According to Reed Midem, 10,500 delegates descended to the Croisette in Cannes last week for MIPTV. It was definitely much quieter than recent years, but apparently, there were 800 new buyers in town. This begs the question – is it worth attending MIPTV anymore? Perhaps for indies, not so much, especially if you have a distributor on board. MIPCOM is by far the busiest market out of the two, and the “must attend” event, but with that said, there were a number of interesting takeaways from MIPTV 2017…
One of the most informative sessions of the market took place on Tuesday morning. It focused on the future of kids TV and the first half of the session saw Michael Shore, VP and Head of Global Consumer Insights and Foresights at Mattel take to the stage to discuss the future of play.
New age content
According to Michael, the time kids spend watching content has shifted from traditional TV: whilst 59% of time is still spent watching TV, 41% of time is spent on other devices, for example tablets, video game systems and smartphones. The types of content kids watch is also changing substantially. A survey conducted amongst kids aged 3-12 revealed that 69% like to watch full-length TV episodes, 53% like to watch movies and 55% like to watch videos on the internet – this is up by 13%.
It is fair to say that the likes of Netflix and YouTube are defining content for new platforms. For example, on tablets and smartphones alike the majority of kids like to watch YouTube videos over Netflix content, whereas Netflix’s content still dominates TV screens when compared to YouTube videos and traditional programming/live TV.
This new-age content has shaped programming genres quite a bit. Nowadays kids are hooked on watching more user generated content, unboxing videos (video content that captures the unpacking of new products, i.e. new toys, consumer tech, etc… Crazy, I know!), tutorials, videos of other kids playing games, speed drawing, speed gaming, sports/esports and wait for it… jump scares (literally videos that make you jump and scream).
The way kids consume content is changing
So, how do indies keep up with these rapidly changing trends when it comes to creating kids content? This is where Hopster Founder and CEO, Nick Walters and Dan’l Hewitt, VP Non-Linear Programming at The Walt Disney Company came in.
Dan’l stated that within weeks of a child growing older, their interests and the way they consume content changes and they migrate to new content at an increasingly fast pace. In an attempt to keep up and really appeal to varying age groups, The Walt Disney Company works with talent that has the right influence, to stitch content together and create playlists for each creator, ultimately building brand franchises. Mattel is also identifying new ways to stay on trend. A couple of years ago, the company introduced the beloved Barbie as a vlogger. That’s right. Watch out Zoella and Tanya Burr. Barbie officially joined the 21st century by setting up her own YouTube channel in 2015, to share snippets of life in her dreamy Malibu Beach house.
Mattel also recently announced its new Hello Barbie Hologram. Now, at age 58, Barbie is a hologram. The bright pink box contains an animated projection of Barbie, which responds to voice commands. Bring her to life by saying “Hello Barbie” and you can then ask her all kinds of questions, such as “What is the weather going to be like in Malibu tomorrow?” It combines motion-capture animation with Amazon Echo-style voice interactions, and will be available to purchase later this year.
Talking directly to audiences
Nick from Hopster also touched on working with brands and influencers to produce content that is more relevant for kids. Over the years, Nick and his team have fostered great relationships with the likes of eOne, DreamWorks and Millimages to bring some of the best kids content to Hopster, including Peppa Pig, Postman Pat, Noddy and Louie. Nick and the team have also created a platform that lends itself nicely to non-traditional content, which would not potentially work on linear platforms; from music videos and games, to short form content like Punky for example. Punky is a kids animation about a little girl who has Down Syndrome, which teaches kids how to interact with family and that, most importantly, being different is OK.
Unlike linear channels or the likes of YouTube, SVoD platforms such as Hopster can talk directly to their audiences and achieve a much deeper level of engagement with kids – especially if they are based on a subscription model. With over 1.5 million parents subscribed to Hopster all over the world, you could argue that it is the perfect home for long and short form preschool content, that will not only entertain kids, but will help them learn through the stories they love too.
So although MIPTV might have been quieter than last year and the year before that, it definitely presented a good showcase of true trendsetters, who are helping to shape the future of content and more importantly, are willing to impart their insight and wisdom for others to embrace.
By Shereene Witter, Senior Account Director at Franklin Rae.
There are more events in the media & TV industry than you can shake a stick at, and they seem to be multiplying with ‘Must See’ events popping up all over the shop. Now, I love getting out from behind my desk and meeting people IRL so I’m all for attending as many as possible – but how many are really compelling?
Last week, I was lucky enough to go to the INTV conference held in Jerusalem. The event, created by Keshet International, focuses on innovation in TV and is far and away my favourite. Admittedly, it’s the only event I go to where the location is not only warm and sunny (big advantage when coming from UK at the beginning of March) but has 3000 years of history, pilgrimages, worship, religion and conflict at its heart. Somehow, even that’s a small sideshow in comparison to the fabulous speakers. INTV manages to balance television’s creative talent alongside international commercial challenges, and the ever- changing media landscape, whilst giving a snapshot into all genres.
Speakers and influencers
Big Light Productions’ Frank Spotnitz extolling the purpose of Writers Rooms for TV
INTV 2017’s line up included; CMC’s CEO Li Ruigang, Fox CEO Dana Walden, CNN President Jeff Zucker, Torlief Hoppe, writer of The Killing, Jennifer Salke President NBC Entertainment, the incredibly talented team behind The Night Manager – director Susanne Bier, producer Stephen Garrett and actor/producer Hugh Laurie, the multi-talented Frank Spotnitz from Big Light Productions, writer/ creator Tami Sagher, whose credits include Girls, Inside Amy Schumer and 30 Rock, alongside the UK’s very own Channel 4 CEO, David Abrahams, and entertainment commissioners BBC’s Kate Phillips and ITV’s Peter Davey, among others.
INTV manages to create an intimate atmosphere where people are engaged, and where speakers and influencers aren’t whisked away in black jeeps with tinted windows as soon as they finish their ‘bit’. It’s an event where people actually meet each other, have lunch and chat. In the world of screen-swiping and 15 minute meetings, this is mega.
Yep, I’ve drunk the INTV kool-aid and I’m a fully signed up fan. I’ve returned to my desk inspired and fallen in love with TV all over again. NB. It’s also significantly cheaper than Cannes!
By Sophie Naylor, Managing Director at Franklin Rae
Last night the Franklin Rae team took a trip down to The Hospital Club for the very first Turn On, Tune In event of the year, with some of the industry’s most respected programme makers.
We were treated to a talk from panel show producer Matt Nida, whose production credits include Big Fat Quiz of the Year, 8 out of 10 Cats and Would I Lie To You. Over the course of the evening, Matt let us in on a few secrets and tips on the tricky art of making a panel show – here’s what we learnt…
In most successful panel shows the points system doesn’t really mean anything at all! Instead, the competitive element of the format offers a starting point for chat across the panel.
All about chemistry
A successful panel show should feel like the audience is a fly on the wall at a really great dinner party – chemistry and debate between the panelists is also essential.
Simply does it
It’s a mistake to think a panel show can be based on anything, or that an intricate and unique twist is a sure-fire way to make a hit. In fact, keeping the format of the show simple is often most effective in allowing the jokes to flow.
Producers are always on the hunt for creative ways to get panelists out from behind their desks or stands – but only if there is a clear reason and/or it’s funny.
Sometimes the best technique is to build rounds or questions around anecdotes and stories that guests have to offer. So research, research, research! Thoroughly researched chats can often provide comedy gold.
All in all it was an enlightening and informative evening, and we’re looking forward to the next one!
By Chloe Lawrance, Junior Account Executive at Franklin Rae.
There was a true depth of innovation on display at this year’s BETT exhibition, which took place last week, demonstrating that the international edtech industry is very much alive as ever. As we spent a few days exploring the aisles of the ExCel among the industry’s elite, it was hard to ignore the pull of all the gadgets and gizmos promising the next wave of education.
It’s safe to say Virtual Reality for classrooms was the technology of the moment, with the crowds fighting it out to test run Microsoft’s game-changing Hololens. And thanks to Raspberry Pi’s legacy, coding in schools continues to be the initiative on everyone’s mind. But the one thing the edtech community agrees on is that gaming is the missing link in mainstream education – and while Minecraft and Microsoft had the biggest presence at BETT in this department, it was great to see some of the exciting new players such as Lightneer and our client Tinybop making their claim in the market.
So what does it take to stand out from the crowd at key events such as BETT? PR and marketing are essential tools to help shout about your innovation when it counts, support your business objectives and let key influencers know what you are taking to market.
Here’s a few of our top tips to stand out from the crowd:
You know the drill. Once you register to exhibit at one of these events, you’re bombarded with marketing emails that promise to help you make the most of your stand. And as tempting as it is to leave them in the inbox – make sure you don’t miss those important deadlines for submitting your copy and company profile to the official show guide. Make it as easy as possible for attendees to find you on the day. That means getting your name in the programme before it’s too late.
Looking to make a splash with news during the show? Let the media know beforehand. The beauty of modern journalism is that you can announce new developments and generate immediate impact. Markets are a great place to pick up trade magazines and print media still works very much in advance. It’s not dead just yet. Most key publications plan special preview features in their editions leading up to market. So, consider this – if a prospective customer sees your news in the media in those important days beforehand, or even while they’re reading their morning coffee on the way to market, you’ve already got a head start.
A major strength of trade shows is the ability to meet face-to-face with the right people in a short amount of time. Well, guess what — you can also build much stronger relationships by meeting your industry journalists face-to-face. Use this opportunity while you’re all under the same roof to forge new relationships and strengthen existing ones with your target media. Believe us, it’ll pay off in the long run!
We’re already looking ahead to the Kidscreen Summit in a couple of weeks, the Broadcast Indie Summit in March and MIPTV in April. Who’s coming with us?
By Abi Williams, Account Manager at Franklin Rae
Last week we attended a breakfast event at BAFTA with a number of the specialist factual commissioners from the BBC, Sky, Nat Geo and Channel 4.
Despite an early start the David Lean room was full capacity, with filmmakers and production company’s all looking for insight into the latest trends and what’s on the commissioners radars.
A key take away across the panel was ‘authenticity of experience’, something which in an era of ‘alternative fact’ and ‘fake news’ Tom McDonald, Head Of Specialist Factual commissioning for the BBC, said is imperative. Authentic portrayal is something specialist factual programming must provide.
Conversation also touched on the ever changing digital world and what this would mean for the genre. Many on the panel agreed that the traditional 30’ and 60’ minute format is becoming increasingly old fashioned. With VoD and SVoD becoming more and more the first port of call for viewers, the commissioners said there was a greater flexibility for filmmakers to make engaging content that could be 15’ or 90’ minutes in length. Short form has definitely become more popular in recent years, especially for people on the go i.e. commuters, and younger audiences who traditionally take to YouTube for a quick fix. So there are ample opportunities to make specialist factual more accessible for these audiences.
Snow Leopard – India – Planet Earth II
Moderated by media-veteran and journalist, John Plunkett it was a fascinating morning listening to key figures from a genre that is still riding on the crest of the wave of successful recent hits such as Planet Earth II, The Secret Life of 4/5/6 year olds and 24 Hours in A&E. Specialist factual is a genre that we are confident can create informative, entertaining and must see programming.
By Michael Goward, Account Executive at Franklin Rae.
No idea why Doc Brown’s De Lorean was on the Croisette – but was hugely excited by its appearance. Yes that is a real Flux Capacitor.
Franklin Rae has recently returned from MIPCOM, the international market for TV programmes held in sunny Cannes, and what a great market it was. Arigatou Gozaimasu (Thank You Very Much) to Japan which held the position of Country of Honour, they piqued our interest and opened our eyes to the array of content and formats it produces. In general though the market was balanced, it seemed to be more international and less dominated by the big US or UK producers and distributors – just as an international market should be.
MIP Junior had a record attendance of 1600, there was a greater focus on original factual content for kids, than there has been in previous years – that’s not to say it dominated, animations still lead, but it was good to see it acknowledged. The challenge for the kids industry is that the audience are all digital natives, so reaching them safely across all digital platforms is critical – an issue recognised by Sony who announced their investment into pre-school SVOD platform Hopster, which is already in 100 countries including the US.
Recent MIPs have been led by Drama, from big, sumptuous dramas like Kosem and Versailles, to high quality gritty co-productions like The Last Panthers. This year, with a couple of notable exceptions like Taboo distributed Sonar, saw a return to formats. I can’t say I’m able to spot the next global success but survival with a twist is still popular with Families Gone Wild from Naked Ent, and Welcome to the Wild from Keshet standing out. There were a couple of formats which focused on conflict resolution through eye contact – is it the new hot thing? I’m not convinced a staring contest is the answer but
Marty McFly’s driving permit. Really.
time will tell.
As always, the market was fast, frantic and fun. We made new friends and caught up with old ones – and saw the future of programming. A bientot Cannes.
By Sophie Naylor, Managing Director at Franklin Rae.