The document outlines the agenda for an event on making international content markets work, including introductions, presentations on markets, planning, and producer case studies, as well as discussions of multi-platform content and participant pitches. Attendees are provided with information on registration, receptions, and booking tables at the UK Indies Pavilion stand during markets.
Latest slide deck about Connected Entertainment, or multi-platform content, or 360 degree narrative, or new media, or 2screening - call it what you like it's about stories and audiences.
Managing Multi-Platform Projects
This comprehensive hands-on course will give you the tools to manage multiplatform projects by taking you through the dynamics of the multiplatform system, and the time cost and creative methods that can be utilised to make a successful project.
Course Aims & Objectives:
To appreciate how project management skills can transfer to the multiplatform arena;
To understand the responsibility and tasks demanded by multiplatform;
To recognise the value of good multiplatform management
By the end of the course, participants will be able to
Understand multiplatform opportunities and options;
Draw up realistic schedule for a multiplatform project;
Apply management skills accordingly to multiplatform projects
What follows is a guide of the areas that will be covered over the day. Certain subjects, topics and time-lines may change as the tutor becomes more aware of individual needs
Day One
Introductions
- Delegates will introduce themselves, , and highlight why they are attending what they hope to gain from the programme.
Morning Session The Market
- What do we currently mean by Multi-platform?
- What platforms are there?
- How big is the market for apps?
- What are people using, and how?
- What trends are developing, particularly in terms of TV related content
- How does the Market work, who are the players?
- How are they funded?
Lunch
Afternoon Session
- What is out there? Examples of TV related multi-platform
- The 3 Ps promotional, plot driven, profit driven
- Who are your users, what are they doing, what are they using?
- How are apps sold, to funders and to users?
Workshop One
Working in a team, develop an idea for an app or website to go with a TV show, and pitch it! Pick a platform, a target market and a problem and show how you understand the various components of the market.
Day Two
Production
What if you actually have to get this made?
Morning Session
- What is an developer? What types of developer are there?
- What roles are there in the development of a project?
- How do you identify and choose the right developer or team?
- How do you integrate the creative process with a developer?
- How long will it take to build, and when should you start?
- What project management methods are used?
Workshop Two
Devise a project timeline for yesterdays pitch to show the relative start times and related elements.
Lunch
Afternoon Session
- How much will it cost? Developing and reading production budgets
- How much will it make? What business models and revenue streams work?
- How do you get it out there, and then get people to use it?
- What are the financial and legal pitfalls to look out for?
Workshop Three
Create a budget for the group project. Identify the potential costs and revenues.
Final Presentation
Present your project, project plan and budget in summary for critical feedback.
The document outlines the marketing plan for a new financial product called the FingerCard, which will replace credit and debit cards. It discusses initial market research, an advertising campaign including ads on radio, internet, print, and television, and an AIDA model to grab attention and create desire for the product. The goal of the marketing plan and ad campaign is to gain 4.5 billion euros in profits with 900 million euros invested in advertising.
This document provides an agenda for a presentation on advanced digital media planning. The presentation will cover tracking, retargeting, reporting, social marketing, and integrating digital and traditional media. It will discuss how digital media has evolved from e-business and e-commerce to e-marketing and e-advertising. Examples of digital media evolution include the growth of social media platforms and how communities are increasingly defined online. The presentation will also look at future trends in media like interactive digital television and the growth of mobile internet usage.
This is the PowerPoint presentation I developed for the SPAA (Screen Producers Association Australia) Fringe event session titled 'Sponsor Generated Programming' (aka Branded Entertainment' which was held on 23 October 2010 in Sydney, Australia.
The document provides an overview of Tiffany & Co.'s plans to enter the Portugal market. It discusses Tiffany's company profile, the Portugal jewelry market landscape, a SWOT analysis, PR objectives to position Tiffany as a luxury brand and increase awareness of its affordable options. Tactical programs are outlined to target consumers, media, and the jewelry industry, including events, sponsorships, and trade show participation. A budget and measurement metrics are also proposed.
The document discusses 6 trends in marketing and interactivity for 2011-2012. It summarizes the challenges of interacting with consumers in real-time across multiple devices and platforms. It also covers the proliferation of smartphones, tablets and apps which has led to platform fragmentation and an overflow of content. Additionally, it warns about the risk of social media fatigue if brands spam networks or fail to engage consumers meaningfully.
The document discusses the Indo-Pak Television Awards (iPTA), an event that aims to bring together Indian and Pakistani talent on a common platform to showcase the cultural similarities between the two countries. It provides information on the vision of the event, categories that will be awarded, countries with the largest audiences for Indian and Pakistani television, and sponsorship packages for companies. The top sponsorship package is the Diamond Sponsor, which offers branding and promotional benefits including on-stage recognition, an exhibition booth, and banners at the venue. The event hopes to promote peace and understanding between India and Pakistan through entertainment.
In the review of international TV trends of 2014, Sahar Baghery, Director of the international TV Formats centre at Eurodata TV Worldwide and Julia Esp辿rance, International Research Manager, note that in a context of moderate risk-taking, producers and broadcasters are placing greater emphasis on proven televisual genres by activating the emotional dimension."
The document discusses innovative initiatives within the Nordic film and TV industry. It describes Nordisk Film & TV Fond, a visionary business model that supports Nordic film and TV productions. Examples are provided of innovative Nordic collaborations on the global market, such as the international success of films distributed through the High Five International Cinema Distribution program. Challenges and opportunities for the future are also discussed, such as expanding into new platforms like VOD and cross-media content for kids.
The document discusses various topics related to the film industry including technological determinism, film festivals, the British film industry, and independent films. It explores the challenges facing the British film industry in competing with Hollywood films and surviving in its shadow. Options discussed for the British film industry include making more commercial films or adopting a model similar to Harry Potter for production, distribution, and exhibition. The relationship between film audiences and the industry is also examined.
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
油
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
Talk 'Cinema on Demand' at Lucania Film Festival 2017Alessandro Masi
油
A talk by Alessandro Masi, Film & TV Business Strategist at FlexyMovies
---
Digital distribution is a growing opportunity for independent filmmakers and is not threatening theatrical exhibition. Cinema consumption is evolving together with technological and sociological changes. Home entertainment is growing but is not replacing the value of theatrical exhibition, with worldwide box office growing steadily. New models such as Premium VOD to access content at home while still in theaters will be enlarging the options for cinema audiences, alongside with SVOD and TVOD in particular, while major studios are pushing for EST and shortening of distribution windows.
Country Matters is a one-hour television program that will air on regional networks, reaching over 5 million people. It provides companies with a four-minute segment to promote their product or service in a way that goes beyond a TV commercial. This content can then be used across websites, apps, and other digital platforms. For $10,000 AU per story, Get Into Productions will produce the television segment and generate additional multimedia content, delivering an all-in-one media solution. Their experienced team can help companies develop compelling branding stories to effectively reach both rural and regional audiences.
Innovation in broadcasting and free to air tvSteve Weaver
油
Television remains the most popular form of entertainment despite new delivery technologies and devices. While people can now access content anytime and anywhere, TV's mass reach still makes it impactful with shows like The Block reaching millions of viewers. Technologies like DVRs enhance viewing and increase consumption rather than reduce it. Younger generations still spend significant time watching TV and welcome advertising. Social media is driving deeper engagement with shows and content. The future remains bright for television as viewers continue demanding better and more interactive experiences across a growing number of platforms and devices.
This document summarizes a market discovery session focused on Latin America that took place on November 19th, 2014 in Cancun, Mexico. It discusses trends in the Latin American television market including the strong potential of entertainment brands and series as a driving genre. Fiction programming dominates new launches and local entertainment attracts family audiences while international formats continue to spread globally. Content consumption is moving beyond traditional television to new platforms and a growing digital generation is embracing multi-screen and on-demand viewing.
Submarine - Audiences and InstitutionsBelinda Raji
油
This document provides production details and box office figures for the 2010 British film Submarine. It was directed by Richard Ayoade and produced by Warp Films with a budget of 贈1.2 million. Through collaboration between several production companies and distribution by The Weinstein Company in the US and Optimum Releasing in the UK, the film was able to reach a wider audience and earned 贈2.03 million at the box office.
This document provides an agenda and background information for an event on brand experience and marketing. The agenda outlines presentations on topics like brand communications, couponing, augmented reality, and in-home sampling. Additional sections provide data on media reach, strategies for multi-channel marketing, and case studies on using consumer data to measure the impact of door drops and direct mail campaigns.
n 2006, online video has taken Internet by storm. YouTube, podcasting, user-generated content, video on demand, streaming, catch-up TV... A new galaxy of services - and exciting opportunies for advertisers - is emerging. The revolution will be televised. In 2007, can you really afford to miss it?
The document discusses plans for a "Culture Channel" project to create an online platform for sharing cultural content across the North East region of England. It would involve an alliance of 10 major cultural organizations pooling their audiovisual resources. The goals are to better promote and distribute this content, engage wider audiences, and eventually generate revenue through advertising, sponsorship, and e-commerce opportunities on the platform. Several challenges are noted around rights issues, platform delivery, and balancing commercial aims with independent ownership of each organization's content. The proposal is made for expanding this locally into a true national "Culture Network" to give cultural organizations across the UK an easy-to-use shared platform to showcase and market their work online.
1. TV consumption in major European countries has continued to increase slightly in recent years, with viewers spending more time watching television on average each day.
2. The TV landscape has expanded dramatically, with over 9,000 channels now available in the EU, up from just 375 channels a decade ago.
3. New technologies like connected TVs, second screens, and streaming services are disrupting the traditional television model, but linear TV will still focus on live and social viewing experiences.
Mike Dicks has experience producing multi-platform content for television channels like Channel 4 and the BBC. This included the first real multi-platform show for the BBC across TV, web, and games. He is now a Senior Policy Executive at Pact, advocating for a world class content sector in the digital age. Some of his current work involves looking into new ways to fund content production through crowd funding and new investments. He is also working on a book about his experiences in multi-platform content.
This document discusses influentials and blog marketing. It begins by introducing Culture-Buzz and BuzzParadise as experts in word-of-mouth marketing. It then discusses how traditional advertising is becoming less effective as consumers have more control over their media consumption. It outlines how consumers are now "prosumers" who are active, unique, and connected. The rest of the document discusses the rise of blogs and influentials, providing statistics on their growth and impact. It proposes several strategies for companies to engage with blogs and influentials, such as finding key influencers, sponsoring blogs, launching corporate blogs, and monitoring buzz.
How to be a Super Producer, in a multiplatform world (ITF)Descience Ltd
油
It used to be difficult enough to produce a TV show, but these days you are increasingly expected to create a multi-media experience around your content. Where do you start? How do you devise multi-platform projects? What are the processes involved? Who do you work with? This course will give you a unique guide to becoming a Superproducer.
I've added hyperlinks to the examples, and to the video clips.
A short presentation, done for UKTI Marketing group that covers all of the creative industries. A bit of fun that show's some of the tech that's already out there, from British firms often, that replicates some movie ideas.
This is the PowerPoint presentation I developed for the SPAA (Screen Producers Association Australia) Fringe event session titled 'Sponsor Generated Programming' (aka Branded Entertainment' which was held on 23 October 2010 in Sydney, Australia.
The document provides an overview of Tiffany & Co.'s plans to enter the Portugal market. It discusses Tiffany's company profile, the Portugal jewelry market landscape, a SWOT analysis, PR objectives to position Tiffany as a luxury brand and increase awareness of its affordable options. Tactical programs are outlined to target consumers, media, and the jewelry industry, including events, sponsorships, and trade show participation. A budget and measurement metrics are also proposed.
The document discusses 6 trends in marketing and interactivity for 2011-2012. It summarizes the challenges of interacting with consumers in real-time across multiple devices and platforms. It also covers the proliferation of smartphones, tablets and apps which has led to platform fragmentation and an overflow of content. Additionally, it warns about the risk of social media fatigue if brands spam networks or fail to engage consumers meaningfully.
The document discusses the Indo-Pak Television Awards (iPTA), an event that aims to bring together Indian and Pakistani talent on a common platform to showcase the cultural similarities between the two countries. It provides information on the vision of the event, categories that will be awarded, countries with the largest audiences for Indian and Pakistani television, and sponsorship packages for companies. The top sponsorship package is the Diamond Sponsor, which offers branding and promotional benefits including on-stage recognition, an exhibition booth, and banners at the venue. The event hopes to promote peace and understanding between India and Pakistan through entertainment.
In the review of international TV trends of 2014, Sahar Baghery, Director of the international TV Formats centre at Eurodata TV Worldwide and Julia Esp辿rance, International Research Manager, note that in a context of moderate risk-taking, producers and broadcasters are placing greater emphasis on proven televisual genres by activating the emotional dimension."
The document discusses innovative initiatives within the Nordic film and TV industry. It describes Nordisk Film & TV Fond, a visionary business model that supports Nordic film and TV productions. Examples are provided of innovative Nordic collaborations on the global market, such as the international success of films distributed through the High Five International Cinema Distribution program. Challenges and opportunities for the future are also discussed, such as expanding into new platforms like VOD and cross-media content for kids.
The document discusses various topics related to the film industry including technological determinism, film festivals, the British film industry, and independent films. It explores the challenges facing the British film industry in competing with Hollywood films and surviving in its shadow. Options discussed for the British film industry include making more commercial films or adopting a model similar to Harry Potter for production, distribution, and exhibition. The relationship between film audiences and the industry is also examined.
OCR MEDIA - G322 Section B Revision Guide ppttessiemedia
油
The document discusses the British film Trainspotting, describing it as a gritty and realistic portrayal of heroin addiction in Scotland that was both critically acclaimed and commercially successful. It explores themes of urban poverty and the dark side of drug culture while also being fascinating to audiences. While some accused it of glamorizing drug use, it was praised for its social realism in representing British youth subcultures of the time. The film was a hit in both Britain and the United States.
Talk 'Cinema on Demand' at Lucania Film Festival 2017Alessandro Masi
油
A talk by Alessandro Masi, Film & TV Business Strategist at FlexyMovies
---
Digital distribution is a growing opportunity for independent filmmakers and is not threatening theatrical exhibition. Cinema consumption is evolving together with technological and sociological changes. Home entertainment is growing but is not replacing the value of theatrical exhibition, with worldwide box office growing steadily. New models such as Premium VOD to access content at home while still in theaters will be enlarging the options for cinema audiences, alongside with SVOD and TVOD in particular, while major studios are pushing for EST and shortening of distribution windows.
Country Matters is a one-hour television program that will air on regional networks, reaching over 5 million people. It provides companies with a four-minute segment to promote their product or service in a way that goes beyond a TV commercial. This content can then be used across websites, apps, and other digital platforms. For $10,000 AU per story, Get Into Productions will produce the television segment and generate additional multimedia content, delivering an all-in-one media solution. Their experienced team can help companies develop compelling branding stories to effectively reach both rural and regional audiences.
Innovation in broadcasting and free to air tvSteve Weaver
油
Television remains the most popular form of entertainment despite new delivery technologies and devices. While people can now access content anytime and anywhere, TV's mass reach still makes it impactful with shows like The Block reaching millions of viewers. Technologies like DVRs enhance viewing and increase consumption rather than reduce it. Younger generations still spend significant time watching TV and welcome advertising. Social media is driving deeper engagement with shows and content. The future remains bright for television as viewers continue demanding better and more interactive experiences across a growing number of platforms and devices.
This document summarizes a market discovery session focused on Latin America that took place on November 19th, 2014 in Cancun, Mexico. It discusses trends in the Latin American television market including the strong potential of entertainment brands and series as a driving genre. Fiction programming dominates new launches and local entertainment attracts family audiences while international formats continue to spread globally. Content consumption is moving beyond traditional television to new platforms and a growing digital generation is embracing multi-screen and on-demand viewing.
Submarine - Audiences and InstitutionsBelinda Raji
油
This document provides production details and box office figures for the 2010 British film Submarine. It was directed by Richard Ayoade and produced by Warp Films with a budget of 贈1.2 million. Through collaboration between several production companies and distribution by The Weinstein Company in the US and Optimum Releasing in the UK, the film was able to reach a wider audience and earned 贈2.03 million at the box office.
This document provides an agenda and background information for an event on brand experience and marketing. The agenda outlines presentations on topics like brand communications, couponing, augmented reality, and in-home sampling. Additional sections provide data on media reach, strategies for multi-channel marketing, and case studies on using consumer data to measure the impact of door drops and direct mail campaigns.
n 2006, online video has taken Internet by storm. YouTube, podcasting, user-generated content, video on demand, streaming, catch-up TV... A new galaxy of services - and exciting opportunies for advertisers - is emerging. The revolution will be televised. In 2007, can you really afford to miss it?
The document discusses plans for a "Culture Channel" project to create an online platform for sharing cultural content across the North East region of England. It would involve an alliance of 10 major cultural organizations pooling their audiovisual resources. The goals are to better promote and distribute this content, engage wider audiences, and eventually generate revenue through advertising, sponsorship, and e-commerce opportunities on the platform. Several challenges are noted around rights issues, platform delivery, and balancing commercial aims with independent ownership of each organization's content. The proposal is made for expanding this locally into a true national "Culture Network" to give cultural organizations across the UK an easy-to-use shared platform to showcase and market their work online.
1. TV consumption in major European countries has continued to increase slightly in recent years, with viewers spending more time watching television on average each day.
2. The TV landscape has expanded dramatically, with over 9,000 channels now available in the EU, up from just 375 channels a decade ago.
3. New technologies like connected TVs, second screens, and streaming services are disrupting the traditional television model, but linear TV will still focus on live and social viewing experiences.
Mike Dicks has experience producing multi-platform content for television channels like Channel 4 and the BBC. This included the first real multi-platform show for the BBC across TV, web, and games. He is now a Senior Policy Executive at Pact, advocating for a world class content sector in the digital age. Some of his current work involves looking into new ways to fund content production through crowd funding and new investments. He is also working on a book about his experiences in multi-platform content.
This document discusses influentials and blog marketing. It begins by introducing Culture-Buzz and BuzzParadise as experts in word-of-mouth marketing. It then discusses how traditional advertising is becoming less effective as consumers have more control over their media consumption. It outlines how consumers are now "prosumers" who are active, unique, and connected. The rest of the document discusses the rise of blogs and influentials, providing statistics on their growth and impact. It proposes several strategies for companies to engage with blogs and influentials, such as finding key influencers, sponsoring blogs, launching corporate blogs, and monitoring buzz.
How to be a Super Producer, in a multiplatform world (ITF)Descience Ltd
油
It used to be difficult enough to produce a TV show, but these days you are increasingly expected to create a multi-media experience around your content. Where do you start? How do you devise multi-platform projects? What are the processes involved? Who do you work with? This course will give you a unique guide to becoming a Superproducer.
I've added hyperlinks to the examples, and to the video clips.
A short presentation, done for UKTI Marketing group that covers all of the creative industries. A bit of fun that show's some of the tech that's already out there, from British firms often, that replicates some movie ideas.
Pact Digital Presentation - (Work in Progress)Descience Ltd
油
The document discusses building a world class content sector for the digital age. It talks about platforms and narratives converging across different media, with stories and brands playing out across all possible platforms. It also discusses audience segments for multi-platform content, examples of successful multi-platform projects, and considerations around who commissions, produces and owns the customer in digital and multi-platform content.
Multi-platform Stuff for Digital ProducersDescience Ltd
油
Mike Dicks represents digital content producers and deals with digital market issues. He discusses the concept of multi-platform content and how stories and narratives can be extended across multiple platforms like TV, web, and mobile. He provides examples of successful multi-platform projects and examines questions around who commissions, produces, and owns the customer across different distribution platforms and contracts. His role at the organization is to provide advice to members, lobby the government on issues, and support the growth of the digital content business industry.
This document discusses multi-platform content and strategies for distributing content across multiple platforms including TV, web, and mobile. It provides examples of existing multi-platform projects, discusses the roles involved in developing such projects, and outlines best practices for managing multi-platform projects including organizing teams, creating project plans and schedules, testing deliverables, training clients, and delivering the final product.
This document provides an overview of the history and current state of multi-platform content. It discusses the evolution of platforms from cavemen to the internet and web. Examples of successful multi-platform content are presented, as well as interviews with commissioners from the BBC and Channel 4 about their strategies. Production processes, pitching techniques, and legal considerations for multi-platform content are also covered at a high level.
We create and manage various entertainment formats including online talent contests, multi-platform dramas, and new ways to watch television through sponsored competitions and live entertainment events. Some key facts: we have 72 radio stations with over 5.3 million listeners, thousands of entrants and millions of listeners to our competitions, and one comedian performs at a large venue for one winner. Our content is distributed through central locations across radio stations, online, and live streams to connect local performers to national audiences.
The document discusses the concept of multi-platform content production and provides examples of projects that utilized multiple media platforms including television, online videos, and social media. It also reflects on lessons learned from prior multi-platform projects, such as the need for television and digital teams to understand each other's workflows and for more marketing of the online components. Key terms discussed include convergence across media platforms and the roles of producers in multi-platform projects.
This document discusses the concept of multi-platform movies and crowd sourced funding models. It outlines a three phase process involving recruitment, involvement, and engagement of audiences. It also maps out potential funding sources including venture capital, co-ops, match funding and dividends that could help bridge funding gaps and bring creative ideas to audiences to generate revenue.
Shaderlight is a new rendering technology that allows users to interactively tune image details in real time. It renders intelligent pixels that understand their place in a 3D image and can update if changes are made. This gives users more time to be creative without waiting for rerenders. Shaderlight transforms workflows by allowing materials, lighting, and other settings to be changed on screen in real time.
Multi-platform games that span mobile devices and the internet allow thousands of players to follow an unfolding story together in an alternate reality game (ARG). These ARGs pretend to be real and can involve ambushing players in public places. Mobile games are increasingly being developed that bring gameplay into the real world. Successful ARGs and multi-platform games involve elements from films, television, and other franchises across multiple interconnected game layers and platforms.
2. Agenda pre lunch
10.00 Introductions
Mike Dicks
10.20 Introduction to Markets, MIP
Dawn Mcarthy Simpson
10.40 Planning
Mike Dicks
11.30 War Stories #1 - Deal Maker
Selma Turajlic
12.30 Meeting Planning, Breakfasts
Nicola Pinder Creatives Loop Ltd / The Co-Production Factory
1.00 Lunch
3. Agenda post lunch
2.15 War Stories #2 Producer
John Gough / Tony Humphreys
3.30 Multi-platform
Mike Dicks
4.00 Your Pitch
Prepare a 5 minute version of your pitch
Pitch to group
5.30 Close
4. introductions
Harry Back to Back Stephan Headline Pictures
Alice Bankside films Stewart Headline Pictures
Adam Machine Productions
Salas Bankside films
Simon Monterosa
Laure Bankside films
Tom Monterosa
Anna Body in balance Joshua Noughttosixty
Greg Body in balance Philip Pogo films
Natali Body in balance Annabel Pogo films
Sabrina Compact collections David Presto Development
David Free at Last TV Paul Presto Development
Michael Futuristic media Colette Scottish Enterprise
Molly-Anna Telesgop
Giovanni Genius media
Jason The Jones Media
Samantha Genius media
Claire Yellow House ltd
6. UK Indies Pavilion - Pre Market Prep
Trends in International sales
UK Indies purpose
UK Indies: pre-market
UK Indies: stand facilities
Questions
7. Trends in International income
Sale of UK TV programmes and associated activities was
贈1,337b, a 9% increase from 贈1,227b in 2008.
(贈484m in 2005)
For a second year, revenue from Australia and New
Zealand represented the greatest proportion of the
increase from last year, and was the region of greatest
growth in terms of both actual and percentage increase.
Tax credits launched in Australia in 2010
Sales to the USA, the UKs largest export market, grew by
3% to 贈485m.
8. Which markets have commissions come from?
44%
45%
40%
35%
30%
25%
20%
14%
13%
15%
10%
10% 6% 5% 5%
2% 2%
5% 0% 0% 0%
0%
Source Pact policy survey and financial census 2010
9. Success of genres in International sales
Documentary 58%
Entertainment/Comedy 45%
Childrens 41%
Drama 40%
Other 40%
Interactive Media 37%
Factual Entertainment 35%
Animation 33%
Hobbies/Leisure 31%
Music 31%
Arts & Religion 28%
Sport 27%
Current Affairs 11%
Daytime 10%
Source Pact policy survey and financial census 2010
10. UK Indies - purpose
7th year a growing success (over 贈100m in sales) MIPCOM 贈18m
Provide small/medium indies with a high profile presence at one of
the biggest markets
Benefit the reputation of British programming
The importance
Capitalise on the Terms of Trade
Help provide a cost effective way to increase turnover for small/medium size indies
Lack of domestic revenues invest more in UK content (gap funds)
Contribute towards the UKs TV exports national economy
Decline of the commissioning budget
11. UK Indies Pavilion - Pre Market Prep
Completed information form (brochure)
Logo
Summary of business
Who is attending
contact
AV (i2i)
Above sent
30 mins of content
Additional service
PR
Paul Smith
During the event
12. UK Indies Pavilion - Pre Market Prep
Registration
Umbrella contract
Receptions
Sunday Welcome 7pm to 9pm
Tuesday 5.30pm to 7pm
Flight & Accommodation!
Pre-book tables
17 tables
14 AV
One per company
First come basis
13. Table booking
9am to 6pm
Strictly 30 minutes
Business matching sessions
Do not book
Be aware busy period
Tues 5.30 networking
Tables removed
No double booking
Business meetings only
Deadline 1st April midday
Book during event
Accommodating rest area
14. Introduction to UK Indies the stand
Fully manned reception Plastic wallets
Message taking A4 plus business card
Meet and greet
Directing buyers Appointments
Lockers Pre-booked
2pm & 4pm Sunday First come basis (1 table)
Secure English sockets Flexibility during market
AV Screens Service with a smile!
Touch screen
Headphones
Check programming on arrival
Invitations e-version
Printed version
17. On a Budget
Travel
Travel to Nice
Book in advance to get the best deals.
From the airport:
Taxis (around 100 one way) cab share
Bus direct to Cannes approx 25 return. 210 runs every 30 mins and is direct
Accommodation
Search around
Stay outside of Cannes Central
2-bedroomed apartments are available from 300 per week.
http://www.ownersdirect.co.uk
http://www.primaryrentals.com
http://www.lodgingworld.com
18. On a Budget
MEALS
Restaurants cheaper the further away from the beach you go
UK Indies Pavilion FREE breakfast
UK Indies Pavilion FREE lunch
Fill up whilst networking!
Eat in your apartment
19. Dates for Diaries
Sunday - The Palm Square
7pm to 9pm
Monday - Mip launch
6pm to 9pm
Tuesday UK Indies drinks
5.30pm to 7pm
38. IDEA BROADCASTER
PRODUCTION
LAWYERS
?
OFFICE
TRANSMISSION
39. ANCILLARY RIGHTS
FINISHED PROGRAMME
LOCAL PRODUCTION
(LOCAL VERSION) PUBLISHING
TOYS
APPAREL
PROMOTIONS
STATIONARY
GIFTS
FOOD
ACCESSORIES
MERCHANDISING
FINISHED SOUNDTRACK
TV SHOW FORMAT
PROGRAMME LIVE TOUR
FILM
STAGE
GAMES
HOUSEWARES
TV DISTRIBUTION DVD
MUSIC
INTERACTIVE RIGHTS
DIGITAL DISTRIBUTION
ONLINE APPS/GAMES
MOBILE APPS/GAMES
DiTV APPS/GAMES
INFLIGHT APPS/GAMES
41. Distributor
Checklist
Finished Programme or Format or both
Rights
Advance
Recoupment
Distributors share
Term
Territories
42. Producer/Broadcaster
Checklist
Format
Rights
Commitment to produce (pilot/episodes)
Fees
Production budget
Co-production
Consultancy
Ownership of local version
Trade Marks
43. Interactive/Ancillary Rights
Format owner retains all rights
Licensee = Local Production Company/Broadcaster
Licensee Share = % Format Owners Receipts
Licensee controls all rights
Licensee = Local Production Company/Broadcaster
Format Owners Share = % Licensees Receipts
Remember:
Consultation
Approvals
Development
Multi-territory deals
Use or Loose
44. Deal Time - Digital Distribution
Catch up
DTO
VOD
Free v Transactional
Revenue share v fee
45. Small tips on
iPhone apps if you dont have one you are still cool!
Social network game experiment
Facebook/Twitter promotion tools
Original web content still searching for a business
model
Multi-platform thinking always!
TV format = brand
MIP - Network and have fun!
49. Why International Co-Production?
Co-
TV finance model is not dissimilar to film now
Indies are reacting in different ways AFP and looking
outside their own market
Potential source of gap/deficit financing
What are the key advantages of co-producing?
50. International Matchmaking Breakfasts @
MIPCOM
When, Where, What?
Focus : International Co-Production & Digital
Preparation process & Registration
Who will attend
Potential outcomes
51. Co-production factory
Co-
Creatives Loops sister company
Over 230 Members from over 20 countries
One-Stop-Shop as an invaluable source of industry
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63. Pitching tips
Know your buyer
Have an elevator, stand, meeting pitch ready
Take time to listen to them
Be positive, enthusiastic like youd buy it
Sell stories not functions
Follow up