTICES: THE IMPORTANCE OF PUNCTUALITY

BY CHRIS PALMER AND SHANNON LAWRENCE

We’ve all heard the old adage, “If you’re party? Apply these four quick tips to put not 15 minutes early, you’re late.” But punctuality into practice: how can it hurt to be a few minutes late? Keep a calendar. Whether you use a Tardiness is common in today’s society, calendar app on your phone or keep even though it can cost both you and track of your daily priorities in a written your cause in the professional world. It planner, make sure that you have a visual is important to be punctual in order reminder of your commitments. Keeping to maintain a code of professionalism tabs on your plans helps you manage MONTGOMERY and to ensure effi ciency for all parties your time so you can be on time. involved in a meeting. Here are four Plan and prepare. Know where SET TO LEAD ITV specifi c reasons to be punctual: you are going and how to get there, Tardiness shows a lack of including the route, where to park, and STUDIOS GROUP U.S. consideration for other people’s time. fi nding the meeting room. And don’t eftfi eld Entertainment CEO Brent Montgomery is to Everyone is on a tight schedule, and forget to account for possible delays become the head of ITV Studios U.S. Group. it can be assumed that people want to when traveling to your destination. L The deal for Montgomery’s appointment at ITV, fi rst adhere to their schedules. By being late, Sleep. That’s right: sleep. reported by UK trade outlet C21, will have the exec taking over you implicitly assert that only your own How many of us have been late because from former chariman Paul Buccieri, who left ITV Studios to schedule and your time matter, and that we overslept? You can make sure you’re become the president of A+E nets History and A&E earlier this year. other people’s time is not as important. on time by getting an appropriate In a memo from Montgomery to staff, shared with realscreen, It’s insulting to others. Being on time, on amount of rest and skipping the snooze the exec says there is a “very good chance that [he] will be the other hand, shows your respect for button in the morning. taking over a new role as the head of ITV’s American operation.” and consideration of other individuals. Don’t overschedule. “Any sort of deal, despite press reports, is weeks away as it’s Tardiness makes you seem Make reasonable assumptions about an extremely complicated deal that is far from done,” read the unprofessional and unreliable. how much you can fi t into your daily memo, issued by Montgomery in late October. “I had hoped Being punctual is the bare minimum schedule. If you have meetings in two to sit down and write this email in the next couple of weeks that professionals ask of one another. If different locations, for example, don’t in a quiet moment, but instead it’s a rush job this morning you can’t even bother to show up on schedule them close together. You as we were working hard through the night to try and stem time, why should you be entrusted with never know if your fi rst meeting will speculative press reports before I got to tell you personally as greater professional responsibilities? run late or if you might run into delays well as our clients and partners. As I often tell my two-year-old Punctuality increases your trying to get from location to location. daughter, ‘You don’t get to control everything.’” chance of securing professional Punctuality is a courtesy that all Montgomery went on to say he will be remaining at Leftfi eld opportunities. Being on time ensures professionals should observe. Being until the deal is fi nalized. “Leftfi eld absolutely will continue to that you are informed and involved. If punctual marks you as considerate, be an enormous focus for me, but my role also will defi nitely you’re running late, the meeting may organized and reliable. Try to make expand beyond it; thus, like every move I’ve made, this start without you and you will miss punctuality a habit and encourage creates more opportunity for each of you moving forward.” information. By missing information, others to emulate your behavior. It The exec confi rmed that David George, president of Leftfi eld you also risk missing the chance to be will enhance productivity, effective Entertainment, will run the company, adding, “To hand engaged in professional activities as they teamwork, and success in your over the keys to my ‘third child’ is the hardest professional are planned and developed. You risk professional endeavors. move I’ve ever made but to know it’s someone as smart and failing to be a valuable team member. Professor Chris Palmer is the director creative as [David George] who shares the same vision to People don’t like to be kept waiting. of American University’s Center for continue to grow and expand it gives me great excitement.” Wasted time is wasted productivity. It’s Environmental Filmmaking and author As head of ITV Studios U.S. Group, Montgomery will oversee no fun to twiddle your thumbs waiting of the two newly published books such production companies as ITV Studios America, Gurney for someone. Tardiness is rude and is Confessions of a Wildlife Filmmaker and Productions, High Noon Entertainment, Thinkfactory Media and frustrating for the other party involved. Now What, Grad? Your Path to Success DiGa, in addition to Leftfi eld Entertainment and its subsidiaries. Now that we’ve reviewed the importance After College. Shannon Lawrence is ITV paid US$360 million to acquire 80% of Leftfi eld of being on time, how can you make sure a fi lmmaker and MFA candidate at Entertainment in May 2014, making the company one of the that you don’t end up being the tardy American University. • largest indie unscripted producers in the U.S. Manori Ravindran

011

BIZ.indd 011 2015-11-10 4:28 PM MARRIOTT MARQUIS, WASHINGTON, DC January 31 – February 3, 2016

he Summit is the defi nitive global market and conference for the business of unscripted T entertainment, and a must-attend event for content creators, distributors, agents, commissioners and multi-platform broadcasters of unscripted and non-fi ction programming.

The Agenda includes the following Keynote Conversations:

Jana Bennett Marjorie Kaplan President & General Manager President of Content History Discovery Networks International

Diamond Sponsor: Gold Sponsors:

Silver Sponsor: Bronze Sponsor: Offi cial Delegations:

TO REGISTER GO TO SUMMIT.REALSCREEN.COM OR CALL JOEL PINTO AT 416-408-2300 X650

RS.27199.Keynotes.indd 1 2015-11-10 4:24 PM INGENIOUS

Amy Berg on Janis Joplin: “Janis was so much more than a woman left lonely in her hotel room.” Primal scream

BY KEVIN RITCHIE any who watch Amy Berg’s documentary rock group Big Brother and the Holding Company and about Janis Joplin will already know how later as a solo artist. Mit ends: with the infl uential rock singer Berg delves into Joplin’s formative years in her After spending years dead from a heroin overdose in 1970. hometown of Port Arthur, Texas, and the events that That image of Joplin has carried on through the ultimately drove her to California to escape the social on investigative decades thanks to the rock and roll cliché of the 27 mores prevalent in the 1950s. A free spirit who sang documentaries Club, which refers to the group of musicians who died, folk music, performed barefoot and later became usually tragically, at age 27. obsessed with blues and soul music, she was mocked about systemic Two of the club’s more recent inductees, Kurt Cobain and for being overweight and later voted “the ugliest man Amy Winehouse, were the subjects of high-profi le docs on campus” by a fraternity at college. abuse and power in 2015 but Berg’s Janis: Little Girl Blue goes the furthest to Joplin eventually found kinship and community among structures, Janis: reclaim its subject from that characterization. the musicians in San Francisco’s Haight-Ashbury “Janis was so much more than a woman left lonely community. A breakthrough performance at the Monterey Little Girl Blue has in her hotel room,” Berg tells realscreen during an Pop Festival in 1967 is presented in Little Girl Blue through interview held the day after a screening at the Toronto footage shot by documentarian D.A. Pennebaker showing inspired director International Film Festival (TIFF). “I wanted to make the then-unknown singer dazzling The Mamas and the Amy Berg to shift sure that her life was celebrated. I wanted to show Papas’ Mama Cass, whose mouth is left agape upon that without Janis Joplin there wouldn’t be an Amy hearing Joplin’s piercing wail. her focus to stories Winehouse, a Melissa Etheredge or a Pink. She laid the Her romantic relationships with men and women are groundwork for all of those women. If you’re waiting for documented, as is a pivotal love affair that will cast about women. her to die the whole time, you will not enjoy this fi lm.” Joplin’s death in a new, heartbreaking light for anyone Janis: Little Girl Blue pairs archival footage with Joplin’s who has not delved deeply into available biographies. personal letters to her family that chronicle her rise to As Berg traces Joplin’s life through talk show fame in the late 1960s as a singer, fi rst for the psych- appearances, concert fi lms, footage shot by her tour

013

Ingenious.indd 013 2015-11-10 10:16 AM MARRIOTT MARQUIS, WASHINGTON, DC January 31 – February 3, 2016

Meet the Advisory Board behind the world’s most important non-fi ction and unscripted content conference and market.

Co-Chairs

Jana Bennett Brent Montgomery Meredith Ahr Avi Armoza Gary Binkow Chris Bonney Kathleen Finch Chris Grant President & General CEO EVP, Alternative CEO Founding Partner & CEO Chief Programming, CEO Manager Leftfi eld Entertainment Programming Armoza Formats Chief Content Offi cer Cinefl ix Rights Content & Brand Offi cer Electus History NBC Entertainment Collective Studio 71

Beth Hoppe Tim Pastore Douglas Ross SallyAnn Salsano Henry S. Schleiff Morgan Spurlock Geoffrey Suddleson Chief Programming President, Original Founder & CEO President Group President, President Agent, Alternative Executive & Programming & Evolution Media 495 Productions Investigation Warrior Poets Television General Manager, Production Discovery, American Entertainment Department General Audience National Geographic Heroes Channel & United Talent Agency Programming Channels Destination America PBS Discovery Communications

Diamond Sponsor: Gold Sponsors:

Silver Sponsor: Bronze Sponsor: Offi cial Delegations:

TO REGISTER GO TO SUMMIT.REALSCREEN.COM OR CALL JOEL PINTO AT 416-408-2300 X650

RS.27198.RSS.Advisory.indd 4 2015-11-11 2:20 PM INGENIOUS

Past and NBCUniversal Archives, among others. The research team also managed to access a network of chat rooms – dubbed the “underground network” – frequented by footage collectors from whom they sourced a lot of silent footage. Janis is Berg’s fi rst historical archive fi lm so her challenge was to tell an emotional story around single-camera performance footage without a lot of exposition. That meant ensuring that the lead-up to key performance scenes – such as Monterey Pop and – had enough “You have to context to allow Joplin to do her thing on stage while get to a point advancing the drama. “It was very important to hit in your career – certain songs because they resonated in an emotional hopefully I will way,” she says. “I didn’t want to have a lot of talking in and Berg turned to for help in bringing partners on board for one day – where out of these performances. Janis: Little Girl Blue. (Photo: Olivia Fougeirol) There are some scenes you don’t care if where you have to narrate manager – including the only known clip of Joplin even harder because people don’t like your way through them but singing a demo version of her posthumous hit Me we’re constantly being I wanted her performance and Bobby McGee backstage on the 1970 train tour questioned about the what you do.” to do what it should do. The Festival Express – Joplin’s “sex, drugs and rock and fact that we’re doing fi lm kept getting denser and roll” image is contrasted by the vulnerability of her something.” denser and then slimmer and correspondence to her mother, which is narrated Janis had its world premiere at the Venice Film slimmer; it was a different way to edit.” by musician Chan Marshall (a.k.a. Cat Power). Festival in August before screening at TIFF, in Janis comes at the end of a hectic four-year “Janis Joplin’s music has been a part of my life London and in New York at DOC NYC. Distributor period in which four projects came to fruition. all the way through,” Berg says. “I had Janis there FilmRise acquired the U.S. theatrical rights and The past two years saw the release of her scripted for break-ups and celebrations. I’ve always loved will give the doc an Oscar-qualifying run on debut Every Secret Thing; a Showtime doc about Janis Joplin, but didn’t understand her on the November 27 in New York and Los Angeles. polygamous sect leader Warren Jeffs, Prophet’s level that I started to understand her until I read Berg signed on to direct the documentary eight Prey; and An Open Secret, a controversial fi lm her letters. That was what made me want to do years ago after being approached by Joplin’s about child sexual abuse in Hollywood. the movie – her letters are so different from the estate, but fi nancing fell through when a well- The latter fi lm became mired in public powerhouse female you see on stage.” known producer – whom Berg declines to name squabbling among the fi lmmakers after the doc’s Not unlike Joplin, Berg says she had loving – walked away from the project. poor box offi ce performance, with producers but strict parents who often fretted about her “I was broken-hearted because I put two years of initiating arbitration proceedings accusing exposure to media. As such, those letters became my personal time into trailers and treatments and Berg of failing to promote it. (Asked about the a relatable access point for the fi lmmaker. sales pitches,” she says. situation, her response was “no comment.”) “[The letters] were so vulnerable and intimate. The estate liked her vision and wanted to keep Berg says that after years of investigating male She was always seeking validation – it’s so obvious going, so Berg enlisted the aid of documentarian abuses of power, she enjoyed focusing on one now – and I thought that was so sad because you’re Alex Gibney, whom she calls a deal-making character. Janis has also inspired her to shift her never as good as your next gig. That’s the world we “master.” He helped bring London-based focus to female-led stories. live in. She was constantly trying to get validation fi nancer/distributor Content Media on board, as “I now feel a strong responsibility as a female from everyone. She got the best validation when well as PBS arts strand ‘American Masters,’ which fi lmmaker to focus on strong female characters,” she was performing on stage. will premiere the fi lm on U.S. TV in February. says the director, who likes to surround herself “As a fi lmmaker, I felt some connection with Research and licensing were major with women-heavy crews. people not liking you,” she continues. “You have to undertakings. There are 34 songs in the fi lm as “We have to look at the way we portray women get to a point in your career – hopefully I will one well as archive from Joplin’s family, friends and in documentaries, because that will bleed its day – where you don’t care if people don’t like what colleagues, fi lmmakers such as Pennebaker, and way into narrative fi lmmaking. A lot of fi lms are you do. So I understand that. I think for a female it’s archive houses including Getty Archive, Critical inspired by documentaries.” •

015

Ingenious.indd 015 2015-11-11 2:23 PM FOCUS ON SCIENCE

BIG Brett Ratner’s Decoding the Brain looks into research helping those living with SCIENCE epilepsy and Alzheimer’s. From creative ‘Breakthrough’ partnerships with Produced by /Asylum Entertainment; developed by National Geographic Channel and GE Hollywood A-listers, Air date: November-December 2015 to deep dives into has his fi nger on the pulse of just about programming that is entertaining and acceptable for the forces shaping every compelling project in Hollywood, whether global audiences, and one of the best ways to do that is that’s voicing a character in The Little Prince or playing to team up with the very best storytellers and marry them humanity and our N.W.A.’s manager in Straight Outta Compton. Things with the very best scientists.” planet, producers are no different in a Giamatti-directed episode of the Alongside Giamatti’s doc, the hour-long fi lms – six-part National Geographic Channel (NGC) series which will air across National Geographic Channels’ and networks ‘Breakthrough,’ where the Academy Award-winning international footprint of 171 countries during actor, quite literally, has his fi nger on the latest advances November and December – include Peter Berg’s internationally in cyborg technology as he conducts brain-body Fighting Pandemics, focusing on the recent Ebola are pulling out experiments to understand the use of prosthetic limbs. outbreak; ’s Energy from the Edge, His directing role in the big-budget partnership between about innovative alternative energy projects; Brett all the stops to NGC and (GE) saw Giamatti traveling Ratner’s Decoding the Brain, on research helping those from Houston to Stockholm to Toronto over the course of living with epilepsy and Alzheimer’s disease; Ron create “big bangs” a month to investigate breakthroughs in biotechnology. Howard’s The Age of Aging, on advances in extending with their science The resulting doc, More Than Human, is among six fi lms the human health span; and Angela Bassett’s Water directed by Hollywood visionaries that blend cinematic Apocalypse, on water conservation projects around programming. Here, storytelling with scientifi c cases – a programming strategy the world. All feature scientists and explorers from National Geographic CEO Courteney Monroe calls leading universities and institutions who take viewers realscreen looks at “emblematic” of where the company is headed almost through the course of their research – work that could three projects that two years after the premiere of blockbuster 13-part drastically impact their respective fi elds. miniseries Cosmos: A SpaceTime Odyssey. marry bold ambition “Cosmos for us was a real infl ection point. It confi rmed LINKING UP WITH GENERAL ELECTRIC for us that there was a real interest in high-quality, genuine To bring the science to life, NGC linked up with with smart science. science programming,” the exec tells realscreen. “In the another global and like-minded brand for what was, same way that Cosmos did, we want to make science Monroe says, a “very symbiotic” partnership. Indeed,

016 November / December ‘15

Science.indd 016 2015-11-10 10:00 AM viewers might notice that in the title credits to each fi lm, both Nat Geo and GE logos sit side by side – representative of a copro deal that saw production costs split between the companies. And while such a partnership might suggest a blatant branded content opportunity for the latter Left: Executive corporation, both parties ensure the project’s producers Brian legitimacy as science content. Grazer and Ron “This is not an ad sale buy. [GE] aren’t just Howard; below: producers of the series from a fi nancial standpoint, Exploring biotech in More Than Human but also from a creative standpoint,” says Monroe, adding that viewers won’t see any GE commercials during the show or elsewhere on the network. Similarly, Beth Comstock, vice chair of GE, who originally brainstormed the “The model that I love is Hollywood players with starkly different approaches concept for the program the one in sports for ESPN. to directing – no easy task. Each fi lm had 15 to with I think it’s the best model 18 shoot days – all fi lmed earlier this year – and Brian Grazer back in of anything that’s like this,” received its own editor and visual effects shop to 2013 before approaching says Grazer. “I thought this ensure episodes were aesthetically distinct. NGC, says only three GE could have a similar sort of “The strength of the series is that it’s not scientists are featured structural capability.” queuing to a strict formula,” says Sayenga. across the six episodes. While he says the team “Usually when you put together a series for “GE worked hand-in- behind the series was somebody, they want you to establish a formula hand with [Grazer and working with “different that can keep repeating. It’s easier to produce ’s] Imagine economics” (the budget that way, too, if you’ve got respective landmarks Entertainment, Asylum for ‘Breakthrough’ has not and one set style. Instead, you’re looking for six Entertainment and NGC to develop the themes, been disclosed) the onus was still on “cinematically, different fi lms from six different people.” craft the stories and crystallize the intersection reaching people emotionally.” between science, tech and the impact it has on One of the key people who gave the project THE ROAD AHEAD FOR NAT GEO the human race,” Comstock told realscreen over that cinematic edge while keeping the program Presently, another episode order has yet to email. “Both NGC and GE approve the topics and grounded in science was Kurt Sayenga, a be offi cially greenlit, but Grazer says more directors, will review cuts and provide notes, as is freelance executive producer who came on board ‘Breakthrough’ – with more Hollywood names typical with any producing partnership.” with co-producer Asylum Entertainment. The attached – is on the way. And soon, Grazer and ‘Breakthrough’ isn’t the fi rst documentary project was still in the planning stages when the Howard will reunite with NGC for the forthcoming project for GE. The company in 2013 launched long-time producer of science programming – series Red Planet, about the quest to colonize Mars. the doc shorts series “Focus Forward” featuring whose credits include fi ve seasons of Science As Monroe explains, drawing A-level talent is all 30 three-minute fi lms about innovators and Channel’s Through the Wormhole with Morgan part of building the brand up to its potential. helmed by the likes of Albert Maysles, Steve Freeman – was recruited in June of 2014. In a The -hosted series on science James, Lucy Walker and Lixin Fan. The fi lms month’s time, Sayenga had whittled down the and religion, The Story of God, will air on NGC next debuted online as well as in festivals around the 100 topics discussed by Grazer and his team into spring, while an Alex Gibney-produced doc series world, including Sundance. 18 tangible fi lms. From there, six were selected. and theatrical fi lm on the global water crisis is With this series, however, Comstock notes that The producer was familiar with many of the also in the works. Meanwhile, Cosmos host Neil it’s a step forward for the company, since GE is a scientists featured in the program before even deGrasse Tyson returned for a second season of full development partner with NGC. boarding the project. In Ratner’s Decoding the his talk show, StarTalk, earlier this month. Brain, for example, neurologist Dr. Mohamad “In some respects, while the channel has LIKE ’,’ BUT FOR SCIENCE Koubeissi – who has created a potentially life- been successful, we’ve really never quite lived On Grazer’s end, the idea for the program altering method to treat epileptic seizures – was up to the promise of the brand,” says Monroe. stemmed from ESPN Films’ Peabody Award- someone Sayenga had encountered in a science “We’ve instead spent time chasing others in the winning ’30 for 30’ series. The producer – known magazine and then suggested for the series. marketplace instead of charting our own course. for the TV series 24 and Oscar-winning fi lm “I just thought, ‘Wonder if this guy is doing “Because Nat Geo is about quality, science A Beautiful Mind among many other projects human trials yet?’ and fortunately the timing of and adventure and exploration, my vision is this – envisioned a similar series of independent that worked out just right,” he says. channel lives up to the brand by creating big, short fi lms on science, with each honing in on a Once the subjects were in place, it was a matter event-driven TV that is, quite frankly, worthy of potential or real problem facing the planet. of coordinating with the schedules of six top the Nat Geo brand.” Manori Ravindran

017

Science.indd 017 2015-11-10 9:59 AM FOCUS ON SCIENCE

Forces of Nature A BBC production with PBS, coproduced by France Télévisions | Projected air date: Spring, 2016

“It’s so diffi cult now to deliver visual spectacle that time, but also in how it’s fi lmed.” makes your eyes open again, and to have novelty With BBC science productions renowned for innovative driving a series throughout is also diffi cult,” says BBC fi lming techniques, Cohen says this project is no exception, Science Unit head Andrew Cohen, speaking to realscreen with myriad makes and models of camera tech – from about the Beeb’s upcoming landmark copro with PBS drones and wirecams to beyond – being trotted out to get and France Télévisions, the four-part Forces of Nature. “the” shot. In some instances, the assignments can result Forces of Nature will feature “locations, phenomena and “‘Everything’s been fi lmed,’ is the sense that production in not only the cameras and equipment getting a little events that you haven’t seen teams have when you say that. But we wanted to do that banged up, but the operators as well. before,” says Andrew Cohen. with this series. So while we can’t have every sequence “With the volcano, you’re going into an environment be completely unique, there are a large number of where you’re essentially breathing in sulfuric acid and sequences here that will make you say, ‘Wow.’” there’s molten sulfur on the ground,” Cohen says. “We Forces of Nature’s four parts – divided into the categories had a cameraman who was burned and we had to of color, shape, motion and matter – attempt to, in deal with that on location.” In another instance, while Cohen’s words, “create an understanding attempting to capture ‘moonbows’ – rainbow-like events “We want of our planet and how people across the that occur when the light of the Moon is refl ected and planet interact with its most extreme refracted through water droplets or mist – in Iceland, a to create an forces.” Since heavy development on cameraman dislocated a shoulder. the project began two years ago, the Beyond potential injury or camera damage, another prime understanding production team has carted kit to some of challenge for the team has been the age-old quandary of the world’s most fascinating, occasionally being at the right place at the right time. of our planet inhospitable places – ranging from “[If] it’s being out in Norway to catch the aurora borealis, a sulfur volcano in Indonesia to the you can take all the kit you want but if it’s cloudy, you could and how people Pororoca tidal bore along the Amazon be there for a week and get nothing,” he admits. across it interact and several points between – in the The diligence and daring-do is paying off, says Cohen, hopes of catching glimpses of “locations, and he hopes that by the time the series airs, the team will with its most phenomena and events that you haven’t also have a virtual reality component prepped. Although seen before,” says Cohen. nothing is planned on that front at present (a VR experience extreme forces.” “It’s journalism that gets you to these is in the works for the BBC’s coverage of British national Tim extraordinary events fi rst, and then it’s Peake’s journey to serve on the International Space Station), raising of the bar with the kit that you are able to put into Cohen says: “It would be criminal for us to not have that very diffi cult locations,” he says. “So what you get back component, as you want to give the audience as visceral and is important not only in terms of being there for the fi rst immersive an experience as possible.” Barry Walsh

018 November / December ‘15

Science.indd 018 2015-11-10 10:01 AM NHK and CuriosityStream are using drones, multicopters and other techniques to investigate an Origins of Land evolving island. An NHK/CuriosityStream coproduction | Air date: December 2015

In 2013, a volcanic island emerged from the depths of The devices are also being used to collect the Pacifi c Ocean, 1,000 kilometers (or 620 miles) south lava samples and look for unique species of Tokyo. Nestled within Japan’s Ogasawara island chain, living in close proximity to the island, which the land mass, fi rst christened Niijima, has grown at has exploded in size to a 4,000-meter a rapid pace for more than a year and has since fused submarine volcano. “An unmanned with another island in the chain, Nishinoshima. The helicopter captured the fi rst-ever close-up ongoing evolution of the island, now offi cially known as shots of lava fl ows and the crater; newly Nishinoshima, and the lessons it can teach scientists will developed static video cameras recorded be the focal points of Origins of Land, an upcoming special the ecology of rare birds; and rock samples from Japanese pubcaster NHK and digital factual SVOD proved new hypotheses about the service CuriosityStream. An as-yet-unnamed French formation of the continents,” says Asai of broadcaster may also be boarding the project soon. the progress made on the special thus far. The seeds for the project were sown through Japanese and global media outlets have meetings with scientists and engineers over a year been following the developing story ago, according to Takehiro Asai (pictured, right), over the past 18 months, with aerial senior producer in NHK’s Special Programs division. photography of the fused island mass The 1 x 60-minute special is utilizing drones, prompting some to compare the shape unmanned submersibles, multicopters and unmanned of Nishinoshima to cartoon character helicopters, all outfi tted with specialized cameras, Snoopy. But beyond that level of curiosity, Asai and the to capture the action from air and sea in 4K HD. As team at NHK expect that the comprehensive look at the the conditions on the island are unpredictable and story of the island, and what its formation adds to our inhospitable – with frequent volcanic eruption, the understanding of our planet’s geologic and biological occasional pyroclastic surge and poisonous gas in diversity, will “take viewers on a grand scientifi c the air among the hazards – NHK says the use of such adventure and give them a front-row view of land technologies will allow producers to “break the safety creation that came, quite literally, out of the blue.” zones” and chart the progress of the biggest new “We overcame great challenges to achieve what is island in recorded history to date, and what some arguably the fundamental goal of television: to give scientists claim could point towards the beginnings of people watching at home an encounter with something a new continent. they have never seen,” he adds. BW

019

Science.indd 019 2015-11-10 10:01 AM FOCUS ON SCIENCE

Longtime Discovery Communications exec Marc Etkind has moved from Destination America to head up its Science Channel. Here, he shares with realscreen his thoughts on where the network is going next. BY BARRY WALSH DESTINATION: SCIENCE

late September, Discovery says, pointing towards the Communications announced a upcoming airing of Telescope, In change at the top for its Science a behind-the-scenes look Channel brand, replacing general manager at the building of the James and Discovery veteran Rita Mullin with another Webb Space Telescope, to be long-time member of its family, Marc Etkind. directed by Nathaniel Kahn (My While he previously served as general manager Architect, Two Hands) and set to of its Destination America brand – home to series air across both Discovery and ranging from BBQ Pitmasters to paranormal Science in early 2016. offerings such as Ghost Asylum – Etkind’s “We’re looking for big, own roots in his pre-network career are fi rmly scientifi c fi lms – we’re looking entrenched in science production, and as such, for blue-chip,” he says. “Other people are going according to Nielsen, Etkind says ramping up he sees the move as a sort of homecoming. to dabble in it and air science docs because they the network’s digital assets will also be a prime “I majored in biology, I studied birds, I worked at want to put a little polish on their brand, but for concern going forward. a marine lab and Yale’s med school,” he recounts. us, it’s our DNA.” “Our viewers are already technologically savvy,” “And when I started making shows, I was making Blue-chip and premium content usually comes he says. “They’re looking at our site, they’re them for Scientifi c American, Discover, content for with a premium price tag, which international looking at Test Tube (Discovery’s science platform). the Museum of Science and Industry in Chicago, broadcasters often offset via coproduction. Etkind They’re already coming to us in multi-platform, but and segments for The Science Times. says that while “we like coproductions,” the we want to build on that even more.” “My DNA is in science producing, and I’m so preferred route for Science as part of the global That strategy may include more moves into the excited to get back to science,” he enthuses. “It’s a Discovery portfolio is full commissioning. VR space. At press time, Science was working genre that I know, love and have deep respect for.” “We don’t rule out copros, especially with some towards crafting a VR online experience to tie in With Discovery Communications realigning its of the bigger blue-chip projects,” he offers. “But with its Secret Space Escapes series launching in U.S. network portfolio in August, Rich Ross was when we can, a commission is always better for us.” November, and more could be on the way. given oversight of Science and Animal Planet, Etkind says he aims to see the network’s In summary, Etkind says that under his watch, in addition to his previous role as president content offerings position Science as a the onus will be on staying true to the brand – of Discovery Channel. And with Ross stating destination for science news as it happens, “It’s grounded in science and will continue to be,” repeatedly his aim to bring an “informational” pointing to recent Mars-focused programming he promises – while highlighting programming sensibility back to Discovery Channel – that aired in conjunction with discoveries of that asks the “big questions.” including a fi rm commitment to science and water on the red planet. He also cites Alien Recalling NASA’s recent New Horizons mission natural history – Etkind believes that refocusing Megastructures, a special that aired in late to Pluto – a nine-year voyage covering some three will also bode well for Science, and says that October focusing on the speculation concerning billion miles that allowed us to get a closer glimpse John Hoffman, EVP of documentaries and unusual light activity surrounding the star KIC of the “dwarf planet” – Etkind remarks: “The specials for Discovery Channel, is also casting an 8462852, as part of a move towards becoming reason that I went into science television some 20 eye towards premium science docs. “more timely and relevant.” years ago is that it’s awe-inspiring. Those are the “Because we’re part of Rich’s group it means we With Science posting double-digit ratings kinds of moments we want to capture. We’re trying have tremendous resources to draw from,” Etkind increases year-on-year across its key demos, to bottle that wonder, awe and curiosity.” •

020 November / December ‘15

Science.indd 020 2015-11-10 10:02 AM boasom.com

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RS.27204.Boa.indd 1 2015-11-11 10:45 AM FOCUS ON VFX & ANIMATION

BY DANIELE ALCINII

Discovery’s MythBusters aims to deliver one VR experience per episode for its OOM final season in 2016. With more he promise of virtual reality has been just It was approximately a year ago when executives at over the horizon for the last 20 years, with Discovery Communications began to take the emerging producers and T players such as Virtuality Group and Sega platform very seriously, assembling top directors from VR jumping headfi rst into the VR space in the early across the company’s production and design teams to broadcasters 1990s, developing stereoscopic visors and joysticks for launch the DiscoveryVR department, which rolled out its investing in the arcade gaming. It wasn’t until ’s acquisition mobile app on August 27. of Oculus VR – the Menlo Park, California-based “It was really, more than anything, [about] trying burgeoning immersive VR tech company – last year in a deal worth to jump into the space quickly but also showing fans US$2 billion that the futuristic technology became a that we were really committed to it longer term, so technology, plans huge talking point in the content industry. they could rest assured that if they came back to [the for more virtual Though Oculus VR and its Rift – the company’s ground- DiscoveryVR] app every week there’d be new content,” breaking head-mounted display – are primarily focused Conal Byrne, senior VP of digital media at Discovery reality content on bringing virtual reality to the burgeoning gaming Communications, tells realscreen. industry, well-established tech companies and start- Discovery is attempting to hold that promise as it are accelerating. ups alike have begun to develop hardware and camera steers its VR production into two avenues. Firstly, the But will it be a rig systems for fully immersive, 360-degree cinematic global media giant will analyze all of its on-air programs VR experiences. Recently developed or soon-to-launch – from Deadliest Catch and River Monsters to Puppy Bowl platform that’s systems include Samsung Gear VR’s Project Beyond, a and everything between – to see which can be further stereoscopic omniview 3D rig fi tted with 17 cameras that extended into the virtual realm, though a number of series built to last, or will streams in real time; Nokia’s Ozo, featuring eight lenses have already received the VR treatment. it run out of gas? with 2K by 2K sensors; GoPro’s Odyssey, a 16-camera The VR component of Survivorman will feature a series of module mount built specifi cally for Google Jump’s eight Les Stroud-fronted “experiences”; Gold Rush will also “ecosystem”; and Jaunt’s NEO, the fi fth generation produce eight videos that plunge users into the Klondike of its camera systems which will be initially leased to for 360-degree stories of going for gold; and MythBusters its partners, and rumored to feature a 27-camera rig is aiming to deliver one VR experience per episode – from capable of shooting resolutions as high as 16K. small-scale implosions to getting attacked by a horde of 200 With these 360-degree cinematic solutions on track to zombies – for its fi nal 14th season which debuts January 9. become viable plug-and-play systems, content producers Discovery is also building what it calls “Digital Original across the board are attempting to get in on the ground Series” – VR series not connected to an on-air property. fl oor as the possibilities of fi lmmaking within the VR space The network has already launched two channels on its continue to expand beyond what was initially thought. app: Planet and Adventure.

022 November / December ‘15

VFX.indd 022 2015-11-10 4:31 PM Left: Secret Location’s Ebola Outbreak: A Virtual Journey for PBS ‘Frontline’. Right: Beyond Productions’ immersive look at the Cold War-era submarine, the HMAS Onslow.

“Planet is us going out, trying to immerse attempted to immerse viewers in the story of last for virtual content have prompted some concern people in incredible locations, be it watching the year’s West African Ebola outbreak, which has within the industry that the method will ultimately sunset at Half Moon Bay or the Mojave Desert – claimed upwards of 11,000 lives. be rejected by consumers – similar to the it’s a great way to use VR as a passive immersion,” “Ebola Outbreak was very well received [at highly touted but underperforming move to 3D Byrne explains. “The other is Adventure – ONA15] in that this is going to potentially be a television. The key difference, however, is that 3D putting people in heart-pounding situations whole other visual language for journalists to tell technology is an overlay to an existing medium like mountain biking, surfi ng or freeboarding stories and for truth to be told,” Gagliano says, while VR must be treated as a unique format with a down Lombard Street, the windiest road in San noting that the company will be ramping up new viewership and experience in mind. Francisco. There’s stuff to come on the app like its factual output over the next few months but “I think [VR adoption] comes down to the zip-lining through the jungle in Costa Rica, where remaining tight-lipped on further details. availability of the tech as well as the much more we strapped a VR rig to a helmet cam.” In a new vertical where the waters are largely immersive experience VR offers,” says John With the introduction of VR into fi lmmaking, a host untested, a question experienced fi lmmakers are Luscombe, GM and executive VP at MythBusters of new challenges have also been ushered into the consistently faced with is how much control needs producer Beyond Productions. “Even the simplest process, which could force conventional storytelling to be relinquished in order for the user’s experience form of VR – looking at ‘magic window’ content and cinematic language to be entirely rewritten. to be fully immersive. It’s about balance, says Mike on a mobile phone – is compelling and instantly Some of the larger production hurdles come Drachkovitch, founder and CEO of Ovrture. accessible. And unlike 3D, there are legitimate in the form of traditional fi lming and editing “What we’ve learned is if it’s just pure presence, educational and commercial applications of the techniques. From cutaways and blocking the viewer often gets bored after a certain period technology that will extend the user base well the shot to utilizing multiple camera rigs and of time; however, if it’s too story-driven you lose beyond gaming and entertainment.” lighting a scene, all elements are left wide open the purpose of why it’s in VR,” he explains. “For us Luscombe, who championed the VR push for for exposure, says Pietro Gagliano, partner and at Ovrture, it’s fi nding that happy medium.” MythBusters, has been expanding the medium out executive creative director at Secret Location. Since launching in May as the VR content studio to traditional and lifestyle series in the Australian “When you’re creating a frameless story, you of 44 Blue Productions, Ovrture takes a story- prodco’s wheelhouse as a “value add.” really have to think about how you’re architecting fi rst approach to its development slate. Its fi rst Additionally, Beyond Productions has been busy that experience,” he explains. “We’re so rooted in two projects, for instance, promise to immerse originating VR content in its own right, including the fi lm industry and all of the conventions that viewers into the lives of inmates at maximum- securing a partnership with Ensemble Australia, are tried, tested and true that we basically have to security prisons across the U.S. for MSNBC’s a non-traditional creative agency, to develop an create a new visual language for this industry.” Lockup 360, and shadow fi rst responders in New immersive experience shot aboard the Cold War-era But despite its many challenges, the Toronto- Orleans as they respond to emergency calls in submarine HMAS Onslow. The program – part of the based interactive entertainment agency has real time in A&E’s Nightwatch 360, respectively. Action Stations experience at Sydney’s Australian managed to carve a niche into the space, winning “Lockup is such a unique experience – going National Maritime Museum – will shadow the craft’s fi ve Emmys in the process, including the fi rst behind bars, being in a cell with an inmate, learning commander as he takes the user on a 360-degree ever awarded to a VR production for their Sleepy about their day and the issues within the criminal presentation through the submersible and will Hollow experience. With its latest project, Secret justice system as a whole,” Drachkovitch says. integrate animation and archival sequences. Location helped push PBS and its investigative “These are things that are uniquely served by the “When anyone puts on the headset, it’s one of journalism strand ‘Frontline’ into the VR fold medium of VR, so the question is how do we identify those transformational moments,” Drachkovitch at September’s ONA15 digital journalism those stories, those issues and environments that summarizes. “This idea to have complete conference by fi tting fi lmmaker Dan Edge with will really benefi t from being told in VR.” presence somewhere, to be connected and a 3D printed camera rig consisting of 14 GoPros While there is palpable excitement brewing empathize with characters in dimensions we’ve for Ebola Outbreak: A Virtual Journey. The fi lm surrounding the medium, years of anticipation never been able to access before, is truly unique.”

023

VFX.indd 023 2015-11-10 4:32 PM FOCUS ON VFX & ANIMATION

ANIMATING THE ANCIENTS BY BARRY WALSH Two upcoming projects are using cutting-edge CGI to bring to life ancient civilizations. Here, the animation teams and producers behind the programs reveal how they’re reconstructing history.

A CURIOUS WORLD: THE BRONZE AGE RAISING POMPEII

Produced and animated by Pixeldust Studios Produced by Twofour and Handel Productions, CGI by Digital Dimension Airing on CuriosityStream in January 2016 Airing on ITV, CBC, Canal D and other broadcasters in 2016

Having produced and animated the fi rst season of CuriosityStream’s A In 79 AD, the ancient Roman city of Pompeii, near present-day Naples, Curious World series, Washington DC-based studio Pixeldust was tasked was in the midst of recovering from a severe earthquake in 62 AD that had with tackling 2,000 years of history for the follow-up. destroyed scores of buildings, temples, roads and bridges. While many had A Curious World: The Bronze Age scans, over the course of three episodes, left following the earthquake to other Roman settlements, a good number of ancient civilizations in the Aegean/Mediterranean, Egypt and Near East, its 11,000 remaining inhabitants stayed to rebuild. That effort would prove in the period from 3,000 – 1,000 BC. As part of the overview, the Pixeldust to be in vain, with the eruption of nearby Mount Vesuvius burying the town team had to reconstruct four capitals, including Egypt’s Thebes, the Greek in multiple levels of volcanic material. capital of Mycenae, and the ancient Sumerian/Babylonian city of Uruk. In the upcoming one-hour special Raising Pompeii, UK-based Twofour and “The scarcity of artifacts and ruins from the Bronze Age was a major Montreal-based Handel Productions have the daunting task of effectively challenge,” explains Pixeldust president and creative director Ricardo raising the city from the cinder and ash via CGI, 3D terrain mapping, Andrade. “While ancient Egypt is well documented, other capitals such as and expert testimony. Adding to the challenge is the need to place two Uruk and Mycenae had far fewer reference materials. Our team worked with presenters in the action for different international versions – David Suzuki the archaeologists and scholars who are part of the series to identify the for the version that will air on the CBC’s ‘The Nature of Things’ strand and most compelling materials that are still in existence.” Michael Buerk for the program to air on ITV. With a toolkit that included Maya as the main 3D application, Mental “We have another version with no presenter, so every shot has to be stand- Ray for rendering and After Effects for compositing, Pixeldust turned to alone,” says Handel’s vice president and executive producer André Barro. Google Maps of the current locations for each city as a framework for The producers turned to Montreal VFX shop Digital Dimension to create their creations, using imagery of ruins to geo-locate them on the maps, a photorealistic, historically accurate version of Pompeii. Working from creating a new custom map, and then painting in the ancient streets, start to fi nish in Maya, rendering in Red Shift, and compositing in Nuke, houses, and temples for the 3D models that were ultimately used. the team there began working in earnest on the project in September, 2.5D camera mapping was also used on frescoes and ancient artifacts, and will be delivering its fi nal shots in December, according to Digital by layering images from the Bridgeman Art Library into three-dimensional Dimension senior producer Peter Skovsbo. space and adding motion. While Skovsbo cites the post schedule as the biggest hurdle the team of Andrade says Pixeldust’s “highly collaborative partnership” with the approximately 15 at Digital Dimension will have to face, Barro says budget CuriosityStream executive team allows the company to streamline the process considerations prompted the producers to focus on specifi c locations to by delivering rough cuts with reference images instead of animations. hone in on. But having worked with the VFX company on other projects, “This makes the process run more smoothly and adds more in both value Barro says taking a collaborative approach always yields the best results. and creativity to the fi nal product,” says Andrade, adding that being asked “We don’t just have the studios doing the storyboard, we want them to be to deliver animations early in the process “can lead to multiple revisions, a part of it,” he says. “For us, it’s less about the technology than the people. delays and overages.” We’re chasing the talent.” •

024 November / December ‘15

VFX.indd 024 2015-11-10 4:32 PM January 21st - 31st 2016 Park City, Utah

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RS.27201.Sundance.indd 1 2015-11-10 10:09 AM REALSCREEN LONDON 2015 For the second year running, international producers, network executives, distributors and content creators convened in the UK capital for two days of discussion, debate and deal-making at Realscreen London. The October event brought close to 300 delegates to the a b London Marriott Hotel Grosvenor c de Square, and was punctuated with two cocktail soirees, courtesy of Discovery Networks International, Pact and UK Indies. Thanks to all for taking part, and see you next year. (Photos by Daniele Alcinii)

a) CuriosityStream’s Elizabeth Hendricks North b) Zig Zag’s Danny Fenton and Arrow Media’s John Smithson f c) Lion Television’s Nick Catliff d) Barcroft Media’s Sam Barcroft e) All3Media’s Jane Turton f) T Group’s Jenny Daly and ICM Partners’ Pippa Lambert g) Vice Media’s Alex Miller h) Voltage TV’s Sanjay Singhal i) Maker Studios’ Luke Hyams g

hi

026 November / December ‘15

RSL.indd 026 2015-11-10 10:17 AM AND ONE MORE THING

Chris Evans (left) and BY DANIELE ALCINII Top Gear comrade Stig face the press in Cannes. (Photo: SWITCHING GEARS courtesy of the BBC)

ollowing one of the fl ight to Cannes for a short Top will because they’ve let me know the more infamous Gear promotional stint during the 31st quite clearly on social media. But as “fracases” in recent annual MIPCOM market. a fan of the program I know what television history, Sitting down during a Q&A I want to see, and what I want to BBC Production’s roundtable session with assorted see is exciting cars, amazing fi lms, latest incarnation of international journalists, Evans brilliant locations, clever twists – if F automotive format Top declined to speculate on his as-yet- you make a quality product, people Gear – the world’s most widely unnamed co-presenters, or whether a will come to it, so that’s what I’ve watched factual program, with much-rumored female co-host would got to do. I’ve had a lot of people an estimated global audience of be appointed. “We’re very close to who loved Top Gear [say they] 350 million in 212 territories – telling you some things about who will slightly started to fall out of love with will revolve around BBC Radio be on the show,” he said with a grin. it over the last few years because cars 2’s Chris Evans as primary host, “I wish I could totally say, but I can’t seemed to almost be second. I think with the British pubcaster inking because the contracts aren’t signed.” that we can move cars back to being him to a three-year exclusive deal the stars of the show, which is what beginning January 2016. What was your fi rst reaction when they should be. The host of The Chris Evans Breakfast you were approached for Top Gear? Show and the self-professed “human Disbelief. It was a question I Will Top Gear and Amazon’s series alarm clock for the UK” since 2010, never thought I’d be asked, to be be suffi ciently different? Evans has become accustomed honest. I thought James [May] and Who knows? They’ve got a brilliant to having a full plate. On top of Richard [Hammond, former Top act. They’re very funny and their producing a daily radio show with Gear co-hosts to ousted host Jeremy chemistry is amazing – it takes you an audience of more than 10 million Clarkson] would carry on. That’s years to develop it. I’ve got a contract listeners per week, Evans previously what I thought was going to happen for three years, so it’s hopefully served as the face of the BBC’s The – that’s what I wanted to happen as got to last for three years. It’s not One Show from 2010-2015; celebrated a fan of the show. about 54 shows and three Christmas the 20th anniversary of the popular specials; it’s about May and June entertainment series TFI Friday with a Are you at all concerned that next year, which is still seven months one-off special for , which fans will fl ock to Clarkson’s new from now. I’ve been working on the resulted in a full series commission Amazon motoring series instead of show since I got the job, literally. for late 2015; and recently fi nished the BBC Top Gear format? I wrote the fi rst running order 24 a memoir, Call the Midlife, while on There’s no fear of that at all – some hours after I got that phone call. •

027

Backpage.indd 027 2015-11-10 10:04 AM Save the date and plan ahead!

June 8 – 10, 2016 Fairmont Miramar Hotel

west.realscreen.com

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