DOCSLIB.ORG

Styleguide Prosiebensat.1 Media AG

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Styleguide Prosiebensat.1 Media AG Content Production & Global Sales Jan Frouman, October 10, 2012 | October 10, 2012 Page 1 Red Arrow cordially welcomes you to today's presentation Red Arrow Reel | October 10, 2012 Page 2 Experienced leadership team Jan Frouman Jens Richter Ralf Schremper Group Managing Director Group Director – Group Director - Finance . Oversees all business activities International Distribution . Responsible for all day-to-day and international operations . Oversees all worldwide program financial activities sales . Focuses on driving Group . Launched Red Arrow in 2010 . Launched Red Arrow International strategy and led growth (formerly SevenOne International) 11 17 in 2004 10 . With ProSiebenSat.1 Group . Previously at ProSiebenSat.1 since 2010, previously at . Previously at Beta Film and Bertelsmann and RTL Group and Saban Capital Group Prisma Sports & Media Michael Schmidt John Jongerden Group Director – Group Director - Operations Creative Ops. & Business Development . Responsible for production and sales operations across the group . Oversees all content development . Special focus on operational expansion . Experience in broadcasting, producing, and integration efforts commissioning and development . Previously at FremantleMedia, Endemol and GRUNDY . Previously at BRAINPOOL, RTL and VIVA 21 22 X Years of industry experience | October 10, 2012 Page 3 Red Arrow is already a top-tier global production and distribution group Production & Development Distribution 18 production companies across Sales offices: fiction / non- fiction TV genres . Munich . Los Angeles . Hong Kong Development partners Total revenues 2011 EUR 110m* | October 10, 2012 Page 4 *Revenues entity view (incl. internal and external sales) Outstanding broadcaster relationships across the world’s 1 2 Superior creative talent largest markets 1 Best-in-class sales execution Content line-up securing future track record 33 4 growth and profitability | October 10, 2012 Page 5 Outstanding broadcaster relationships across the world’s 1 2 Superior creative talent largest markets 1 Best-in-class sales execution Content line-up securing future track record 33 4 growth and profitability | October 10, 2012 Page 6 Powerful footprint - 18 production assets across 1 nine territories SE/DK/NO UK (2011-2012) (2010-2012) IL (2012) Hong Kong (2012) USA (2010-2012) BE/NL (2010) D/AU (2004-2010) AUS (2010) Co-production partnership | October 10, 2012 Page 7 Targeting the largest addressable markets in the world: 1 USA, Germany and UK - totaling EUR 23bn volume Global territories for TV content originations (estimated size excl. news and sports rights in EURbn, 2011) 11 Red Arrow production assets across 3 out of 4 largest markets 20% 10% 15% n/ 16.3 a USA ✔ 9.6 GERMANY ✔ 3.6 2.6 UK ✔ USA Japan1 Germany UK % Average market gross margins | October 10, 2012 Page 8 Source: Red Arrow estimates 1Market not addressable for Red Arrow Red Arrow is an established partner 1 for leading broadcasters Country Broadcaster Highlights Betty White‘s Off Their Rockers The Taste Perez Hilton: All Access Das geteilte Glück My Man Can Old Ass Bastards Restless A League Of Their Own Mr. & Mrs. | October 10, 2012 Page 9 Impressive performance: start-up to Top 10 in 1 under 3 years Rank Independent production group1 1 FremantleMedia Red Arrow is: 2 Endemol . established as part of the world’s 3 Shine leading global production groups 4 All3Media . in line with competition, active in both scripted 5 Zodiak and non-scripted content 6 Banijay . geographically positioned in the 7 Eyeworks world’s largest production markets 8 Red Arrow 9 Talpa 10 Tinopolis | October 10, 2012 Page 10 Based on est. 2011 revenues. Source: Red Arrow analysis and company information. 1Defined as working independently regardless of ownership by a broadcaster group or studio. Outstanding broadcaster relationships across the world’s 1 2 Superior creative talent largest markets 1 Best-in-class sales execution Content line-up securing future track record 33 4 growth and profitability | October 10, 2012 Page 11 2 Strengthened creative team: recent top-tier additions Banks Tarver Ken Druckerman Left/Right Left/Right Credits: Credits: . ‘Watch Me Jumpstart’ (award-winning . Critically acclaimed documentary series documentary, MTV) ‘Frontline’ (PBS), ‘Boston 24/7’ (ABC), ‘The Residents’ (Discovery), . ‘True Life’ (MTV, currently in its 13th season) . Feature documentary ‘Ghosts of Attica’ . ‘First Year’, ‘Candidate’, ‘Aftermath of Terror’, and Emmy Award-winning ‘Fight For Your Rights: Take A Stand Against Violence’ Lisa Shiloach Eilon Ratzkovsky July August Productions July August Productions Credits: Credits: . ‘Who’s Still Standing’ (sold to over 30 . Produced some of the most successful films countries incl. NBC) made in Israel: ‘The ‘A’ Word’ (Keshet, sold to Lionsgate . ‘The Frame’ (sold to over 20 countries, incl. Entertainment) US - The CW, Spain and France) ‘Taxi Driver’ (Reshet & YES) . ‘The Million Pound Drop’ (Keshet), ‘1 vs. 100’ ‘The Ran Quadruplets’ (Reshet & YES) (Reshet) | October 10, 2012 Page 12 2 Strengthened creative team: recent top-tier additions Danielle Lux Murray Boland CPL Productions CPL Productions Credits: Credits: . Commissioned award-winning shows incl. ‘A League of Their Own’ (Sky1, season 6 ‘Green Wing’ and ‘So Graham Norton’ for picked up), ‘All Stars Mr. & Mrs.’ (ITV1, Channel 4 series 4 in production) . Won awards for commissions such as ‘Friday . RTS and Montreux award-winning ‘Your Night with Jonathan Ross’ and ‘The Kumars’ Face or Mine’, ‘Infamous Fives’ and ‘Five Go at BBC Dating’ . ‘All Star Mr. & Mrs.’ (ITV), ‘A League of Their Own’ (Sky1)’ Hilary Bevan-Jones Jago Lee & John Farrar Endor Productions NERD Credits: Credits: . ‘Cracker’ (ITV, BAFTA Best Drama Series, . ‘The Big Bid’ (BBC1), adapted by ABC) ‘SuperHuman’ (Channel 4) . ‘State of Play’ (BBC, BAFTA & RTS Best . ‘Second Rise’ (THC), ‘Getting Out Drama Series) Alive’ (Discovery US) . ‘The Girl in the Café’ (HBO, BBC1, Emmy for . ‘Ricky Gervais‘ Life’s Too Short’ Outstanding Made for Television Movie) (BBC2 / HBO), ‘Escape to the Legion’ (Channel 4) | October 10, 2012 Page 13 Original shows with outstanding on-air success 2 across all genres Average audience share vs. channel average +408% +41% +185% +41% +92% +35% +61% +29% +55% +24% +44% +24% | October 10, 2012 Page 14 Source: Group production company reports, ProMefo, ProSiebenSat.1 Format Research Strategic collaboration drives local and 2 global creative success ... Local development . Top-tier creative talent (18 production companies, 5 development partners, central development team) . Best practice sharing . Attractive economics . Hit formats with . Strong collaboration with local multi-season potential pre-sales team . International . Synchronization with channel viability / appeal needs & major market events (MIPCOM/TV, Realscreen, etc.) . IP asset value International content sales | October 10, 2012 Page 15 ... resulting in growing track record of in-house 2 format creation with global traction Formats exported internationally1 Examples: 11 10 1 2010 2011 2012 YTD, August | October 10, 2012 Page 16 1Source: Red Arrow. Refers to owned or exploited formats that have travelled to 2 or more countries in total and have been picked up in the relevant year. Outstanding broadcaster relationships across the world’s 1 2 Superior creative talent largest markets 1 Best-in-class sales execution Content line-up securing future track record 33 4 growth and profitability | October 10, 2012 Page 17 Distribution business positioned to monetize across 3 the entire value chain 3rd-party and original content Complete Sales team 500+ titles 130+ countries value chain Truly international, Sales of ready- Core markets: Free TV / Pay TV / well-regarded mades and France, Italy, CEE, VoD / DVD, etc. sales team formats US, UK, Australia Produced by own Established deal Sales offices in and 3rd-party flow in Latin Munich, Los producers (incl. America, Asia- Angeles, Hong Canada, France, Pacific, Middle Kong US, UK) East, Africa | October 10, 2012 Page 18 Travelling format success achieved with both 3 in-house and 3rd-party properties 45+ 25+ 10+ COUNTRIES COUNTRIES COUNTRIES 40+ 20+ COUNTRIES 10+ COUNTRIES COUNTRIES 25+ 10+ 10+ COUNTRIES COUNTRIES COUNTRIES | October 10, 2012 Page 19 Red Arrow International is one of the Top 10 3 independent distributors Rank1 Distribution company Sales offices 1 BBC Worldwide 11 offices 11 offices 2 FremantleMedia 3 ITV Global Entertainment 5 offices c. 8 offices 4 Endemol (EWD) Red Arrow International 5 Munich, Los Angeles, Hong Kong 6 Zodiak Rights 3 offices 7 Shine 4 offices 8 All3Media n/a | October 10, 2012 Page 20 Based on 2011 gross revenues. Source: Red Arrow analysis and company information 1Cut-off at EUR 50m gross revenues 3 Recent sales successes & broadcaster highlights | October 10, 2012 Page 21 Outstanding broadcaster relationships across the world’s 1 2 Superior creative talent largest markets 1 Best-in-class sales execution Content line-up securing future track record 33 4 growth and profitability | October 10, 2012 Page 22 Content portfolio focused on and in line with 4 global demand % Global market pick-up mix by genre Reality/factual/docu Entertainment shows v v 60% 16% v v 13% 11% Scripted series TV movies | October 10, 2012 Page 23 Recent acquisition of leading factual reality producer 4 in all-important US market Key position in cable market in NYC (balancing Kinetic’s LA presence with more network focus) Diverse client base of leading US broadcasters (VH1,
Load more

Recommended publications
  • France's Banijay Group Buys Endemol Shine to Create European Production Giant
    Publication date: 28 Oct 2019 Author: Tim Westcott Director, Research and Analysis, Programming France's Banijay Group buys Endemol Shine to create European production giant Brought to you by Informa Tech France's Banijay Group buys Endemol Shine to 1 create European production giant France-based production company Banijay Group has reached agreement to acquire Endemol Shine Group from Walt Disney Company and US hedge fund Apollo Global Management. The price for the deal was not disclosed but is widely reported to be $2.2 billion. A statement from the group said the deal will be financed through a capital increase of Banijay Group and debt. On closure, subject to regulatory clearances and employee consultations. Post-closing, the combined group will be majority owned (67.1%) by LDH, the holding company controlled by Stephane Courbit's LOV Group, and Vivendi (32.9%), which invested in Banijay in 2014. The merged group said it will own almost 200 production companies in 23 territories and the rights for close to 100,000 hours of content, adding that total pro-forma revenue of the combined group is expected to be €3 billion ($3.3 billion) this year. Endemol Shine Group is jointly owned by Disney, which acquired its 50% stake as part of its acquisition of 21st Century Fox last year, and funds managed by affiliates of Apollo Global Management. Endemol Shine has 120 production labels and owns 66,000 hours of scripted and non- scripted programming and over 4,300 registered formats. Our analysis Endemol Shine Group has been up for sale since last year, and Banijay Group appears to be have been the only potential buyer to have made an offer, despite reported interest from All3Media, RTL Group-owned Fremantle and others.
    [Show full text]
  • Trends in TV Production Ofcom, December 2015 Contents
    Trends in TV Production Ofcom, December 2015 Contents 1. Summary 2. What were the original aims of intervention? 3. The UK production market 4. How many companies are active in the market? 5. How easy is it to enter? 6. Production sector revenue and flow of funds 7. Production sector consolidation 8. Quotas 9. Regionality 10. Historical context of the US market Summary – the questions asked This pack aims to confirm (or dispel) many of the widely held beliefs about the UK television production sector. Among the questions it seeks to answer are: • What is the intervention (regulation of the sector) meant to do? • How has commissioning developed over time? • How has the number of producers changed over time? • Is it harder to get into the market? • How do terms of trade work? • How has the sector grown? • What has consolidation looked like? • How do quotas work? • How does the sector operate regionally? 3 Summary – caveats This report was produced for Ofcom by Oliver & Ohlbaum Associates Ltd (“O&O”). The views expressed in this report are those of O&O and do not necessarily represent the views of Ofcom. While care has been taken to represent numbers in this report as accurately as possible based on available sources there may be inaccuracies and they may not correspond with Ofcom’s view of the market and cannot be taken as officially representative of Ofcom data. 4 Summary - data sources used • Oliver & Ohlbaum Producer Database, 2006-2015 ₋ BARB data supplied by Attentional and further coded by O&O to include production companies and their status as qualifying or no-qualifying producers, plus their respective turnover bands.
    [Show full text]
  • Limitations on Copyright Protection for Format Ideas in Reality Television Programming
    For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers.
    [Show full text]
  • The Nation Speaks Back!
    Formats TBIvision.com October/November 2016 It’s time to listen to the people... The nation speaks back! FormatspOFC OctNov16.indd 1 04/10/2016 19:58 THE iconic new game show Coming to screens in the UK and the Netherlands FormatspIFC-01 Talpa dps OctNov16.indd 2 03/10/2016 20:21 THE iconic new game show Coming to screens in the UK and the Netherlands FormatspIFC-01 Talpa dps OctNov16.indd 3 03/10/2016 20:21 Logic will get you from A to B. Imagination will take you everywhere. Pop-Science format now in its fifth season. Over 50 episodes of smart entertainment. One of the highest-rated series of all time on National Geographic. MIPCOM stand C16.C fngcontentdistribution.com 03041Formatsp02-03 - FOX MipCom Fox OctNov16.indd Ad BRAIN GAMES 2 V1.indd 1 28/09/2016 10:27 26/09/2016 21:08 Logic will get you from A to B. Imagination will take you everywhere. Pop-Science format now in its fifth season. Over 50 episodes of smart entertainment. One of the highest-rated series of all time on National Geographic. MIPCOM stand C16.C fngcontentdistribution.com 03041 - FOX MipCom Ad BRAIN GAMES V1.indd 1 Formatsp02-03 Fox OctNov16.indd 3 28/09/201626/09/2016 21:0810:27 8 x 60’ SERIES + FORMAT CHALLENGING FASHION CHANGING LIVES MASSIVE SOCIAL MEDIA PRESENCE: 4 MILLION An engaging and entertaining UNIQUE VISITORS TO Hosted by new competitive series, creating a new thefashionhero.com BROOKE HOGAN reality in the world of fashion. VISIT US AT MIPCOM, BOOTH P-1.B85 Created by or contact Nha-Uyen Chau, Looking Glass International: [email protected] CAROLINE BERNIER or Nathalie Bourdon Beauty World Search: [email protected] Beauty World Search Formatsp04 Beauty World OctNov16.indd 1 26/09/2016 18:03 J9758_FASHION_HERO_TBI_FP_MIPCOM_ISSUE_FORMATS_ADVERT_AW.indd 1 26/09/2016 17:47 CONTENTS INSIDE THIS ISSUE 6 This issue 12 6 TBI Interview: Ben Silverman and Howard T.
    [Show full text]
  • Earnings Call Transcript
    “Balaji Telefilms Limited Q2FY 2018 Earnings Conference Call” November13, 2017 MODERATOR: MR. VIKRAM RAMALINGAM—RESEARCH ANALYST, MAYBANK KIM ENG SECURITIES MANAGEMENT: MR. NACHIKET PANTVAIDYA - CEO OF ALTBALAJI MR. SANJAY DWIVEDI - GROUP CFO-BALAJI TELEFILMS LIMITED MR. KARTIK SANKARAN - SENIOR VP- INVESTOR RELATIONS- BALAJI TELEFILMS LIMITED Page 1 of 19 Balaji Telefilms Q2 FY18 Earnings Call Moderator: Ladies and Gentlemen, Good Day and Welcome to theBalaji Telefilms LimitedQ2 FY 2018 Earnings Conference Callhosted by Maybank Kim Eng Securities. As a reminder, all participant lines will be in the listen-only mode. And there will be an opportunity for you to ask questions after the presentation concludes. Should you need assistance during the conference call, please signal the operator by pressing “*”then “0” on your touchtone phone. Please note that this conference is being recorded. I now hand the conference over to Mr. Vikram Ramalingam. Thank you and over to you, sir! Vikram Ramalingam: Thanks, Lizzan. Good Afternoon, Everyone. Maybank Kim Eng is please to host the management team from Balaji Telefilms Limited to discuss Q2 FY 2018 Results. We have with us the Balaji management team represented by Mr. NachiketPantvaidya -- CEO, ALTBalaji; Mr. Sanjay Dwivedi -- Group CFO, Balaji Telefilms; and Mr. KartikSankaran -- Senior Vice President (Investor Relations), Balaji Telefilms. I now hand over the call to Mr. Kartik, for his opening remarks. Over to you, Kartik! Kartik Sankaran: Thanks, Vikram. Good Evening, Everyone. Welcome to our Q2 FY 2018 Earnings Call. We announced our Second Quarter and H1 Results on Friday the 10th of November. The Results Presentation and other material is now available on the Company website, www.balajitelefilms.com.
    [Show full text]
  • C Ntent Page 7 L
    #GreatJobs C NTENT page 7 www.contentasia.tv l www.contentasiasummit.com Endemol Shine production exits Singapore Production goes global Singapore focus on sales Endemol Shine Group is pulling the plug on Singapore-based production, shifting regional production to global hubs and refocusing a pared-down team in Singa- pore on format sales. The decision tops a record three years in both format sales and production across Asia, including co-development projects such as The Society Game with CJ E&M In Korea and a co-development deal with JTBC, also in Korea. The transition, expected to be com- plete by mid-2018, will be overseen by Asia managing director, Fotini Paraskakis out of Singapore. Operations in China and India, which are run separately from Southeast Asia and the rest of North Asia, are not impacted. More on page 2 A+E Networks ups China originals Nanking doc boosts 2017 co-pros to nine hours A+E Networks has upped its global China originals announced this quarter to three hours, adding Nanking docu- drama Scars of Nanking with Jiangsu Broadcasting Corporation to the Silk Road feature, Silk Road – Reborn, an- nounced in October. More on page 3 20-26 november 2017 page 1. C NTENTASIA 20-26 november 2017 Page 2. Endemol Shine pulls the plug on Singapore production base Asia restructure shifts global, Mumbai/Singapore teams to focus on sales Endemol Shine Group is pulling the plug on Singapore-based regional produc- tion, shifting to global hubs for formats production and refocusing a pared- down team in Singapore on both format licensing and finished tape sales.
    [Show full text]
  • Copyrightability and Formats of Television Shows Under English Law
    This is an Accepted Manuscript of an article that will be published by Bloomsbury Professional in the Communications Law journal (volume 23, issue 2, pp. 89-92) Copyrightability and formats of television shows under English law Alexandros K. Antoniou, PhD, FHEA University of Essex School of Law Abstract The article discusses the High Court decision in Banner Universal Motion Pictures Ltd v Endemol Shine Group Ltd (Ch D) on whether the format for a television game show can be eligible for copyright protection under English law. It analyses the conditions required for the format of such shows to be classified as dramatic works and considers the importance of the decision for the media industry. Keywords: copyright, format rights, television, dramatic works Background The case in Banner Universal Motion Pictures Ltd v Endemol Shine Group Ltd & Anor1 related to a television game show format called Minute Winner, in which members of the public, who have been randomly selected and without warning, could win a prize after successfully completing a minute-long challenge. It was devised in 2003 by Mr. Derek Banner, a Danish citizen, and could be broadcast as daily or weekly show, either singly as a one-minute fill in;, or between, other main programmes;, or in a programme break; or as a feature length 30-minute show involving several games. Mr. Banner argued that in 2005 he held meetings in Stockholm with Friday TV, a Swedish production company, at which confidential information was disclosed and Minute Winner was mentioned. Following the meeting, Mr. Banner sent the co-founder of Friday TV an unsolicited email to which he had attached a version of the document in which the Minute Winner format was contained (the Minute Winner document).
    [Show full text]
  • Lulu Wilkinson A: 5 Ocean Grove Collaroy NSW 2097 E: [email protected] M: 0402 120 597 Dob: 25/08/1978 W: Linkedin.Com/In/Luluwilkinson
    Lulu Wilkinson a: 5 Ocean Grove Collaroy NSW 2097 e: [email protected] m: 0402 120 597 dob: 25/08/1978 w: linkedin.com/in/luluwilkinson Objective The job can change but the objective has always been the same – create really great work and have a good time doing it. Oh - and get fantastic results. Someone recently described me as having a “too diverse, erratic” set of skills. It wasn’t meant as a compliment but I took it as one. I’ve worked in content over a significant period of time and I’ve experienced how it can shift and manifest in different ways according to what the audience needs. I’m platform agnostic – I have got my hands dirty in all sorts of ways – print, online, TV. What matters is that you know your audience and you make quality content they’ll devour. My career objective is that simple – deliver work that activates audiences: to buy, to read, to watch, to engage, to laugh or to cry. I have had a lot of experience managing teams – big and small. I love managing people – I like to motivate them, I enjoy mentoring and the feeling of watching your team reach a satisfying and effective solution is a great one. I get the best out of people. I love entertaining audiences and I believe that comes down to excellent storytelling. I have travelled the world in my role and personal life and found that content that resonates has one thing in common – it means something to people. Whether it is as grand as making their lives better or as simple as starting and ending the day with a smile.
    [Show full text]
  • Endemol Shine Group and Seven Productions Australian Serial Drama Home and Away to Stream Exclusively on Hulu in the US
    Amsterdam, London 13.03.2015 Press Release Endemol Shine Group and Seven Productions Australian serial drama Home and Away to stream exclusively on Hulu in the US Hulu acquires US exclusive streaming video on-demand rights to Seven Network Australia’s serial drama Home and Away Home and Away launched on Hulu Monday 2nd March 2015 Home and Away is produced by Seven Productions, the studio arm of Seven Network Australia and is now in its 28th year Newly launched global content creator, producer and distributor, Endemol Shine Group, which brings together Endemol, Shine and CORE Media today announced that Hulu had acquired the exclusive streaming video on-demand rights to Seven Network Australia’s serial drama Home and Away across the US. The deal was negotiated by Endemol Shine International’s Executive Vice President, Sales and Acquisitions Matt Creasey and Lisa Holme, Vice President, Content Acquisition at Hulu. The series became available to stream on Hulu on Monday 2nd March 2015 with the first 11 episodes of the 2015 season, with one new episode per weekday following launch. “Over the past 28 years Home and Away with its strong storylines, talented cast and creative team has continued to keep both viewers in Australia and across the world captivated,” said Cathy Payne, Chief Executive of Endemol Shine International. “We are delighted that the US viewing audience now has a chance to make Home and Away and Summer Bay one of their favourite destinations.” “The Seven Network is recognised as the leader in Australian produced television programming,” said Therese Hegarty, Head of Production and Rights from Seven Network.
    [Show full text]
  • Develops and Publishes Match-3 Game Under Global Brand Masterchef
    Develops and publishes match-3 game under global brand MasterChef The mobile game developer Qiiwi Games (Qiiwi) and Endemol Shine Group (ESG) today announce that they have entered into a strategic cooperation agreement to develop and publish one match-3 game for the most successful food entertainment TV programme in the world, MasterChef. MasterChef has been watched by over 300 million people globally, aired in over 200 territories and locally produced in 63 countries and more to come. The collaboration marks the fifth game Qiiwi develops and publishes within the business division "Branded Games" and the first one together with ESG. About MasterChef In MasterChef home cooks compete to be crowned the nation’s MasterChef. Challenges range from simple to advanced cooking tasks. The chefs keep competing through different challenges where contestants are eliminated each time until one is finally crowned the winner. MasterChef is the most travelled food format in the world. To date, 63 countries have launched their own version of the programme and it has been aired in over 200 territories. Since its inception, over 300 million viewers worldwide have tuned in to watch contestants transform their lives through a passion for cooking and the phenomenon shows no signs of slowing down. MasterChef is the number one food brand on YouTube and has generated over 8.2 billion views across YouTube, Facebook and Instagram which leads to a a highly engaged digital global audience. About the agreement between Qiiwi and ESG: Background: Endemol Shine Group together with owner Banijay maintains the world’s largest international content producer and distributor spanning 22 territories with over 120 production companies and a multi-genre catalogue boasting over 88,000 hours of original standout programming.
    [Show full text]
  • Firefly Brand Management to Represent Endemol Shine North America Iconic Television Brands
    FIREFLY BRAND MANAGEMENT TO REPRESENT ENDEMOL SHINE NORTH AMERICA ICONIC TELEVISION BRANDS Properties Include Series Fear Factor, Wipe Out and Deal or No Deal For Immediate Release: (San Francisco) (5/1/2017)—Firefly Brand Management announced today its appointment as the licensing agent for Endemol Shine North America (ESNA) iconic entertainment properties: Fear Factor, Wipe Out and Deal or No Deal. Firefly plans to showcase the television production company’s properties at Licensing Expo May 23-25 in Las Vegas, NV at Booth #C117. The new management deal falls on the heels of MTV’s announcement to relaunch an all- new Fear Factor premiering Tuesday, May 30 at 10 p.m.ET/PT. Grammy Award-winner Ludacris will host the refreshed series filled with new stunts inspired by urban legends, popular scary movies and viral videos from today’s cultural zeitgeist. Firefly is seeking licensing partners in key categories that include: toys, games, publishing, food and apparel. “We couldn’t be more excited to work with these high-profile legacy brands,” says Cynthia Modders, President and CEO, Firefly Brand Management. “Deal or No Deal’ and ‘Wipeout’ have powerful brand recognition and with ‘Fear Factor’ coming back on air, we are confident in the merchandising opportunities!” “Endemol Shine has a robust library of iconic brands that lends itself to a host of exciting licensing opportunities,” says Tamaya Petteway, SVP Brand and Licensing Partnerships, Endemol Shine North America. “Firefly is the ideal partner to develop creative licensing programs across key categories for these marquee television properties.” Media Contacts: Firefly Brand Management: Sabrina Propper; [email protected]; (m) 818-515-5798; ### About Firefly Brand Management Firefly Brand Management is a full-service global brand management and licensing agency specializing in entertainment, interactive, technology, art and lifestyle properties.
    [Show full text]
  • Copyright Protection of Formats in the European Single Market - the Definition of the Copyright Protected Work with Respect to Utilitarian Copyright Theories
    Copyright Protection of Formats in the European Single Market - The definition of the copyright protected work with respect to utilitarian copyright theories Master thesis in the framework of the European Legal Informatics Study Program 2012/13 Institut für Rechtsinformatik Leibniz Universiät Hannover Supervisor: Dr. Malek Barudi Author: Maximilian von Grafenstein Table of Contents Abbreviations V Literature VI A. Introduction 1 I. Copyright between Culture Industry and Participatory aka. Remix Culture 1 II. Relevance of formats for the discussion about copyright 4 III. Definition of “formats” and other terms 7 IV. Utilitarian copyright theories as theoretical scale 8 V. Structure of the following discussion 10 B. Economics of format markets 12 I. Television formats between cost-benefit-ratio and risk minimization 12 II. Franchise and user participation within transmedia formats 14 III. Conclusion – From television to transmedia formats 18 C. European format markets under lacking legal certainty 19 I. European harmonization of 28 copyright regimes 19 1. Principle of territoriality 19 2. Horizontal harmonization of exploitation rights 21 3. No harmonization of the copyright protected work (and the adaptation right) 22 II. Opponent copyright protection of formats in the Netherlands and Germany 23 1. Copyright protection of formats in the Netherlands 23 a) Facts: “Survive!” vs. “Big Brother” 24 b) Reasoning: “Combination of elements” 24 2. No copyright protection of formats in Germany 26 a) Facts: “L’école des fans ” vs. “Kinderquatsch mit Michael” 26 b) Reasoning: “Fiction-model-dichotomy” 27 3. Comparing “combination of elements” and “fiction-model-dichotomy” 28 III. Conclusion – Effects on European format markets 29 D. Theoretical scale for balance of interests on format markets 33 I.
    [Show full text]