September/October 2013 | Vol. 014 www.mediahubaccess.com INTERVIEW The National Film Board of Canada have brought about fresh new standards for Interactive Documentaries COMPANY FOCUS Afghanistan’s Aria TV and ERTV are focused on changing the face of educational television in the country

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mediahubaccess.com EDITORIAL

General Manager have to confess that working take you to the thriving film and Juliette Vivier on this issue was bittersweet. It creative multimedia industry in reminded me of my all-time fa- , which is our Country EDITORIAL I vourite quotes by Oscar Wilde in Focus. This comprehensive story Editor-In-Chief Lady Windermere’s Fan, “We are highlights three major govern- Suzane Avadiar all in the gutter, but some of us ment bodies within this sector;

are looking at the stars”. For me, The National Film Development Editorial Designer Kevin SJ Francis it’s a quote that encapsulates Corporation Malaysia (FINAS), optimism, which we all must re- the Multimedia Development Editorial Assistant member to instil within ourselves. Corporation (MDeC), and the Amanina Nazari This issue was an eye opener for Creative Content Association of me because while there are fan- Malaysia (CCAM) – all of which OPERATIONS & SALES tastic developments all around collaborate extensively to posi- Operation Manager the world, there are many who tion Malaysia firmly on the global Shelley Mc Morrow still fight a severe battledaily . This stage. The development and month, one of those struggles outlook of this vibrant industry is Business Development is seen in Afghanistan; where nothing short of exhilarating. Manager a minute glimpse of the harsh Frédéric Alliod reality that has permeated this The Interview of the Month gives

Advertising & nation is revealed. Nevertheless, you a peek into the outstand- Sales Officer optimism is alive. ing repertoire of interactive Shalini Kalimuthu documentaries created by the Through our Company Focus, National Film Board of Canada. FINANCE & which in this issue takes on a A cursory glance of their exten- ADMINISTRATION new twist, we highlight a sec- sive interactive documentary Chief Finance Officer tor in Afghanistan that demands catalogue will give you a hint of William Tan global attention; education, and the diversity in their projects. Loc

the two significant media play- Dao, the award-winning Execu- Office Administrator Haliza Ahmad ers that are striving to change it. tive Producer and Creative Tech- Educational television is on the nologist at NFB shares insightful IT DEVELOPMENT rise in this nation that is struggling details of their creative process in Lead Developer to transform almost every sector developing this dynamic genre. Mohammad Norhizam of the country. Amidst the hostility Omar and horror that war has imposed I hope you find these stories on Afghanistan, it seems that the every bit as exciting as it was for Senior Pragrammer children have suffered most. The us working on them. I urge you Foo Seong Kin statistics surrounding illiteracy and to give us your feedback and the lack of access to education thoughts about anything you find are alarming, as is the fact that useful or would like to read here “Afghanistan is one of the worst in the pages Mediahub Mag. PUBLISHED BY places on earth for children to be Feel free to drop me a line just Mediahub Pac Holdings Sdn Bhd born,” according to Ajmal Obaid to say hello at (Formerly known as Abidy of Aria TV. The reality seems savadiar@media- The Global Media Centre for Development Sdn Bhd) glum, yet there are hopefuls such hubaccess.com Suite C-703, Level 7 as Aria TV and the Educational or to any other Center Wing Radio and Television of Afghani- member of our Metropolitan Square stan (ERTV), who are determined team listed in the Jalan PJU 8/1 Damansara Perdana to create reform in this sector. next column. 47830 Petaling Jaya Suzane Avadiar Selangor, Malaysia On that optimistic note, we Good reading! ■ Editor-In-Chief 3 FOOtagE and prOgrams n One century of images and sounds n Easy online access, viewing and creating clips n Unique and dedicated salesperson n Highly secured and reliable rights management n Fast delivery system inamediapro.com : all you need ina single place CONTENTS

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6 INTERVIEW 10 of the National Film Board of Canada discusses the finer points of Interactive Documentaries.

10 COMPANY FOCUS Educational TV stations in Afghanistan are on the rise to change and develop the country through the advancement of future generations.

16 COUNTRY FOCUS Discover the film and multimedia landscape of Malaysia, as the industry strives and sets its sight on the global stage.

24 MEDIAHUB MEMBER NEWS 18 Deutsche Welle presents a on Serengeti. 24 24 English version on WYBN and Intelsat-21 satellite. 25 VTV to air Big Brother in . 25 TSA distributes BarcaTV in Asia Pacific. 26 Malaysian film Vikingdom hits worldwide cinemas. 26 NFB’s Buying Sex enters US markets. 27 TV appoints new management team. 27 TV5 Monde opts for Volicon Observer Transport Stream system.

28 MIPCOM 2013 SPECIAL The New Golden Age of Television.

32 AGENDA 12th Sichuan TV Festival / Broadcast / Inter BEE / MIPCOM / SCaT India / World Content Market. 5 INTERVIEW

Scene from

The new age of documentaries Interactive documentaries present a phenomenal new way of sharing ones thoughts, ideas, and vision with another. Mediahub Mag talks to Loc Dao of the National Film Board Of Canada about the finer points of interactive documentaries.

“If you look backward from any Creative Technologist for Digital potentially multi-platform but it is single point in time, everything Content and Strategy explained dependant on the story and the seems to lead up to that mo- that four years ago NFB created audience you want to reach. ment…” (; 2012) a working guideline for new However, the cost becomes pro- media projects which, is the hibitive when you start thinking he National Film Board of creative application of technol- that way,” Dao added. Canada (NFB) is an agency ogy to story and form. Recently Tunder the heritage depart- however, they have begun to “When the internet shifted to ment, funded 100% by taxpay- update that guideline with digi- Web 2.0 around the year 2000, ers. They serve as Canada’s tal strategies – adapting it to the we shifted what we did back in public producer and distributor creative application of platforms the Canadian Broadcasting Cor- of socially relevant audio and and technology to story and poration from telling short form visual works. NFB has been very form. Their approach and philos- stories online and we created active in the production of inter- ophy is to first come up with the the first Interactive 1.0 and a active documentaries, serving story and content, figure out the digital magazine that told stories not only as a producer but co- treatment, then decide upon every week in some kind of com- creator of this dynamic genre. the technology and the platform bination of linear and non-linear Loc Dao, a renowned, award- at the same time. “From the on- form of story telling,” Dao said. winning Executive Producer and set, a project is conceived to be The team “cut their teeth on very 6 small bits”, having all come from interactive plan and a script, NEW INNOVATIONS a journalism background – from all which needs to be in place entertainment, arts and current before the project can move “We have started doing interac- affairs. Enfolding all those ele- forward. “After that, we move tive installations and it is a com- ments into bite-sized stories, it into considerations such as, pletely brand new field that is eventually evolved into the lon- are we pushing the boundaries open for every project. For Bear ger form to what is now termed and trying something that may 71, we built an augmented real- ‘interactive documentaries’. not work? If so, then we’ll do a ity iPad app for the installation “Seven years ago we produced technical prototype. Then, we and a surveillance unit that used the first interactive documen- move into the more traditional a combination of an iPad app tary for NFB called, Filmmaker in web world phases – such as with robotics technology. We are Residence and four years ago information architecture, wire constantly exploring new ways of we started a whole string of frames mood boards, and start using technology to tell a story, interactive projects for the NFB the designing and programming and in Bear 71, that augmented from Waterlife (2009) to Bear 71 process,” he said. These stages reality app was a device for the (2012),” he added. update as the project moves story,” Dao said. Dao described forward, working from the core that one of the layers of the According to Dao, NFB has premise but allowing various fac- story is about how we live our flipped the whole model on its tors surrounding the project to be lives through technology; when head. “In a traditional film you determined as it progresses. people go on holidays, they live have a producer, director, DOP, behind the lens of the camera – and crew, and you go through taking pictures and hardly put- the process of development, ting the camera down and living production, launch, and market- “Most of our film life. “So, we used that as a meta- ing. We’ve combined the edito- phor in the installation. By picking rial process of journalism, film- documentaries takes up the iPad and looking at the making, and making websites world projected in front of you, from web studios and ad agen- the approach of you create a barrier between cies, and developed that into a coming up with an yourself and the real situation be- project with a creative team but cause of technology,” he added. no longer with a single director,” idea, exploring the he said. Another NFB project in develop- idea to a certain ment is with Vancouver based Taking a seed of an idea, which often comes from the filmmaker, point until you are paired with an interactive co- confident that there’s creator, such as a designer, creative director, programmer something there, or anyone who is interested in story, NFB’s team collaborates go into production on a project that takes it through shoot, and then to the next stages of production. “Most of our film documentaries work the magic at take the approach of coming up with an idea, exploring the idea the editing suite.” to a certain point until you are confident that there’s something there, go into production shoot, Loc Dao, Executive Producer and then work the magic at the & Creative Technologist at the editing suite. That’s the typical National Film Board Of Canada process,” Dao added.

Interactive documentaries are similar to the approach used in a fictional film or drama with an 7 INTERVIEW

Stan Douglas, one of the most renowned visual artists. is a historical app that takes you back to Vancouver Post-WW II in 1948 and explores two parts of Vancouver; East and the West, rich and the poor, and corruption at that time through this non-lin- ear world that exists on your iPad and your phone. “It is a photo- realistic augmented reality app, where the space is recreated in Scene from Bear 71 the app in 3D,” Dao said.

Going beyond borders with their traditional documentaries their existing expertise, NFB also ever reached before. Generally, considers collaborations, having “Many traditional their target core audience is a recently co-produced a film with younger group; for Bear 71, they NHK. “We also started some co- documentary makers targeted 20 – 35 year olds, al- development exploration with though in no way does that imply NHK on an interactive project, have come to us with just that the project will not appeal so we are definitely open to interactive ideas now... to an older audience. “We are co-productions and partner- working in partnership with The ship agreements, the latter of They are embracing Guardian and they have a very which, seems to be a better fit interesting definition of this audi- for interactive projects,” Dao the change; as the ence, which they term as “The said. Simply put, NFB is “open to shelf life for interactive Progressives” – a younger audi- different models of collabora- ence that is progressive-minded tions because this is such a new documentary is also in some capacity,” Dao said. industry”. definitely much longer” Traditionally, the bulk of NFB’s NFB also shares their innova- film audience are Canadians, tions with others in the industry. and then global but their in- “We have a curriculum that we teractive audience are a little developed based on our pro- component. There has also been different. “We still have the same cesses and we used it to train a clear shift among traditional mandate but we find that al- all the producers at the NFB, as documentary filmmakers to get though our Canadian audience well as some executives and on-board with interactive docu- and taxpayers are our core marketing professionals in digital mentaries. Almost everyone con- audience, we also reach a lot story telling,” Dao added. The siders whether they are creating of Americans, Europeans, and programme is called DigiCamp, something for several platforms. Asians as well. I think part of that which was rolled out across “Many traditional documen- is due to our content,” he said. the NFB a couple of years ago. tary makers have come to us They are now assisting several with just interactive ideas. I’d NFB also has specific targets for French producers through this say the same is true for France, specific projects. When a project programme, as well as explor- , Netherlands, and is being developed, they de- ing what opportunities exist in even . They are embrac- cide on their target audience, Asia in this area. According to ing the change; as the shelf life before moving on to a larger Dao, the response to interactive for interactive documentary is programming consideration. documentaries so far has been also definitely much longer,” he At that stage, NFB ensures that really positive and encouraging, added. they have enough projects that especially in Canada. target Canada, North America, In terms of the audience, NFB’s and beyond, as well as other Almost all of NFB’s productions interactive documentaries are partnership projects that target now have an online or app reaching more audience than a very niche audience. ■ 8

COMPANY FOCUS

Educational Television in Afghanistan Top twoTop pictures from Aria TV; bottom two from ERTV 10 Despite the endless gloom of conflicts and sufferings Afghanistan has endured over the years, Mediahub Mag discovers that there is still a ray of optimism on the rise – especially concerning education for its children.

egardless of where we According to Ajmal Obaid Abidy, stan about their civic rights, and live, the plight of children the CEO of Aria TV, “Afghanistan also facilitating a sort of be- Rmakes us sit up and take is one of the worst places on havioural change. ARIA TV was notice. When it is a plight that earth for children to be born” initially launched in Kabul and is concerns fundamental needs and the 2011 report of Stop the about to be expanded to Balkh. or basic rights, it demands our War Coalition on “Children of There are also expansion plans attention all the more. In this day Afghanistan” also confirmed this. to cover Herat and Nangarhar and age, the rights of children Children are at extreme risk of before the end of 2013. to education should always be violence, abuse, exploitation, deemed a priority. However, and neglect. In 2009, the Ministry ERTV has had a longer presence when the children in question of Labour, Social Affairs, Martyrs in Afghanistan. Founded in 1969, live in a war torn country, pri- and Disables (MoLSAMD) indi- their priorities were in the areas oritising education seem point- cated the number of children at of teacher training, adult educa- less, especially when survival the extreme risk as 4.5 million. The tion, and programmes for school is a struggle that rules the day. basic rights of children to life and children through the use of radio For far too long, the people in development are seriously com- and television. The station ex- Afghanistan have fought this promised at various levels. perienced a major overhaul in battle. 2003 when the government of Afghanistan’s Ministry of Educa- Italy funded the United Nations Ravaged by war, political insta- tion has stated that there are Educational, Scientific and Cul- bility, poverty, and countless oth- close to 3 million children who tural Organization (UNESCO) to er pressing issues, Afghanistan do not have access to educa- revitalise ERTV’s technical capa- has seen more than its share of tion. However, it would not be bilities, rehabilitate the infrastruc- horror, bloodshed, and anguish surprising if the actual number ture, and refurbish the channel’s – especially the children. Despite of children in this predicament premises and equipment. that, in the last few years, there is much higher than estimated, has been a vital focus on Afghan given the on going crisis in UNESCO also assisted in providing children and educational reform the country. With this alarm- technical expertise and advice by those who have the means ing reality in mind, Aria TV was to ERTV, as well as to the Min- and expertise to make a differ- launched as an exclusive chan- istry of Education, and trained ence; television broadcasters nel for children and teenagers a new generation of Afghan such as, Aria TV and the Educa- in early 2011, with the primary broadcasters and teachers to tional Radio and Television of goal of educating the children supply high quality educational

Top twoTop pictures from Aria TV; bottom two from ERTV Afghanistan (ERTV). and young people of Afghani- programming and materials. This 11 COMPANY FOCUS

has greatly helped ERTV to ac- two years ago as an exclusive “There is a complish their newer mandate to channel for children and teen- bring education to remote parts agers, the very first feedback huge lack of the country and to vulnerable was “it won’t work”. The belief groups of people who have no was that the social structure of of schooling access to formal schooling. Afghans would create a huge hurdle for Aria TV to grow and According to UNESCO, Afghani- become the favourite channel system in stan’s education authorities for children,” said Abidy. How- struggle to address the 74% ever, the circumstances have remote of the population who live in changed a little. rural areas, where up to 90% of provinces so women and over 60% of men According to Abidy, Aria TV are illiterate, while almost 50% of quickly proved that the conser- there is much school-age children are out of vative narration of Afghan social school. To address these specific structure wrong. Within the first need of distance issues, ERTV also provides con- few days of its launch, parents tent that is focused on distance were compelled to either buy an- learning learning and public awareness. other television set for their chil- dren or sit together as a family THE CHALLENGE OF CHANGE with their children to watch Aria through TV programmes. This was mainly For Aria TV, one key challenge due to the nature of content television” is to simultaneously address the aired. Aria TV showed an unseen myriad of issues surrounding angle of social and family life. education for children, as every It revealed that children could issue is equally important. Sus- have a voice and be agents tainability is another challenge. of change in their families and “When Aria TV was launched communities. Parents soon ob- 12 programmes over entertainment. students, and children out of According to Zeer Safiullah, school children and thus, 40% Director of ERTV most homes are of their content is self-produced equipped with only one TV set by a creative team and Afghan and the elders prefer watching educators, to cater to a niche entertainment channels, which need. The remaining content is means the children have no acquired from various English- choice but to watch them too. speaking countries and then Currently, ERTV operates only in dubbed in local languages. The the Kabul Province, but the plan Afghan educators collaborat- is to extend to other provinces, ing with the creative team have where there is more need for many years of experience in the educational programmes. field of education and curricula development. They worked with “There is a huge lack of school- different organizations and col- ing system in remote provinces laborated with the Ministry of so there is much need of dis- Education in creating quality tance learning through televi- education, bringing reforms to sion,” Safiullah said. With the the curricula, writing different government’s focus on distance textbooks. They were also teach- education as a vehicle to com- ing at the primary, secondary bat illiteracy, ERTV has their work and high schools and universities cut out for them; bringing access for many years. The team from Aria TV (both pictures) to the rural and mountainous regions throughout Afghanistan. Currently, there are three pro- gramming blocks to reach all served that their children could EDUCATIONAL CONTENT its audience in an effective guide them on various issues. way; a preschool block that Safiullah also indicated that airs content with bright colours “Very recently, a video clip went ERTV is always endeavouring to and sound effects, such as on-air, promoting an event to improve and create new pro- cartoons and live shows featur- celebrate the second anniver- grammes. In their efforts to raise ing children of the same age; sary of Aria TV. The very next the bar and provide content of an evening block that provides day, there was a huge crowed international standards, ERTV “education through entertain- of people in front of the Aria has obtained programmes from ment” for school students; and TV’s office requesting entry slips JAMCO, the educational branch ARIA at NIGHT, which is aimed for their children. One disabled of NHK in . Acquired pro- at children and teenagers ages parent journeyed from a rural grammes are translated into the 2-19. There is also a special pro- area to obtain entry slips for two official Afghan languages gramming block during week- his children. While waiting his - Dari and Pashto and broadcast ends. For children out of school turn patiently in his wheelchair, on ERTV. For content in English, who are aged between 7 to 18 he explained to another par- ERTV provides subtitles in those years old, Aria TV uses a to- ent how far he travelled and local languages. Most of ERTV’s tally different approach to bring how much his children love Aria current content is locally pro- these children back to normal TV,” Abidy said. “I believe that duced and the focus in line with life. Most of these children are Aria TV has introduced a very the curriculums in schools. The socially marginalized and enjoy different and an unbelievable aim is to instil a habit among stu- programmes that encourage aspect of Afghan society. It has dents to watch their lessons on and motivate them. proved that people are eagerly TV and some of their more popu- welcoming new ideas and new lar programmes are shows that THE ROAD TO EXPANSION ways to their lives,” he added. teach Chemistry, Mathematics, and Islamic studies. According to Safiullah, although ERTV’s challenge on the other there are currently no provisions hand, is enticing their target For Aria TV, their primary audi- for digitisation yet, the Ministry audience towards educational ence is pre-schoolers, school of Information Technology is still 13 COMPANY FOCUS

The team from ERTV

working towards making it a “Our plan is to create an ARIA “When Aria TV possibility in the future. “We are CORNER in different parts of the working to be connected to sat- country, where Aria TV shows will was launched ellite, so that we will also be able be available on different plat- to connect with our viewers living forms, such as on CDs and DVDs, two years ago abroad,” he said. In the mean- so that more people have ac- time, ERTV’s expansion plans are cess to our shows,” Abidy said. focused on making their educa- as an exclusive tional programmes available in Aria TV also endeavours to ex- each and every remote province pand to satellite to reach their channel for so that they are accessible to ev- Afghan audience abroad and eryone. The channel is also deter- currently they are negotiating children and mined to make its presence and with service providers to make efforts known globally. Through this a reality. “We will start the teenagers, their participation at global planning to go fully digital after conferences, Safiullah said ERTV 2014 and it will possibly take a the very first is greatly benefiting, especially year to complete the project. in creating programmes that are At the moment, our focus is on feedback was more advanced. improving the quality of our programming and making the Aria TV’s expansion plans are channel sustainable, so 2014 and “it won’t work” on similar paths; focusing on 2015 will be when we focus on improving the quality of their technological expansion,” Abidy programming, not only to gain added. ■ more viewership but also to edu- cate the younger generation. By Suzane Avadiar 14

COUNTRY FOCUS

Collaborative efforts within the local film and creative content industry are opening new doors and planting Malaysia on the global map. Mediahub Mag takes a closer look.

o merely say that the Malay- local governmental bodies and sian film and creative content private sectors – all equally com- Tindustry has evolved and de- mitted to making this industry soar veloped in the last decade would beyond the Malaysian horizon. be a severe understatement. The industry has taken such huge The National Film Development leaps and undergone such major Corporation Malaysia (FINAS), transformations that the produc- established in 1981, is the body tions emerging out of Malaysia are responsible for promoting, preserv- nothing short of astounding – both ing, and facilitating the develop- in terms of quality and quantity. ment of the film industry in Malay- The significant change is that sia. While the principal mission is to today, the spotlight is shining from boost the film industry’s economy abroad. Malaysians are not only and creative content, their tasks making films in abundance, they have evolved over the years to are making films that travel. While include several other significant these achievements clearly derive roles in their repertoire. These from a stream of fresh talents and days, along with their function to ambitious ideas, there are other regulate and develop the local factors that make up the winning film industry, FINAS also serves as a equation, such as the various initia- producer of local films and con- tives and continued support from tent. Their pledge to enhance the

16 17 COUNTRY FOCUS

local industry, specifically within or use multimedia technologies film, television, and other screen to produce and enhance their productions, has also brought products and services. about new efforts for content development, such as the “Film MDeC is a government agency in Malaysia Incentive” (FIMI). FIMI and they have one important will provide an additional finan- task that was given to them by cial incentive for the production the government and that is to of creative content within Malay- turn the creative multimedia sia through a 30% rebate on all industry into a economic growth Qualifying Malaysian Production area; which basically means to Expenditure (QMPE) that meets bring in revenues through this the stipulated criteria. This incen- the line of sector. Their return on investment tive is offered to both Malaysian will be based not just on mon- and foreign production, and post- separation etary but also non-monetary fac- production carried out in Malay- between FINAS tors, which will have an impact sia, which will potentially increase on the financial growth of the and entice foreign collaboration and MDeC exists sector. The non-monetary as- projects to Malaysia. in their primary pects refer to mainly the cultural facet that will open doors to By and large, the local film in- focus of economic growth. It is an agen- dustry is already truly booming. expertise; the cy that leverages on Malaysian Local producers are becoming companies that are able, willing more experimental and mov- former directs and ready to go into this industry. ing out of their comfort zone. its efforts This includes taking on-board In the recent years, they have existing companies, as well as ventured into genres such as towards film, creating new ones that can be action, animation, and musical, while the involved in the creative multi- and that has been a great boost media industry, which is a wide- for the local industry – both in latter ranging sector. terms of international exposure, concentrates as well as, revenue. In fact, FINAS’ According to Kamil Othman, recent published report clearly on the Vice President and Director of indicates a significant surge in multimedia Creative Multimedia at MDeC, the revenues brought about by the line of separation between local films at foreign film festivals creative sector. FINAS and MDeC exists in their in just the last three years; the primary focus of expertise; the Kamil Othman, Vice President total revenue indicated for 2010 and Director of Creative former directs its efforts towards was RM6,097,600; 2011 escalated Multimedia at MDeC film, while the latter concen- to RM91,524,000; and in 2012, trates on the multimedia creative the figure further increased to sector. Funding also contributes RM180,820,000. FINAS’ atten- in Malaysia). Their primary role is to the separation between the dance at various foreign film fes- to advise the Malaysian Govern- two bodies; FINAS holds the tivals is also gradually increasing ment on legislation and policies, funds for live-action films, while each year, which clearly shows develop MSC Malaysia-specific MDeC holds the animation funds. that their efforts to promote the practises, and set breakthrough However, these are two sectors local industry are paying off. standards for multimedia opera- that constantly bleed into one tions. MSC Malaysia is Malaysia’s another and more often than The Multimedia Development national ICT initiative designed to not, both agencies team up on Corporation, or MDeC, is the attract world-class technology projects and funding to achieve body that directs and oversees companies while grooming the the nation’s creative goals. Malaysia’s National ICT (Informa- local ICT industry. Through MDeC, tion & Communication Technol- an MSC company receives Last year, another new body was ogy) Initiative, also known as the recognition by the Government formed to take the local creative MSC Malaysia (formerly known of Malaysia for ICT and ICT-facil- industry to greater heights. The as the Multimedia Super Corridor itated businesses that develop Creative Content Association of 18 Malaysia (CCAM) is an initiative houses. One such initiative is via by the government to identify ar- the formation of Lightbulb Pic- eas of the economic sectors that tures, which provides an accessi- can help to bring in additional ble platform for first-time filmmak- GNI and income for the country ers to bring their art to life. Their by the year 2020. The creative recent theatrical releases, Bisikan sector is one of the potential ar- Syaitan, saw the directorial debut eas identified by the government. of filmmaker Faizul A. Rashid.KIL , According to Dato’ Mohd Ma- another Media Prima production hyidin Mustakim, CEO of CCAM, under Grand Brilliance, helmed their mandate is quite clear – with by first-time filmmaker Nik Amir three primary objectives. Firstly, to Mustapha, enjoyed its interna- coordinate and organize inter- CCAM has tional premiere at the Marche du national events and markets in Film in Cannes this year. Another Malaysia, such as a Kuala Lumpur recently Grand Brilliance production, Film Market, with the support of received an Chow Kit, presented by Prime- relevant government bodies. works Studios, which is also the invitation to distribution & sales arm of Media Secondly, CCAM is to lead trade screen one of Prima, received nominations in delegations and the local film three categories at the 2013 Asia and content industry to attend the local films Image Apollo Awards for Best international markets and events. at the Busan Directing, Best Cinematography This would position CCAM as and Best Art Direction. All these the umbrella organization, while International achievements clearly indicate supported by other bodies such Film Festival in a distinct elevation of Malaysian as FINAS and MDEC, on a global film onto the global stage and level. “This has to be a unified South Korea, with the collective efforts of both effort so that the overall local which not only private and governmental bod- content and film industry will ies, the film landscape of Malay- be structured,” Dato’ Mahyidin marks a great sia is all but bursting out of its own said. The final objective revolves honour but borders. around capacity building, which will help local producers under- also ensures THE GOALS stand the international market tremendous better and learn how to talk At this point CCAM’s short-term about their products, while creat- exposure for goal is to gather as much market ing products that travel globally. the Malaysian intelligence as possible to col- late a report and disseminate In just the last year, CCAM has film industry. it to all their members, which attended over 14 markets world- encompasses various produc- Dato’ Mohd Mahyidin Mustakim, wide – both large and small – CEO of CCAM tion houses. “This will include working solely on promoting local genre-specific information such content. The number of local as advising the animation sec- productions, with the calibre to ensures tremendous exposure tor on the best global festival to travel globally and screened at for the Malaysian film industry,” attend in order to market their prestigious film festivals, is increas- Dato’ Mahyidin added. work. Reports such as this will as- ing rapidly. Films such as KIL, Ro- sist independent producers with bokicks and Penanggal were all Malaysia’s free-to-air terrestrial vital information that they other- recently screened at film festivals network, Media Prima’s own wise may not be able to obtain,” abroad and received favourable channels and development of Dato’ Mahyidin said. CCAM also responses. “In fact, CCAM has local content has in itself contrib- obtains detailed information on recently received an invitation to uted to enhancing the Malaysian all other film markets globally screen one of the local films at film industry and local talent – each time they attend an event the Busan International Film Festi- especially through the develop- abroad, which will help to propel val in South Korea, which not only ment of new talents and col- local producers further in the marks a great honour but also laborations with local production international market. 19 COUNTRY FOCUS

At MDeC, the focus for expan- Animation is the future; it covers a sion is to see the potential of what animation technology can do. huge sector and is not solely for “Animation is the future; it covers entertainment. Almost every industry a huge sector and is not solely for entertainment. Almost every will probably require animation at industry will probably require ani- one point or another mation at one point or another. As a short-term goal, we had to focus on entertainment anima- that will bring animation technol- are crucial at this point because it tion because that was the only ogy into areas that are not di- will open up global doors. Cur- way to bridge the divide. Any rectly related to entertainment. “It rently, there are several anima- recent graduate in animation can can be something as simple as a tion projects in co-production immediately work for Proton to segment on how to pray in 3D, or with Korea, , , design a new car in 3D but that is creating a virtual character that and . It is an investment wholly different from working on a goes to Mecca in 3D, which gives and although there is no guaran- design project for Supa Strikas, a a person who has never been on tee that there will be a return on digital interactive sports comic. So a plane an idea of what he or investment, these co-productions we were very aware of the fact she can expect on a journey to exposes Malaysians to the world that there is a rite of passage in Mecca,” Othman added. Ani- stage. “Looking at the roadmap this whole process that we had to mation is basically an ideal tool of our journey in going global with undergo, hence we focused on and style that works for almost our content, between 1 to 10, I entertainment animation. Howev- any genre, however, the simple can confidently say that we are er, we are fully aware that it does economic fact is that animated at 6 so we are more than halfway not stop there, especially where TV series will not be able to pro- there. But remember that this our future animation projects are vide the revenue that one wants; is only where animation is con- concerned,” Othman said it is not enough to sustain unless it cerned. We also have to do the goes beyond Malaysian borders. same thing for games, films, and MDeC’s mid-term plan is to ex- live TV dramas,” said Othman. plore areas that will create a new All three agencies are striving to breed of copywriters, TV produc- go global with all local content “For the end products, we are ers, and documentary filmmakers and that is why co-productions doing it separately but in the last 20 10 years we have been look- person for the local produc- tion – mainly creating products ing at the commonalities that tion industry. This also includes that travel – MdeC is focused go through all these genres. For providing detailed information on developing works that are example, if you are a good 3D about local producers, produc- marketable via these platforms. animator or scriptwriter, we can tion houses and statistics on the “With CCAM, we hope to ob- use your skills and talents across local industry to international tain market Intel that will help us the board for all genres. So we media players,” Dato’ Mahyidin with the content we create. For initially concentrated on those said. Another long-term goal is example if we have an animated areas because it gives us a strong to situate Malaysia as a produc- production of 13 episodes with base and now we can go on to tion and content hub on a global over 1,000 hours but fail to sell it focus on developing the individ- scale. “Currently, CCAM is work- as a TV show, an agency such as ual genres,” he added. However, ing on a 3-year plan to bid and CCAM can market the content to there are aspects of concurrent secure a position as the Country the mobile platform by slicing up developments for each genre. of Focus at MIPCOM in 2016, the show,” Othman added. 3D animation is also termed CGI, which will ensure that all eyes or “Computer-Generated Im- will be on the Malaysian film, MDeC has also successfully agery”, and almost every genre production, and content industry expanded the resources they can use some facet of the CGI for the duration of a week-long provide through the aid of Tal- technology, and it is this technol- event,” Dato’ Mahyidin added. entCorp, which was established ogy that MDeC is focused on in 2011 to facilitate initiatives that developing, not merely anima- While MDeC works closely with address the availability of talent, tion as a genre by itself. FINAS to provide the CGI aspect in line with the needs of Malay- for a film production, their ven- sia’s economic transformation. It THE GLOBAL STAGE tures with CCAM are primarily recently pooled numerous people for the international markets. within the creative industry who CCAM’s long-term goal is to take CCAM endeavours to create were residing abroad. Through on the position as the main mar- global networks that will greatly them, many new MSC companies keting representative for Malay- help the newer companies within were formed and their collective sian content on the global stage. the industry. Since one of the resources, skills and expertise, “We want to be recognized as a key challenges faced by local including vital international net- one-stop centre for Malaysia so producers of creative and multi- works, were made available to that we can serve as the spokes- media content is Internationalisa- the local creative industry. 21 COUNTRY FOCUS

THE CHALLENGES policies and regulations were not becomes a disposable item. To quite ready so more time is still this end, the Intellectual Property Initially for MDeC, the main chal- needed for all sectors to arrive at Corporation of Malaysia (My- lenge was the infrastructure itself the same juncture. IPO) has taken some significant and it took almost six years to iron steps in this area and is making it all out. Subsequently, they faced For example, there is a rather it easier for anyone to walk into another challenge pertaining ironic law that permits local TV their office to register their IP. The to “legacy” issues that were not stations to monopolise by allow- responsibility falls into the hands quite up to speed with the con- ing their subsidiaries to supply of creators to be pro-active and verging environment. “Legacy them content. This creates a pre- protect their IP and creation. meaning: If you were a filmmaker dicament because on one hand who wanted to film an aerial the government is investing in THE INCENTIVES & FUNDING shot of Kuala Lumpur, you would Malaysians to form content com- naturally require legal permission. panies but on the other hand Through MDeC’s MSC member However, the law that regulates the available buyers are limited companies, who operate glob- this area dates back to a time because they are sourcing within ally, MDeC is able to develop the when local security was tight and their own subsidiaries. One way local film industry and talents. a huge concern. This law has not to rectify this is for broadcasters They provide incentives, grants been changed,” Othman said. to play a dual role of a buyer and and resources to any filmmaker an investor. “If they also choose with the stipulation that one The hurdle is while the infrastruc- to invest in content from local of their MSC companies must ture and soft skills have begun to creative content producers, as be used in some aspect of the change rapidly, there are various opposed to merely buying from production. These incentives existing policies and regulations, them, then they have a stake in vary from co-production funds to which are supposed to change their acquisition and this in turn, development funds and post- and modify concurrently, have will prompt them to make sure production funds – under the not caught up. When the multi- that the content is of high quality, umbrella of the Malaysian Ani- media creative sector was first in- able to travel abroad, and per- mation Creative Content Centre, cluded in the 8th Malaysian plan haps even assist content produc- also known as the MaC3 Fund, in 1999, the first five years were ers to sell that content abroad which represents the collec- dedicated to capability-building, because they will want to make tive funds and facilities that are shaping the infrastructure, and their return on their investment available through MDeC. Recipi- developing soft skills and talent too,” Othman said. ents of the MaC3 funds include mining. By the 9th Malaysia Plan in animation productions such as, 2005, MDeC was ready to delve Intellectual Property (IP) is also Boboi Boy and Bola Kampung. into co-productions and expand still a huge challenge locally, MaC3 Funds aids development their multimedia capabilities. which needs to be addressed and co-productions, while its fa- However, what caused a chasm because when there are no strict cilities assist first-time filmmakers was that other relevant bodies, IP policies enforced, content and animators, who otherwise

OBJECTIVES OF FINAS’ FILMING IN MALAYSIA INCENTIVES (FIMI) • Encourage Malaysian film producers to produce • Increase opportunities for film production high quality creative content for both domestic companies, post-production centre, film equip and international markets. ment rental companies and studios or compa nies that provide goods and services throughout • Attract foreign film producers to conduct film the ecosystem of the creative content industry. activities in Malaysia and to establish Malaysia as a destination for international filming. • Drive the creative content ecosystem and increase the economic contribution of the • Increase employment opportunities for artists creative content industry and related industries. and local crews who provide goods and services throughout the ecosystem of the • Develop Malaysia’s reputation as an efficient and creative content industry. cost effective hub for the creative content industry.

22 KEY FIGURES

Land Area 328 657km2 Source: by July 2012, world.bymap.org

Population 29.34 million Source: as at May 13, 2013, Department of Statistics Malaysia

TV household penetration rate 97.7% Source: 2012, Malaysian Communications and Multimedia Commission

Mobile penetration rate In the last five years alone, there has 143.4% Source: 2013, Malaysian been a more concerted effort to make Communications and Multimedia Commission Malaysian stories acceptable to the rest of the world TV stations 88 have no access to equipment concerted effort to make Malay- and resources to create. The sian stories acceptable globally. Broadband penetration rate greatest beneficiaries of these Content creators have linked 66.8% (per 100 households) resources are students. Each their products to an economic Source: 2013, Malaysian year almost 350 students from value – that only if it travels can Communications and Multimedia Commission art institutions such as, Lim Kok they make their reputation, see a Wing, Multimedia University, and revenue, and subsequently even One Academy, use these facili- create a brand around their ties to complete their work. The creation. This is clearly what the same facilities are also available animation show, Upin and Ipin, of a project is now seen as a to MSC companies but unlike has succeeded in doing, and key recipe-maker. “I foresee a students who use the facilities another local production, Bob- convergence of all the various free of charge, a discounted fee oiBoy, is also now well on its way agencies – such as the Content is imposed. MaC3 also conducts to achieving. Another significant Development components of training programmes for MSC change is an increased growth MDeC, SKMM, FINAS - merged companies who create content, of funders outside the govern- into one main body that focuses which include how to read copy- ment bodies, such as Ideate solely on the content develop- right law, contracts, maintain Media. “We have recently made ment of a production. We should cash flow, and understand how a a deal with Ideate Media where focus on nurturing and encour- deal is made, so they also know MDeC will fund the development aging artists who want to create how to market and protect their of a project and once the story- and leave behind a legacy, not creation. board is ready, Ideate will invest merely players who are riding the and fund the production,” said wave to make a quick buck,” he Through these efforts and in- Othman. There is also a much concluded. ■ centives, in the last five years better funding mechanism in alone, there has been a more place because development By Suzane Avadiar 23 MEMBER NEWS

Deutsche Welle presents a web documentary on Serengeti

erman international broadcaster, Deutsche ers over 30,000 square kilometres in Northern Tanza- Welle (DW) recently added a new interactive nia. DW’s Reporter, Inga Sieg, together with camera- Gweb documentary called Serengeti - Toward man, Axel Warnstedt, and Sound Technician, Moritz an Uncertain Future, to its multimedia climate series, Polomski, spent two weeks in collecting on- Global Ideas. The series presents projects geared ground audio and visual of Serengeti’s inhabitants towards sustainable climate protection and species and wild animals. “Our web documentary draws on conservation in developing and transition countries. multiple media, and is targeted in particular towards Produced in cooperation with the Frankfurt Zoologi- internet-savvy young people. The Serengeti docu- cal Society (ZGF), Serengeti - Toward an Uncertain mentary comprises three topics: The World of Wild Future sheds light on ’s great savannah, the Animals; Hard Times for the Savanna; and Serengeti Serengeti, which has been endangered for over Shall Not Die. Each of the 17 videos tell a unique story 50 years. The documentary reveals the Serengeti from Central Africa’s savannah,” said Sieg. through the stories of rangers and wildlife experts, who have devoted their lives to this region that cov- Source: dw.de

France 24 English version on WYBN and Intelsat-21 satellite French international broadcaster, France tent primarily to the Albany/Schenect- 24, has secured a new distribution deal with ady/Troy area. Meanwhile, Intelsat-21 WYBN, a US-based digital terrestrial televi- satellite recently added France 24’s sion network, which further strengthens its English version on its platform, which presence in New York state. France 24’s covers the North and South American English version is now available on WYBN region. The new satellite capacity will TV-14’s Channel 14.8, and reaches over facilitate the direct signal reception 550,000 households across the Albany/ by South American cable operators, Schenectady/Troy Designated Market Area (DMA). which in turn, will allow the channel to expand its First operated in October 2011, WYBN TV-14 is an audience throughout the continent. independent television station based at Windham Mountain. The station broadcasts signal and con- Source: France 24 24 VTV to air Big Brother TSA distributes in Vietnam BarcaTV in Asia Pacific State-owned broad- caster Vietnam Asia’s global leader in sports Television (VTV) has content, Total Sports Asia acquired the broad- (TSA), has signed a distribution cast rights to air Big deal with MediaPro, a Span- Brother, Endemol’s ish distributor and production most successful reality company, to distribute its FC television show, for the ’s official club chan- first time in Vietnam. Through the deal, VTV has commissioned nel, Barca TV, throughout the 65 episodes of Big Brother, and the nine-week series is set to air Asia Pacific region. The agree- on VTV6 channel later this year. “Big Brother continues to be an ment will allow TSA to become unstoppable blockbuster for more than a decade since it first the exclusive distributor of the launched. Following the format’s proven success in other Asian channel in the Asia Pacific territories, we are proud to be bringing it to Vietnam for the region. Barca TV produces two very first time and we have no doubt that VTV6’s audience will weekly programming blocks of love it,” said Fotini Paraskakis, Endemol’s Managing Director of three hours for the international Asian Operations. market. Content on the channel

Globally, Big Brother is one of the most successful reality for- mats, with over 20 series aired in more than 70 countries this year, including USA, UK, Italy, , , , Central and Eastern , Scandinavia, Asia, and Africa. The show gathers 12 strangers into the Big Brother house, where they must share every minute of the next 100 days without any access to the outside world. The house is equipped with cam- eras and microphones to record their every move, and viewers have the ultimate power to decide who will leave the house. The last participant to leave is declared the winner and re- ceives a huge cash prize.

Source: Asia Media Journal includes full delayed coverage of all FC Barcelona’s matches played in La Liga, Copa Del Rey, and the UEFA Champions League, as well as, exclusive reports, interviews, and behind the scenes footage from the club. “TSA is honoured to be working with such an icon in world sports, as FC Barcelona. We are really excited to be able to bring global superstars, Messi, Neymar, Iniesta, Xavi, Fabregas, and Pique to the Asia Pacific liv- ing rooms, not only for all of the games they play, but also to see what they are like off the pitch,” said Julian Jackson, TSA’s Chief Content Officer.

Source: TSA 25 MEMBER NEWS

Malaysian film Vikingdom hits worldwide cinemas executed in Malaysia, mainly by Malaysians. The filming loca- tions were predominantly shot in sound stage studios in Kuala Lumpur to create the surreal world akin to that of Lord of The Rings and 300,” said Yusry at a forum entitled ‘The Art of Viking- dom’, which was held in Kuala Lumpur on August 27, 2013, in conjunction with the theatrical release of the film in Malaysia, scheduled for September 12, 2013.

“Vikingdom is a visual effects driven action movie and two years of my life (was) dedicated towards completing this project. The challenging part during pro- alaysian film,Viking - Universal Pictures will be handling duction was filming the action dom: The Blood Eclipse, the distribution of Vikingdom sequences and in post-produc- Ma production by KRU internationally. To date, Viking- tion, the extensive visual ef- Studios and Epic Pictures, will dom is Malaysia’s biggest pro- fects,” Yusry added. Vikingdom be screened in US cinemas from duction with a budget of over is based on a Viking mythology, October 4, 2013. Subsequently, RM20million (USD 6.05million). which features a forgotten king, the film will also be screened The film was also awarded with Eirick, who is tasked with the im- in countries around the world, a RM2million (USD 605,968) grant possible odds to defeat Thor, the including United Kingdom, Aus- from the Malaysia’s National God of Thunder. Eirick’s mission tralia, , the Nordics, Film Development Corpora- is to retrieve a mystical arte- and other additional territories. tion (FINAS). According to Yusry, fact called Odin’s Horn before “We have a commitment of 30 Vikingdom entailed six months of Thor and his army unleash their to 50 screens in the US. It is not a pre-production work, two months power to conquer the world. The big release, but it’s still a re- of filming, and 16 months of post- film features Hollywood stars like lease. It’s an achievement to get production, primarily for visual Dominic Purcell, Natasha Mal- screened in cinemas (interna- effects in excess of 3,000 shots. the, Craig Fairbass, Jon Foo, and tionally) and some will be avail- Conan Stevens. able in 3D,” said Yusry Abdul “All pre-production, production, Halim, Director of Vikingdom. and post-production work was Source: The Star, ETP NFB’s Buying Sex enters US markets US-based independent film distribution company, reforms in their sex industry: Sweden, with its femi- First Run Features, recently acquired distribution nist-based zero-tolerance law, and New Zealand, rights in the US for the National Film Board of Can- with its decriminalization model. The film provides ada’s (NFB) feature documentary entitled, Buy- critical and contentious opinions about the po- ing Sex. Produced by Annette Clarke for the NFB, tential changes in the Canadian prostitution laws Buying Sex explores the state of prostitution laws and the realities surrounding them. Buying Sex will in Canada. The documentary gathers conflicting premiere at the Atlantic Film Festival in Halifax, on views of sex workers, policy-makers, lawyers, and September 13, 2013, followed by a series of na- even male buyers, about the legal prostitution tional community screenings across Canada. activities in Canada. Buying Sex also highlights two countries that have made ground-breaking Source: National Film Board of Canada 26 Fiji TV appoints new management team Fiji Television Limited recently announced a new the forefront of the Pacific community stakehold- organisational structure with the appointment ers and to ensure that the company delivers of new management team. As part of their services that are comparable to more devel- organisational changes, Fiji TV appointed Geof- oped nations. According to Tevita Gonelevu, fery Smith as the Head of News; Nitesh Chand as Chief Executive Officer of Fiji TV, these changes Head of Corporate Affairs; Serai Roxburgh as the are significant in order to stay competitive in the Head of Compliance; and Tanya Waqanika as intensive entertainment industry of the Pacific. the Head of Content and Production. The new management structure aims to place Fiji TV at Source: FijiVillage.com

TV5Monde opts for Volicon Observer Transport Stream system French-language network, TV- “The Observer is an all-in-one monitoring of programme QoE, 5Monde, has chosen Volicon, the solution that simplifies opera- and the seamless export and global leader in Multi-Channel tions while helping us to en- streaming of MPEG TS or low- Media Monitoring for broad- hance the value of our staff. resolution proxies across the casters, to convey compliance On-duty monitoring personnel enterprise or WAN. Other com- logging as the channel migrates enjoy convenient remote ac- pelling features for TV5Monde to an HD technical infrastructure. cess, with a clear and near- include the Observer system’s Under the agreement, TV5Monde instantaneous view of any integrated QC and loudness opted for Volicon’s Observer® monitored channel. Both tech- control functionality. Further- TS (Transport Stream) monitoring nical and non-technical staff more, according to Volicon, The and logging sys- Observer tem. The system system at enables reliable TV5Monde continuous log- allows ging of 11 exist- broad- ing services, and casters to provides a robust automate set of feature that automates can work confidently with logs, extraction of content for tagged and simplifies a variety of critical thanks to the ease with which events, such as a loss-of-service monitoring tasks. “The Volicon they can access content and alert from a satellite downlink Observer TS system not only ad- data. I really count on those probe. As the number of TV- dresses the full range of services capabilities to improve the 5Monde channels grows and related to logging, but also gives quality of our deliveries,” added its deliveries start to include HD us a complete solution that does Delaporte-Bernues. services, growth will be a simple not require any adaptation on matter of adjusting the logging our part,” said Mallory Dela- In addition, the Observer TS system. porte-Bernues, System Engineer enables continuous logging at TV5Monde. of MPEG transport streams, Source: Volicon 27 MIPCOM 2013

2013: The New Golden Age of Television Mediahub Mag presents a glimpse of what’s in store at the 50th edition of MIPCOM, held from Oct 7–10

annes is gearing up to of TV content has risen to bring in welcome over 13,000 more choices in content, chan- Cvisitors from around the nels, and creative ideas, than world for the most anticipated ever before. With an insatiable global market for entertainment global appetite for cinema- across all platforms, MIPCOM. quality episodic storytelling, to be New crime-drama The Tunnel will be screened at the event on October 7, Organised by Reed MIDEM, the consumed on multiple screens at 2013 at the Grand Auditorium of Cannes’ event will take place at the Palais anytime, the TV and film studios Palais des Festivals de Festival over the course of are leveraging internationally four days, where every moment renowned actors and directors can turn into an opportunity, and to deliver a level of blockbuster most creative medium for the every meeting, screening, and entertainment that was once world’s best storytellers. With conference into groundbreaking reserved for the big screen. more screens and more interac- deals. tion coming into play, television This year’s Media Mastermind and storytelling as we know it This year the conferences and Keynote Series, which feature is being redefined — leading event programmes are focused inspiring keynotes by top ex- to more creative and business on ‘The New Golden Age of ecutives from the entertainment opportunities than ever before,” Television’, concentrating on the industries, promises to provide said Laurine Garaude, Director of current state of television. From insight on the future of the TV Reed MIDEM’s Television Division. the rise of the limited series to the entertainment landscape around advent of full-season same-day the world. “Television is undergo- “As we enter a new golden age releases, television is entering a ing a dramatic transformation of television, MIPCOM is delight- “new golden age”. The quality and confirms itself as the world’s ed to welcome some of the most influential personalities of the new world of content from major film, television and online com- panies such as Bravo and Style Media, FremantleMedia, Relativ- ity Media, and Amazon Studios,” added Garaude. Among the confirmed initial line-up for the Media Mastermind Keynote series are Frances Berwick, President of Bravo and Style Media, Cécile Frot-Coutaz, CEO of the Fre- mantleMedia, Ryan Kavanaugh, Keynote lineup (from left): Frances Berwick, President of Bravo and Style Media, Cécile Frot-Coutaz, CEO of the FremantleMedia, Ryan Kavanaugh, CEO of Relativity Media, CEO of Relativity Media, and Roy and Roy Price, Director of Amazon Studios Price, Director of Amazon Studios. 28 ing contingency of independent Argentine producers attending our markets. This country focus at MIPCOM will invite delegates from across the globe to discover the diversity and richness of content produced across Ar- gentina. We are thrilled to name as our 2013 Country of Honour,” said Garaude. In 2012, MIPCOM attracted more than 144 Argentine delegates from 48 Argentine companies. Some of the leading exhibitors included INCAA, The Argentina Audiovi- sual/UCINE, Construir TV, Telefe International, Artear, American Video Films, and Telefilms.

“From Ushuaia in the south, to La Quiaca in the north, including the global production capital of Buenos Aires, Argentina stands apart in Latin America as a truly dynamic producer of television content for international mar- “With the first speakers lined up “Argentina is a global TV produc- kets,” said Liliana Mazure, Presi- for the Media Mastermind Key- tion powerhouse, renowned for dent of INCAA. note programme, a new Croi- its international award-winning sette Village exhibition venue TV series and films. The Argentine “The MIPCOM focus on Argen- to meet increasing demand for National Film Board plays a criti- tina is a unique platform for in- stands and companies already cal role in supporting the grow- ternational buyers, co-producers expressing interest in bringing and distributors to discover the in more talent than ever be- quality, vision and diversity of our fore, MIPCOM 2013 promises to content and original stories. The be a record-breaking edi- Argentine National Film Board is tion,” commented Garaude. delighted to partner with Reed Meanwhile, this year Argen- MIDEM to present Argentina as tina serves as the ‘Country of the MIPCOM 2013 Country of Honour’. In partnership with the Honour,” Mazure added. Argentine National Film Board (Instituto Nacional de Cine y The MIPCOM Personality of the Artes Audiovisuales), MIPCOM Year Award, which recognises in- will organise a dedicated dustry executives for their excep- focus on Argentina’s vibrant tional career and contribution television, film, and in the entertainment sector, was digital media industries. recently awarded to the CEO of The spotlight on Argen- Dreamworks Animation, Jeffrey tina will feature a wide- Katzenberg. Katzenberg will of- ranging programme of ficially accept the award during high-level conferences, a gala dinner for the industry screening showcases, co- executives at the Carlton production matchmaking, Hotel in Cannes on Oc- Jeffrey Katzenberg, and Argentine-themed CEO of Dreamworks tober 9, 2013. In addi- networking events. Animation tion, Katzenberg will 29 MIPCOM 2013

MEDIAHUB MAG CONSULTED SEVERAL KEY PLAYERS WITHIN ASIA PACIFIC FOR AN INSIGHT ON THEIR STRATEGIES AND WHAT THEY ARE EXPECTING AT MIPCOM THIS YEAR.

ABC COMMERCIAL maintaining strong results from tional appeal. Although we are Natalie>> Lawley, Manager of traditional broadcast. Interna- an Australian company, our ABC Commercial Content Sales tional participants who visit the content comes from a variety of ABC Commercial stand will be outstanding international pro- able to view our extensive cata- ducers and we wish to continue logue, as well as meet with our that. We have appointed UK- team, who are extremely knowl- based Acquisitions Managers edgeable about marketplace who are focused on sourcing Given our extensive cross- trends. Drop in and say hello at content from the UK, USA and genre release at this year’s the ABC Commercial stand at Europe. International buyers will MIPCOM, we are looking to 04.36/06.37 and 06.34. have the chance to meet with drive home ABC Commercial’s their Sales Manager and view position in the international FLAME DISTRIBUTION our new content. Flame’s Acqui- marketplace as a major player Michelle Maio, Content Sales sitions team will also be at our in the distribution and repre- Coordinator, Flame Distribution booth at Stand 04.34 to meet sentation of premium, blue with producers who are looking chip titles, across a range of for assistance with international genres. Anthony Mrsnik (Man- distribution of their programs or ager, International Acquisitions for co-production opportunities. and Business Development) We also have some delicious and I are looking for pre-school Australian sweets if you are feel- content; either completed pro- ing hungry! grams or programming that is in development. So far we have MEDIACORP targeted the factual, children’s, This year will be Flame Distribu- Tang Yun Leung, Vice President, and lifestyle genres. We have tion’s third year at MIPCOM and Content Distribution, Media- also branched into co-produc- as our catalogue continues to Corp tions, as well as our very own rapidly expand, it is a great op- ABC Commercial productions portunity to bring our buyers up in order to create fresh, in-de- to date with our new titles. We mand content. Our acquisitions are launching a number of strategy is skewed towards pre- exciting new series this market We are looking forward to ‘go- mium, blue chip, and one-off including Great Estates (4 x ing shopping’ at one of the natural history documentaries, 1 hr), Dream Island (6 x ½ hr), biggest and most important which we have recently had Rio City of Sport (6 x ½ hr), and content markets of the year. significant success with. Lyndey Milan’s Taste of Australia We hope to meet new and old (13 x ½ hr). Flame’s catalogue business contacts, find lots of For distribution, we have sales is full of captivating factual en- great new content, linear chan- managers who specialise in tertainment and documentary nels, and fresh ideas. As always, individual territories across the content. We have many hours we are looking for the magic world, including a specialist in of food, travel, history, science, bullets that will build the sched- format sales. Our focused at- sport, and crime programming ules and services: multiple rights tention and experience, atten- to fill those empty slots in buy- for multiple genres for our mul- dance at international markets, ers’ schedules. At this year’s tiple free-to-air channels and and frequent sales trips, enables MIPCOM, we are particularly new video on demand service us to maintain strong relation- interested in seeing more male- Toggle. We will also offer four ships with our clients and push skewed and travel content. documentaries from *The Asian our content across all platforms Pitch 2012 such as: Wheatfield and rights, including merchan- Our aim is to acquire factual Sailors (Taiwan), Sorrowgacy dise licensing and digital, whilst content with a broad, interna- (India), Defector (South Korea), 30 and Sanitary Towels Inc (India). geted for 3-6 years children continued from page 31 Beyond these, our MediaCorp shows they are BOING The productions for the new Toggle Play Ranger (26 x 11’) and also be one of the speakers for platform will soon be marketed ORIGANIMALS (52 x 11’). BO- the Media Mastermind Keynote to international broadcast- ING is fully completed and series to share his unique insights ers – they include Telemovies, now available through our on the television business. documentaries, games shows, worldwide distributor, Synergy and mini segments on Food, Media ORIGANIMALS, it is cur- “Jeffrey Katzenberg’s outstand- Fashion, Beauty tips etc. rently under production and ing impact on the entertainment 26 episodes will be completed industry is internationally recog- We aim to source for the best by mid-2014, the balance of nised, as he has brought excep- and most current content and 26 episodes by early 2015. In tional films, both live-action and linear channels relevant to addition, we are attending animation, to millions of people our free-to-air channels and MIPCOM this year to pitch a around the world. The acquisi- new video on demand ser- new content idea at its very tions of Classic Media and Awe- vice Toggle. Digital rights are a early stage. The show Cham & somenessTV, the recent ground- crucial part of the rights spec- Leon is a non-verbal slapstick breaking deals with companies trum we require. We also bring comedy for young audience including Netflix and Super RTL, a range of genres to MIPCOM and we are looking for inter- and DreamWork Animation’s so that buyers looking for both ested parties to invest or co- continuing expansion into the niche and general entertain- produce the show or contrib- television world, all demonstrate ment content will have a nice ute to the development ideas. his clear vision of the future of en- selection to consider. Media- This developmental show will tertainment,” said Paul Zilk, CEO Corp booth originates a diverse be shown at MIPJunior screen- of Reed MIDEM. range of high-quality and com- ing for potential investors/pro- pelling content so there is defi- ducers. Since it’s debut in 2010, the World nitely something suitable for any Premiere TV Screening has posi- markets. Mediacorp will be at As a producer, our strate- tioned the event as a premium the Singapore Pavilion at Booth gies for the type of content showcase for leading television Number 07-19-05-20 Level 1. we want to roll up to produc- and film companies to the most tion or co-production are influential community of buyers, *The Asian Pitch 2012 is NHK- very clear. ORIGANIMALS, for distributors, networks, and com- MediaCorp-KBS collaboration example is an original content missioners from all around the for independent directors/film- that has unique characters, re- world. This year, a thrilling new makers in Asia to tell original ally fun, and engaging story in crime-drama entitled The Tun- stories about the region. addition to having very strong nel will be screened at the event international appeal to the on October 7, 2013 in the Grand GIGGLE GARAGE audience. ORIGANIMALS also Auditorium of Cannes’ Palais des Zeno Gabing, Executive Direc- promotes arts and creativ- Festivals at 18:15. The screening tor, Giggle Garage ity, bringing back the simple will be followed by a Q&A session pleasure of creating some- with the stars and executive pro- thing out of paper. New ideas duction team, which include Clé- or new content would have to mence Poésy, Stephen Dillane, have these qualities to say the Tom Bateman, Cédric Vieira, and least. Giggle Garage will be at Sigrid Bouaziz. The Tunnel is com- I expect that MIPCOM this year Booth 11.18 Malaysian Pavilion. mission by Sky Atlantic HD and will further provide internation- We will share with current proj- CANAL+, coproduced by Kudos al opportunities that leverage ects especially, ORIGANIMALS Film and Shine France Films, while our capabilities, either through and also Cham & Leon and Shine International is the interna- co-production works or anima- even talk about the industry tional distributor. It will be broad- tion services. in Malaysia, the government cast in the UK on Sky Atlantic HD infrastructure, and support in October 2013 and in France on At the moment, we have system, as well as the business CANAL+ in November. ■ two properties that are tar- possibilities. By Amanina Nazari 31 AGENDA

12TH SICHUAN TV FESTIVAL

The 12th Sichuan TV Festival is organised by the its mission to reach a more global audience, the ’s State Administration of Press, Publication, Festival this year will feature a ‘Multicultural Media Radio, Film, and Television (SARFT) together with Event’, which is a screening day that focuses on the Sichuan Provincial People’s Government. respective countries such as Australia, Germany, Established in 1991, the biennial Festival has now , , , Britain, and Thailand. become one of the most reputable TV festivals in Asia and is the most effective platform to capitalise 12th Sichuan TV Festival will be held on Novem- on the TV and film marketing industry in China. In ber 16-18, 2013 in Chengdu, Sichuan China.

BROADCAST INDIA 2013 INTER BEE 2013

The Broadcast India Show is an annual event for the broad- cast and entertainment industry, showcasing the latest technology for television, film, radio, audio, IPTV, mobile TV, and other related sectors. Entering its 23rd edition, the show continues to bring together a broad cross-section of profes- sionals from across the globe. The event features a two-day conference hosted concurrently with its main exhibition. Broadcast India aims to become an enhanced platform for informative and enlightening debates, along with product The International Broadcast promotions. Equipment Exhibition, Inter BEE, is a renowned international Broadcast India 2013 will be held on October 9-10, 2013 at exhibition for the audio, video, the Bombay Exhibition Centre, Mumbai. and communication sectors. Inter BEE showcases world-class cutting edge technology for broadcasting, video, audio, and lighting, as well as related applications and solutions from across Japan and around the world. This year, the Exhibition is changing its direction from an event that is focused on broad- casting equipment to a compre- hensive media exhibition, which embraces production technolo- gy for video content, distribution technology, and many more.

Inter BEE 2013 will be held on November 13-15, 2013 at the Makuhari Messe, Japan.

32 MIPCOM 2013 SCAT INDIA 2013

The Satellite and Cable Television India Tradeshow, SCaT India, is the country’s largest exhibition exclusively for the Indian satellite and cable TV industry. SCaT’s annual exhibitor profiles range from CATV hardware manufacturers, broadband service and technology providers, as well as satellite broad- casters and TV channels. The event is organised by SCAT Media and Consul- tancy Pvt Ltd, which widely promotes MIPCOM is hailed as the world’s most anticipated activities related to the Indian Cable TV global market for entertainment across all plat- and Satellite Broadcasting Industry. forms. The market serves as the main platform for the broadcasting industry to network, discover new SCaT India trends, and get deals done. Annually, MIPCOM at- 2013 will be tracts over 13,000 participants and 1,700 exhibitors held on Oc- from over 100 countries. The four-day event show- tober 25-27, cases exhibitions, top-level conference sessions, 2013 at the screenings, as well as networking and matchmak- World Trade ing events, for providers and buyers in the enter- Centre in tainment industry. Mumbai, India MIPCOM 2013 will be held on October 7-10, 2013 at the Palais des Festivals in Cannes, France.

WORLD CONTENT MARKET

The World Content Market is a one-stop market- minimum use of financial resources. Attendees in- place for television, film, and media executives. clude representatives from TV channels, portals & The three-day event attracts delegates from social networks, and VOD platforms, distributors, over 60 countries worldwide and provides a plat- producers, studio executives, cable & satellite form for buying and selling, exploring new deals Operators, mobile operators, content aggrega- and negotiations, workshops, as well as network- tors, and media associations. ing. The goal of the market is to drive sales for individual businesses and provide cost-effective World Content Market will be held on November conditions for participation, which will enable 25-27, 2013 at the Hotel Monaco and Grand Ca- any company to achieve productive results with nal in Venice, Italy.

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*Vodien Analytic Report Mar 2013 ** Publisher’s own data Mar 2013