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La vie du héros de Bref dans une timeline Facebook

La vie du héros de Bref dans une timeline Facebook | (Media & Trend) | Scoop.it
L'idée est originale et contribue à brouiller les lignes entre la télévision et internet, voire entre la réalité et le fiction.

 

L'agence Darewin a réalisé en partenariat avec Canal Plus et le producteur My Box une nouvelle version de la page Facebook de la série Bref, qui utilise la "timeline" proposée par le réseau social pour raconter la vie du héros de la série TV. 

La vie du personnage est décrite à travers 50 souvenirs qui remontent jusqu'à la naissance du héros. La plupart sont illustrées de photographies qui reprennent le style humoristique de Bref, au risque parfois de n'être comprises que par une frange des spectateurs (Le "Bref, mon nom n'apparaît pas au générique de Club Dorothée" ne sera par exemple compris que par ceux qui se souviennent que l'émission culte des années 1990 se terminait par un générique célébrant l'anniversaire... des membres du Club Dorothée).

L'idée est amusante, et contribuera à fédérer plus encore une communauté de fans qui compte déjà 2,6 millions de membres inscrits sur Facebook. 

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Comedy Central Picks Up Digital Series 'This Is Not Happening' for Linear TV

Comedy Central Picks Up Digital Series 'This Is Not Happening' for Linear TV | (Media & Trend) | Scoop.it

Comedy Central has greenlit digital series “This Is Not Happening” for an eight-episode season to air on the linear channel — the cabler’s first promotion of a series developed by its in-house CC:Studiosunit.

 

“This Is Not Happening” features host Ari Shaffir jawing with his comedian buddies in front of a live audience at L.A. strip club Cheetahs. Series is exec produced by Shaffir, Eric Abrams, Sam Saifer and Jeff Tomsic, who will direct the season. Show is skedded to premiere on Comedy Central in the fall of 2014.

 

“The only reason we are picking up ‘This Is Not Happening’ is to prove we can incubate an idea digitally and then have it migrate to the linear channel,” said Kent Alterman, president of content development and original programming for Comedy Central. “And also, it’s really funny storytelling with fantastic talent.” Added Shaffir: “F— yeah!”

 

Comedians featured on CC:Studios’ two seasons of “This Is Not Happening” include Kurt Braunohler, Joey Diaz, David Koechner, Bobby Lee, Natasha Leggero, TJ Miller, Trevor Moore, Kumail Nanjiani, Jay Oakerson, Steve Rannazzisi and Joe Rogan.

 

Shaffir is repped by The Gersh Agency and Sam Saifer Management.

Comedy Central created CC:Studios in January 2013 to develop of original comedy content for digital distribution. Last fall, the Viacom-owned cabler eliminated its standalone digital group and reorganized its management structure to take a “holistic approach” to cross-platform programming, while retaining the CC:Studios division.

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Comcast income rises 30% in first quarter amid NBC popularity

Comcast income rises 30% in first quarter amid NBC popularity | (Media & Trend) | Scoop.it
Sochi Olympics and Jimmy Fallon's appointment as host of The Tonight Show helped boost ad revenue at broadcast network

 

Comcast Corp said Tuesday that its first-quarter net income rose by 30% as ad revenue surged at broadcast network NBC, helped by theWinter Olympics in Sochi and Jimmy Fallon's elevation as host of The Tonight Show.

 

The results beat Wall Street estimates and its shares edged up in morning trading.

 

Comcast is the largest cable company in the country with 22 million video customers and 21.1 million internet customers. It is in the midst of an expected yearlong review of its $45bn acquisition of No 2 rival Time Warner Cable Inc.

 

Regulators are examining whether the combination would give it undue pricing power over customers and too much leverage with programmers.

Its net income in the quarter through March rose to $1.87bn, or 71 cents per share, from $1.44bn, or 54 cents per share a year ago.

 

Excluding one-time items, adjusted earnings came to 68 cents per share, beating the 64 cents expected by analysts polled by FactSet.

 

Revenue grew 14% to $17.41bn from $15.31bn. That's also higher than the $16.99bn expected by analysts.

 

NBCUniversal revenue grew 29% to $6.88bn while cable services revenue grew 5% to $10.76bn.

 

Olympics broadcast rights boosted NBCU revenue by $1.1bn. Even excluding the games, broadcast revenue rose 17%, helped by Fallon'sselection for NBC's late night slot, replacing longtime host Jay Leno. The network was also boosted by more hours of The Voice and the popularity of new shows like The Blacklist.

 

On the cable connections side, Comcast added 24,000 video customers during the quarter, the second quarterly gain in a row following a six-and-a-half year losing streak. However, those gains are likely to come to an end in the current quarter as college students disconnect service at the end of the semester.

 

Comcast added 383,000 high-speed data customers and 142,000 voice customers.

 

The company says the roll-out of its newest X1 set-top box is starting to contribute to better video results. It is now setting up 15,000 to 20,000 boxes per day, up from 10,000 at the end of the year. An improved user interface is helping reduce customer disconnects while boosting video-on-demand spending and increasing uptake of digital video recorder service. Within three years, Comcast hopes the majority of its customers will have X1.

 

Comcast shares rose $1.03, or 2.1%, to $50.91 in morning trading. Its shares have fallen 4% in regular trading so far this year.

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La TV en direct plébiscitée

La TV en direct plébiscitée | (Media & Trend) | Scoop.it

Selon une étude réalisée par Ipsos OTX auprès de 15 551 répondants en ligne dans 120 pays, 86% des personnes interrogées indiquent qu’elles regardent habituellement les programmes de télévision en direct bien plus que d’autres modes de visionnage émergents. Au menu des pratiques émergentes, l'enquête constate que 27% utilisent le streaming ou le téléchargement depuis un ordinateur, et 16%, ex-aequo, la TV connectée ou le téléchargement sur internet pour la télévision, le DVR (enregistreur de vidéo numérique) et d’autres outils de téléchargement fixé au téléviseur ainsi que les applis mobiles.

 

Par génération, les 50-64 ans sont les plus prompts à regarder les directs de leur émission à la télévision (91%), suivi des 35-49 ans (88%) et des moins de 35 ans (81%), souligne Ipsos OTX. Sans véritable surprise, les autres modes de visionnage sont l'apanage de générations plus jeunes. Sur l’ordinateur et le portable : 35% des moins de 35 ans, 25% des 35-49 ans et 17% des 50-64 ans ; en streaming ou téléchargement sur internet pour la télévision : 20% des moins de 35 ans, 16% des 35-49 ans et 11% des 50-64 ans ; Avec des applications mobiles : 15% des moins de 35 ans, 10% des 35-49 ans et seulement 5% des 50-64 ans. En revanche, constate l'étude, l’utilisation du DVR « a du mal à faire sa place » et il ne représente que 18% des 50-64 ans, 16% des 35-64 ans et 15% des moins de 35 ans.

 

Spécifiquement dans l'Hexagone, les Français sont les premiers (avec les Espagnols) à regarder les directs de leur émission à la télévision (93%). En revanche, ils figurent à la 20ème place lorsqu'il s'agit de regarder leur émission en direct via l'ordinateur (12%), à la 19ème place (5%) par téléchargement internet pour la TV et 10ème (11%) par DVR et autres outils de téléchargement fixés au téléviseur. Regarder la TV en direct via mobile est en outre pratiqué par 4% des Français (20ème place du classement Ipsos).

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HBO GO spots show how awkward is it to watch HBO with your parents

HBO GO spots show how awkward is it to watch HBO with your parents | (Media & Trend) | Scoop.it

Definitely one of the best reasons to flip off the television and boot up HBO GO on the iPad, HBO released several commercials that depict how embarrassing it can be for teenagers to watch racy content around parents.

 

 

Uploaded to the official HBO YouTube account earlier today, the premium television channel has successfully encapsulated what it’s like for teenagers to watch sexual or vulgar content while their parents are in the living room, perhaps sitting next to them on the couch. Developed by creative media ad agency SS+K in combination with O Positive Films, the seven different spots depict a couple of average American teenagers watching shows such as Game of Thrones, Curb Your Enthusiasm, Girls, True Blood and True Detective.

Your Body, Your Choice (Girls)

Attempting to send the younger generation running to their iPads and other mobile devices to watch HBO GO, the cringe-worthy spots have the parents chiming in with commentary about sexual activity, sexual orientation and general relationships as well as confused questions about who each person is in Game of Thrones. For instance, during an adultery scene in True Detective, the Dad in the commercial chimes in about how he was faithful to the teenage boy’s mother, but continues to recount about all the opportunities he had to cheat on his wife during his lifetime. 

Faithful Dad (True Detective)

At the end of each commercial, a voiceover line states “HBO GO. The best of HBO on all your favorite devices. Far, far away from your parents,” and the line “Might be a good time for HBO GO,” appears on the screen. While the commercials are definitely directed at the embarrassment that a millennial may feel, it could also play in the opposite direction for young parents that want to keep adult content away from the eyes and ears of their children. 

Check out the rest of the collection of commercials below:

What’s He In? (Game of Thrones)

First Cousins (Game of Thrones)

Awkward Makeout Scene (Girls)

Happily Married Parents (Curb Your Enthusiasm)

Appreciation (True Blood)



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Talpa’s de Mol predicts major prodco consolidation

Talpa’s de Mol predicts major prodco consolidation | (Media & Trend) | Scoop.it

John de Mol has predicted “further centralisation” will lead to between three and five consolidated super indies dominating the production landscape within the next three years.

Speaking exclusively to TBI, Endemol co-founder de Mol pointed to current M&A movement within the super indies as a sign major consolidation is forthcoming.

This comes as Warner Bros. finalises its takeover of European production giant Eyeworks and, according to sources, FremantleMedia moves closer to taking over UK-based rival All3Media. Meanwhile, de Mol is set to sell the 25% stake in Endemol he owns through his Daysm investment group to American investment group Apollo Global Management.

 

“There are a lot of production companies for sale – All3Media, Eyeworks was for sale and Endemol was too,” he said. “There were a lot of opportunities and in the next two to three years, you’re going to see further centralisation of about three, four or five bigger global players who have come together to make a stronger global company.”

Talpa Media recently launched its first branded production joint ventures, in the UK, Italy and the Nordic region, and de Mol said a JV strategy would continue until market conditions suited an “Endemol model”.

 

“We look at every TV market on an individual basis and then determine what is the best way to exploit our content,” he said. For example, in the US we decided it is better to have a fully owned subsidiary, while in China it is better to make commercial deals with individual companies.

“I don’t want to get into a situation where you have an acquired structure in one or two territories and JVs in another 15. I want a steady model. I would only shift to an Endemol model when I know the right companies are available in five or six countries. At the moment, that is not a possibility.”

 

He added that Talpa was not interested in a large-scale merger with the likes of All3Media at this stage, claiming: “We’re fine as we are.”

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Europe’s most valuable formats

Europe’s most valuable formats | (Media & Trend) | Scoop.it

The UK is the most lucrative formats market in Europe, while TF1 is the leading broadcaster and Money Drop and Come Dine with Me are the most successful formats in the region, according to new research. Endemol, ITV and FremantleMedia, meanwhile, are Europe’s most successful formats distributors.

Come Dine With Me

Knowing the value of your content is a vital tool in the international market. That’s why media specialists Madigan Cluff, Essential Television Statistics and Digital TV Research have measured the number of hours of formatted programming scheduled across European free-to-air channels and the income generated by each format. Specifically, their latest report, TV Formats in Europe, reveals the financial success of unscripted entertainment shows that have been made in multiple territories.

 

The results make for interesting reading. Going by distributor, Endemol, FremantleMedia and ITV are the three frontrunners in terms of both hours of formats on air and the value these formats generate for their broadcasters. However, the top three change dependant on which of those metrics is used.

 

In terms of number of hours, ITV Studios Global Entertainment is top of the heap with 4,352, comfortably ahead of Endemol Worldwide Distribution with 3,460 and FremantleMedia International with 3,136. Red Arrow and Shine International place fourth and fifth ahead of Zodiak Rights, All3Media International, Eyeworks and Talpa.

 

The Money Drop

The top four distributors account for just under half of the format hours screened in 2013. ITVS, which is also the largest distributor by hours in 2012, held the top spot mainly because of the ongoing success of Come Dine With Me. FremantleMedia supplies ten titles in the top 100, while Endemol and Red Arrow supply nine apiece.

In terms of the value created by the distributors’ formats, Endemol tops the list with its formats generating US$589 million, 20% of the total. FremantleMedia is second, generating US$439 million, 15% of the total. ITVS generates 10% of the total, almost US$300 million.

 

The research houses have found that the cumulative value attributed to the broadcast of entertainment formats across Europe slipped last year, although it has largely withstood the economic impact of the recession.

Click to enlarge

The top 100 formats generated US$2.9 billion compared with US$3 billion in 2012, but the figure is ahead of the 2011 total. The UK, France and Germany account for 72% of the total, with the UK generating the most from formats by bringing in US$600 million of the total in 2013. However, this is a decrease on the 2012 total of US$677 million.

The value of formats to French broadcasters is growing and was US$599 million last year compared with US$547 million in 2012. In terms of revenue generated by formats, French commercial broadcaster TF1 leads the way, generating US$331.5 million.

 

Meanwhile, the number of hours of formatted programming aired across the 84 channels surveyed is flat year-on-year at 28,386.

 

Big Brother (Italy)

Madigan Cluff director Michael Cluff says that the Europe-wide market for formats is showing resilience given that there has been an advertising recession and several top-performing titles have peaked.

He adds: “Across Europe, TV advertising revenues declined, which explains why the value for major formats in 2013 was 3.3% down on the 2012 total. Despite this decline, revenue was higher than in 2011. The number of hours for formats broadcast across the channels we monitored was almost exactly the same in 2013 as in 2012.”

In terms of specific titles, Come Dine With Me is the top European format, notching up 3,778 broadcast hours across the continent, fractionally more than it attained in 2012. Red Arrow’s celebrity cooking show Fish on the Cake is second with a cumulative 1,200 hours, a total significantly down on the 1,765 the previous year.

 

 

Shine International’sMasterChef is third, recording a massive increase from the 600 broadcast hours it attained in 2012 with 1,199 hours. Eyeworks’ Who Wants to Marry My Son and Endemol’s Big Brotherround out the top five, with largely similar broadcast hours as in the previous year.

Jonathan Bailey, managing director at Essential Television Statistics and co-author of the report, notes that culinary formats remain in vogue. “The most significant trend is the continued growth of food formats, often scheduled in access prime time,” he says.

By value, Come Dine With Me also wins out, although despite increased broadcast hours and the US$205.6 million generated, it earned slightly less than in 2012 when it made US$209.5 million.

Shopping Monsters

Another Endemol format,Money Drop, also made less money (though the format has grown quickly since its international launch in 2010). In 2013 it generated US$197.5 million compared with US$224.7 million a year earlier.

The trend continues, withDeal or No Deal generating US$140.5 million against US$141.7 million in the previous year. The one show in the top five that made more money in 2013 than 2012 is Talpa singing competition series The Voice, which pulled in US$140.1 million last year and US$128.1 million a year earlier.

 

Money Drop and The Voice have enjoyed considerable growth over the last four years,” Michael Cluff says. “This research also reveals the strong legacy value of maturing titles, with Who Wants to be a Millionaire at number nine and Big Brother still at number ten.”

 

Below the top five, All3Media’s Be My Guest added the most value in 2013, increasing from US$11.1 million in 2012 to US$60.2 million in 2013. Not quite as dramatic but still impressive, Global Agency’s Shopping Monsters climbed from US$17.4 million in 2012 to US$49.1 million in 2013.

At the other end of the scale, the value generated by Galileo fell from US$150 million in 2012 to US$96.2 million in 2013. Similarly, CBS Studios International-shoppedSurvivor dropped from US$63.8 million in 2012 to US$11.0 million in 2013.

 *The value attributed to programming is the financial benefit sourced by activities such as advertising revenues or a proportion of annual household license fee income that broadcasters receive from screening these formats.

FOOD FORMATS IN FOCUS

 

 

MasterChef

 

Channels are getting hungrier and hungrier for food formats. As the authors of TV Formats in Europe note, appetite is increasing as audiences crave everything from major vehicles like MasterChef (above) to local celebrity chef-fronted originals.

 

For example, Europe’s most valuable format, Come Dine With Me, has been remade 36 times, most recently in India for Star TV and Brazil for Globo, marking its first appearances in Asia and Latin America.

Meanwhile, Red Arrow’s inventively titled Fish on a Cake remains a staple of broadcasters, especially in Scandinavia, and MasterChef, which doubled the number of its broadcast hours last year, has had 45 signed production agreements.

 

Besides these old favourites, new food-themed formats are hitting the market and coming from all corners of the globe.

One interesting deal has seen All3Media International acquire rights to Ultimate Braai Master, which has run to two seasons on public broadcaster the SABC and beat other cooking formats including the South African version of MasterChef. A third season is in the works, but for SABC’s commercial rival ETV.

 

The Cooked in Africa Films-created format, based on the South African braai barbecuing culture and launching at MIPTV, sees 15 pairs of cooks embark on a 60-day road trip and take part in challenges including catching and cooking their own food and recreating classic dishes on an open fire.

 

 

The Great British Bake Off

Also in South Africa, Food Network recently ordered the first non-North American version of Chopped, which sees four local chefs per episode tasked with turning everyday ingredients into an amazing three-course meal, with the eventual winner netting a cash prize.

 

Elsewhere, South Korea’s CJ E&M, which is emerging as one of the Asian territory’s premiere formats distribution companies, sold its 13x60mins Crazy Market food-quiz format in Ballandi Multimedia in Italy, while Ukrainian commercial channel 1+1, Abu Dhabi TV, Serbia’s Nova, Macedonia’s Alfa TV Dooel and Kazakhstan’s Channel 7 have all gone for local versions of the Global Agency-distributed Rivals in Law, in which mothers and daughters-in-law are pitched against each other in a culinary competition.

 

In the UK, producer Twofour is working on another foodie series for Channel 4, titledCooks’ Question Time (WT), fronted by Sue Perkins, who is also the face of BBC Worldwide-sold cooking-themed format hit Great British Bake Off.

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NBCUniversal launches original programming initiative for digital

NBCUniversal launches original programming initiative for digital | (Media & Trend) | Scoop.it

NBCUniversal is unveiling an initiative to produce original video that will be featured on the company's digital platforms and national video-on-demand and will be promoted on its TV networks.

 

The initiative will debut first on channel websites, Hulu and video-on-demand. It is designed to connect advertising brands with consumers. In many cases, the development of original series will be in direct collaboration with advertising partners.

 

Creative teams from NBCUniversal cable and broadcast networks, as well as its Creative Innovation Agency, will work closely with top production teams from around the industry to create programming for viewers who frequent its digital platforms daily.

 

For instance, Universal Cable Productions will unveil more than a dozen original projects including "Tesla and Twain" and "Last Single Girl."

"Tesla and Twain" is a comedic series based loosely on the real friendship between Mark Twain and Nikola Tesla but imagines that the two are suddenly transported to modern day Los Angeles. "Last Single Girl" is about an overeducated and underemployed single woman coming to terms with being a grownup while all of her best friends are getting married.



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Participant Media bets big on Pivot with new original programming

Participant Media bets big on Pivot with new original programming | (Media & Trend) | Scoop.it

Pivot, the Participant Media network devoted to courting the coveted millennial demographic, is betting big on its youthful attraction.

It announced at its upfront presentation in New York City on Wednesday that it is increasing its commitment to original series with four new shows, 11 series in development and more than 300 hours of original programming in 2014.

 

Among the greenlighted programs is "Fortitude," a 12-episode original series starring Stanley Tucci, Michael Gambon and Luke Treadaway.

 

In addition, the second season of the comedy "Please Like Me," will launch Aug. 8; and Embassy Row teamed up with Pivot to produce a new season of "TakePart Live," which launches  May 12 and is hosted by Meghan McCain and Jacob Soboroff.

 

Other production companies Pivot has paired up with include IAC’s Electus, Universal Cable Productions, FremantleMedia North America/Pukeko Pictures, Funny or Die and Eyeworks.

 

“Pivot’s first slate established us as a programming brand of distinction, with uniquely original, high-quality series, specials and films," said Pivot President Evan Shapiro in a news release. "Our second slate demonstrates our significant investment in, and commitment to, groundbreaking content for the thought-leading segment of Generation Y we call ‘Upstanders’."



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Apple TV Adds Channels for A&E, History and Lifetime, But It's Just a Taste for Most

Apple TV Adds Channels for A&E, History and Lifetime, But It's Just a Taste for Most | (Media & Trend) | Scoop.it

The free, ad-supported content offers all Apple TV customers in the U.S. — even those without a cable TV subscription — access to select full episodes of programming including “Project Runway” (pictured, above), “Storage Wars,” “Devious Maids” and “Pawn Stars,” as well as other content. That includes a few episodes of scripted dramas in-season such as History’s “Vikings” and A&E’s “Bates Motel” as well as past seasons of some shows.

 

But sorry, cord-cutters: For access to the bulk of the A+E content available through Apple TV, users must subscribe to participating pay-TV providers. And today, that’s limited to just three providers that have agreements to allow access to the full load of A&E, History and Lifetime shows on the Apple TV boxes: DirecTV, Verizon FiOS TV and Cablevision Systems. More providers will be added soon, according to an A+E rep.

For now, other pay-TV providers that have agreements with A+E to allow TV Everywhere access to the programmers’ content on mobile apps and on the web — but not Apple TV — include Comcast, Time Warner Cable, Bright House Networks and Shaw Communications. Meanwhile, Dish Network and AT&T U-verse are the biggest providers that don’t have TV Everywhere deals with A+E for any devices currently.

 

Last week, A+E launched authenticated access to live feeds of A&E and History, available on the Web and via the networks’ apps for Apple iOS devices.

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Why U.S. Audiences Are More Comfortable With Subtitles Than Ever

Why U.S. Audiences Are More Comfortable With Subtitles Than Ever | (Media & Trend) | Scoop.it
Recent B.O. history contradicts the widely held industry perception that American moviegoers are averse to foreign-language cinema.

 

Attendees at next month’s Cannes Film Festival will hear plenty of French being spoken — except, that is, by the characters onscreen. Of the French films recently announced as part of this year’s official selection, two (Olivier Dahan’s opening-nighter “Grace of Monaco” and Olivier Assayas’ “Clouds of Sils Maria”) are predominately English-language features with largely American and British casts, while “The Search,” from “The Artist” helmer Michel Hazanavicius, reportedly features a mix of English, French, Chechnyan and Russian. Meanwhile, in the festival’s Un Certain Regard sidebar, “Lady Chatterley” director Pascale Ferran’s “Bird People” is another hybrid English/French affair, with a cast that includes Josh Charles, Radha Mitchell and Clark Johnson.

 

On the one hand, this may seem fated in a year when reliable linguistic provocateur Jean-Luc Godard will be present in the Cannes competition with a film titled “Goodbye to Language.” On the other, this is nothing new: Assayas has competed at Cannes before with the partly English-language “Demonlover” (2002) and the largely English-language “Clean” (2004) and screened the polyglot TV miniseries “Carlos” out of competition in 2010. And Dahan followed up his Oscar-winning Edith Piaf biopic “La Vie en rose” with the English-language road movie “My Own Love Song,” starring Renee Zellweger, Forest Whitaker and Nick Nolte — but good luck finding anyone who’s seen it. (After flopping at the French box office, it was released directly to DVD in the U.S.) Even Assayas scored his biggest Stateside hit with the French-language “Summer Hours,” which grossed $1.6 million for IFC Films in 2009.

 

Indeed, while international action and genre directors like Germany’s Wolfgang Petersen and Roland Emmerich, Mexico’s Alfonso Cuaron and Guillermo del Toro, and France’s own Luc Besson have managed to transition seamlessly from their home turf to helming English-language blockbusters, the same sort of border crossing has always proved more elusive for arthouse auteurs drawn to challenging, character-driven material. Last year at Cannes, French director Arnaud Desplechin premiered “Jimmy P.,” an English-language drama on an American subject: the relationship between the maverick psychoanalyst Georges Devereux and a Native American WWII vet (played by Benicio Del Toro) suffering from PTSD. But despite Del Toro’s presence and generally admiring reviews, “Jimmy P.” barely made a ripple at the U.S. box office (where it grossed all of $25,000), whereas Desplechin’s previous film, the French-language dramedy “A Christmas Tale,” earned just over $1 million.

Of course, the reasons behind the choice of a given film’s language are many and varied, having to do with everything from subject matter to casting. But because America has long been (and remains for the moment) the world’s biggest producer and consumer of filmed entertainment, there remains a widely held industry belief that English-language films have a strategic commercial advantage in the marketplace. But the evidence doesn’t always support the claim. When French director Erick Zonka recruited Tilda Swinton for the lead role in his U.S.-Mexico border-crossing drama “Julia” (2008), it took the movie more than a year to trickle into a handful of American theaters (despite Swinton’s recent Oscar win for “Michael Clayton”). Which is nothing compared with the four years Belgian director Jaco Van Dormael had to wait to see his expensive English-language fantasy pic “Mr. Nobody” (2009) make a similarly low-key U.S. debut, on the heels of star Jared Leto’s “Dallas Buyers Club” Oscar buzz.

 

And the list goes on: From Antonioni (“Zabriskie Point”) to Bergman (“The Serpent’s Egg,” “The Touch”) to Haneke (the shot-for-shot “Funny Games” remake) to Truffaut (“Fahrenheit 451”), the history books are filled with English-language endeavors by world-class auteurs that failed to measure up, critically or commercially, to those movies made in the directors’ native languages. Adding a certain irony to all this is that in Europe, where local-language dubbing remains the cultural custom for most major territories, the English versions of such movies are little shown outside a handful of cinemas in major cities (like Berlin, Paris and Madrid) committed to screening “original version” prints with subtitles. (In France, it has been announced, none other than purported Francois Hollande mistress Julie Gayet will dub the voice of Nicole Kidman for the domestic “Grace of Monaco” release.)

 

Meanwhile, in the U.S., where dubbing fell out of fashion decades ago and has never mounted a comeback (despite Harvey Weinstein’s ill-fated effort to revive it for Roberto Benigni’s “Pinocchio”), audiences seem more comfortable than ever reading subtitles. When Quentin Tarantino’s “Inglourious Basterds” premiered at Cannes in 2009, some journalists hemmed and hawed that the film’s commercial fortunes would be limited by the fact that three-quarters of the dialogue was in French and German; in reality, the movie went on to become the biggest hit (domestic and international) of Tarantino’s career up to that point. And from “Crouching Tiger, Hidden Dragon” to “The Passion of the Christ,” “The Last Samurai,” “Slumdog Millionaire,” “Avatar” and “District 9,” subtitles have become increasingly common at the mainstream multiplex in the past two decades, with no audience revolt in sight.

 

Speaking to this critic last summer, “Fast and Furious” director Justin Lin noted that he had faced stiff studio opposition from Universal when he first proposed having legendary Japanese martial-arts star Sonny Chiba speak Japanese in 2006′s “Fast and Furious: Tokyo Drift.” But Lin won the battle, and when the movie was a hit, he faced no similar qualms about having large chunks of the Brazil-set “Fast Five” spoken in Portuguese. Similarly, taking its cue from “Slumdog,” the upcoming Disney baseball drama “Million Dollar Arm” allows its two main Indian characters to deliver most of their dialogue in Hindi. So it was especially surprising when Universal’s recent “47 Ronin” opted to have all its Japanese characters speak in halting, phonetic English — a decision that did little to bolster (and, perhaps, even hindered) the film’s U.S. box office fortunes.

 

One can even find subtitles on the smallscreen now, with Sundance Channel offering the French zombie series “The Returned” and Los Angeles’ KCET broadcasting the Danish political drama “Borgen.” And no less august an arbiter of the vox populi than Entertainment Weekly recently published a “beginner’s guide” to the best Korean-language TV dramas available on U.S. cable. Meanwhile, on the arthouse front, 14 of the 20 highest-grossing foreign-language imports of all time have been released in the U.S. in the last 15 years, including “Crouching Tiger,” “Hero,” “Amelie,” “The Motorcycle Diaries” and “Volver.”

 

There are few hard and fast conclusions to be drawn here, except that American audiences seem more willing than ever to embrace cultural and linguistic diversity as a cinematic norm, and less accepting of the old Hollywood convention by which everyone in every corner of the world happens to speak perfect, American-accented English (a convention followed, it must be noted, in some of the greatest films of all time, such as Ernst Lubitsch’s “The Shop Around the Corner,” which offered up Jimmy Stewart and Margaret Sullivan as clerks in a Hungarian novelty shop). There’s an old adage about film editing that says if the viewer notices the cuts, something is wrong. Perhaps the same can be said of subtitles, too.

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#REVOLUTION debarque en France sur les réseaux sociaux avec NT1 - Revolution - NT1

#REVOLUTION debarque en France sur les réseaux sociaux avec NT1 - Revolution - NT1 | (Media & Trend) | Scoop.it
Le vendredi 25 avril, à 20h45, la dernière série signée J.J. Abrams, REVOLUTION débarque en France. Dans la série, des personnes luttent pour survivre et retrouver leur proche quinze ans après un blackout qui a touché toute la planète. Et vous seriez vous prêt à vivre sans électricité ? Avant ce grand blackout que feriez-vous ?

 

Tous les jours, jusqu'à la diffusion de la nouvelle série inédite, les réseaux sociaux sont touchés par l'arrivée toute proche de Revolution. Déjà, la page Facebook et le Twitter de NT1 subissent des altérations, et ils perdront en intensité lumineuse jusqu'au blackout total le jour J, vendredi prochain. La communauté connaîtra ainsi des bugs de plus en plus importants !


Pour préparer les internautes à affronter ce monde post apocalyptique, la famille NT1 se mobilise et vous donne toutes ses astuces. Suivez toute l'actualité avant et après le blackout grâce aux #AVANT1BLACKOUT et #APRES1BLACKOUT sur les réseaux sociaux.
 

 

Et, pour profiter pleinement de votre nouvelle série, le replay de la série REVOLUTION sera exceptionnellement disponible en version française et version originale sous-titrée. Retrouvez des vidéos bonus des coulisses sur le site NT1.TV et sur l'application iPhone et iPad.



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Second écran et SocialTV : entre consolidations et changements stratégiques

Second écran et SocialTV : entre consolidations et changements stratégiques | (Media & Trend) | Scoop.it
Retour sur les principales annonces et sur les conséquences pour les marchés du second écran et de la SocialTV

 

Ces derniers jours, les annonces dans le marché de la SocialTV et du second écran se sont succédées à un rythme très important. Entre une consolidation attendue et des revirements stratégiques surprenants, le secteur dans son ensemble traverse une crise de jeunesse assez complexe. 

Retour sur les principales annonces et sur les conséquences pour les marchés respectifs.

Consolidation du marché « data analytics »

Fin mars, on apprenait que Mesagraph rejoignait Twitter. Son homologue britannique, SecondSync suivait le même chemin, le même jour. Dans la foulée, Twitter étendait son partenariat avec Kantar.

Le 2 avril dernier, c’est au tour de la société The Data Republic de passer sous le giron de Kantar. The Data Republic, société espagnole, édite la solution d’analyses sociales Tuitele (similaire à Mesagraph). 

Quand on sait que Twitter et Kantar se sont associés pour étendre un partenariat existant, on remarque que Twitter vient de « mettre la main » sur les principales sociétés européennes spécialisées dans l’analyse des données sociales TV. Mais alors, après la Grande-Bretagne, la France, l’Espagne … l’Italie sera-t-elle la prochaine cible de Twitter? Blogmeter?

Mise à jour 15/04/2014 – 15h45 : acquisition de GNIP par Twitter

Twitter continue ses achats avec celui de GNIP, un partenaire de longue date qui fournit des données sociales issues de Twitter aux divers acteurs du marché « Analytics ». Cette acquisition est une bonne réponse à celle effectuée par Apple sur Topsy en décembre 2013.

Twitter précise qu’ils souhaite « rendre plus accessibles nos données, et la meilleure manière d’y parvenir est de travailler directement avec nos clients afin d’avoir une bonne compréhension de leurs besoins ». Là encore, on constate que le nerf de la guerre est la donnée sociale tournant autour des programmes TV. 

Consolidation dans le middleware SocialTV

Dans la même période, Spredfast et Mass Relevance, deux sociétés américaines basées à Austin (Texas)ont fusionné. La solution de Mass Relevance, spécialiste de la curation de tweets, est utilisée par de nombreuses chaînes en France (TF1, D8, France Télé …)  et fait partie des solutions certifiées par Twitter. De son côté, Spredfast permet de monitorer l’activité digitale des entreprises.

Cette opération va permettre de mutualiser les compétences mais surtout de créer un acteur à dimension internationale.

Changements dans le second écran

En novembre 2013, i.TV faisait l’acquisition de GetGlue. i.Tv, une application de second écran, permettait de découvrir de nouveaux programmes, d’avoir des informations complémentaires et de transformer son smartphone en télécommande. GetGlue était une étoile montante du secteur, et reprenait le principe de Foursquare à savoir réaliser un « check-in » sur un programme et de partager son avis sur une plateforme.

Fin janvier 2014, cette opération se concrétisait en un changement de marque (TvTag) et une mutualisation des fonctionnalités.

Autre exemple … Zeebox, qui se voulait être une version améliorée de GetGlue,vient également de connaître un changement majeur de stratégie. L’application se nomme désormais Beamly et veut devenir une réseau social pour la TV et viser une cible féminine de moins de 35 ans. 

L’application voulait attirer les conversations sociales pendant la diffusion des programmes mais ses dirigeants se sont rendus compte que la plupart des utilisateurs utilisaient l’application avant et après avoir vu le programme. 

Globalement, ces applications de second écran semblent ne pas avoir réussi à trouver ou conserver leurs publics. D’autres ont été intégré à des solutions globales, c’est notamment le cas d’IntoNow. Cette application utilisait le microphone d’un smartphone (ou tablette) pour identifier le contenu regardé par un utilisateur sur sa télévision. Elle proposait alors de réagir à ce programme sur Facebook, Twitter… Elle pouvait également faire le lien avec les publicités regardées et le téléspectateur en envoyant des promotions directement sur le smartphone. C’est cette dernière fonctionnalité qui a intéressé Yahoo lors de l’acquisition de la solution.

Tous ces changements ressemblent beaucoup à un aveu d’échec. Il y a quelques semaines, un article titrait sur la fin de la SocialTV et du second écran. Il critiquait la gamification à la GetGlue (avec ses « badges inutiles »), l’illusion de la découverte de programmes à la Zeebox …

Aujourd’hui, on constate surtout que le secteur du second écran est encore dans le « gouffre » (chasm) décrit dans le livre « Crossing the Chasm » de Geoffrey Moore (résumé).

L’idée de ce livre est de dire qu’après avoir connu les premiers succès assez rapidement (premiers contrats, articles flatteurs …), les ventes d’une nouvelle solution commencent à stagner ou même à chuter.

En effet, pour Geoffrey Moore, il n’y a aucune continuité entre l’acheteur stratégique (early adopters) et l’acheteur conservateur (early majority) mais un gouffre. Ce dernier considère que l’acheteur stratégique n’est pas une référence valable. Pour diminuer ses risques, l’acheteur conservateur ne va acheter qu’aux leaders du marché, plus à même à proposer des références valides. La conséquence pour le nouveau produit est qu’il a très peu de chances dans ces conditions d’atteindre les « conservateurs » sans une position dominante sur le marché.

Dans le cadre du marché du second écran, on peut se demander si les applications développées par les chaînes TV et les producteurs n’ont tout simplement pas asphyxié ces sociétés. En France, le Social Player de Canal+ propose des fonctionnalités entre GetGlue, Zeebox, Facebook et Twitter. Le constat est identique pour Connect de TF1. La série The Walking Dead bénéficie d’un second écran dédié et très complet.

En changeant de stratégie, les applications cherchent à trouver la bonne offre mais surtout le caractère différenciant qui les rendra difficiles à copier ou à intégrer. Zeebox, Beamly désormais, essaye de capitaliser sur sa communauté et approche les influenceurs de sa cible (femme moins de 35 ans).

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Netflix s’envole en Bourse malgré la hausse de ses tarifs

Netflix s’envole en Bourse malgré la hausse de ses tarifs | (Media & Trend) | Scoop.it
La plateforme de vidéos en ligne Netflix a annoncé de meilleurs résultats trimestriels que ceux estimés. Un succès que la société souhaite confirmer par une hausse du prix de l’abonnement.
 

Les trimestres se suivent et ne se ressemblent pas pour Netflix. Lors de la présentation de ses résultats du premier trimestre, le service de streaming vidéo a annoncé qu’il allait augmenter ses tarifs pour faire face à l’augmentation de ses coûts et aux lourds investissements consentis sur la production de programmes originaux. Les abonnés actuels de Netflix continueront de payer environ 8 dollars par mois, mais ce tarif sera revu à la hausse avant l’été pour les nouveaux utilisateurs, de 1 ou 2 dollars.

Mais, si la précédente hausse de prix en 2011 avait provoqué une mini-crise avec une baisse du nombre d’abonnés et une chute du cours, cette fois, les marchés ont accueilli la nouvelle favorablement. Mardi, l’action a ouvert en hausse de plus de 7 % sur leNasdaq. Et la plupart des analystes ont revu à la hausse leurs objectifs de cours et leurs prévisions de croissance pour la société.

Il faut dire que Netflix a, pour le deuxième trimestre consécutif, battu le consensus. La société californienne a enregistré 4 millions d’abonnés supplémentaires lors des trois derniers mois, portant sa base d’utilisateurs à 48,3 millions, quand le marché s’attendait à un ralentissement de la croissance. Elle a également publié un chiffre d’affaires de 1,27 milliard de dollars sur le premier trimestre, quand les analystes tablaient sur 1,26 milliard et un résultat net de 53 millions de dollars, là encore au-dessus des prévisions.

Pour la France, c’est confirmé

Autre point de satisfaction pour les investisseurs par rapport à la situation de 2011 : l’internationalisation du concept semble fonctionner. Netflix a indiqué que ses activités internationales étaient sur le point d’atteindre la rentabilité dès cette année, mais qu’il allait continuer à investir pour lancer son service sur de nouveaux marchés. Lors d’une réunion avec les analystes, le directeur des contenus, Ted Sarandos, a même, pour la première fois, confirmé le lancement prochain de Netflix en Allemagne et en France.

Il a ajouté que le service proposerait « des séries en première mondiale en France, en Allemagne et sur d’autres marchés européens », sans confirmer la date de lancement.Netflix est toutefois attendu en France en septembre et devrait opérer depuis le Luxembourg pour éviter une réglementation française trop contraignante.

Reste à savoir si la hausse des prix aura un impact sur sa future croissance. Pour justifier la différence, Netflix devrait lancer de nouveaux programmes et services dans les mois à venir. Il va ainsi accélérer la production de contenus originaux : la deuxième saison de « Orange is the new black » est prévue, par exemple, le 6 juin. Il va enfin augmenter son offre de contenus en 4K, l’ultra-haute définition.

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Netflix, vu par des créateurs de séries déjà concernés par Netflix

Netflix, vu par des créateurs de séries déjà concernés par Netflix | (Media & Trend) | Scoop.it

est désormais un fait: Netflix arrive en France. Et, comme l'explique près d'un article par jour depuis des mois, les différents acteurs français de l'audiovisuel s'en effraient.

 

La France, dont le système de l'exception culturelle (que saluent beaucoup d'étrangers) permet la préservation d'un audiovisuel extrêmement divers, a des raisons d'avoir peur. Les chaînes, les producteurs craignent notamment une remise en cause de la chronologie des médias, qui régit l’ordre d’apparition d’un film sur différents supports (un principe qui n'existe que très rarement ailleurs, et sous des formes différentes). Ils craignent aussi la remise en cause de l'obligation des chaînes et plateformes Internet de participer au financement de la création française. 

 

Néanmoins, se pencher sur les avis des protagonistes étrangers sur l'installation de Netflix dans leur pays, après la création de la plateforme aux Etats-Unis en 1997 –à l'époque uniquement physique, fonctionnant par l'envoi de DVD– permet d'enrichir le débat en France, et de remettre en perspective certaines craintes.

 

A l'occasion du festival de séries Séries Mania, à Paris, qui débute ce 22 avril, Slate s'est donc entretenu avec un showrunner, deux scénaristes et une productrice venus de pays où Netflix est déjà installé, et dont les séries seront présentées cette semaine au Forum des Images. Deux viennent de Grande-Bretagne, où Netflix est arrivé en 2012 et où le nombre d'abonnés est estimé à plus d'1,5 million. Deux du Canada, premier pays où Netflix s'est exporté, en 2010, et où le nombre d'abonnés est estimé à 5,8 millions (environ un habitant sur six). Dans ces pays, pour l'instant, Netflix n'est que diffuseur, la plateforme n'y produit pas encore de contenus originaux.

 

Bryan Elsley, showrunner. Créateur de Skins (2007), et de Dates(2013) • Grande-Bretagne



«Je pense que l’arrivée de Netflix en Grande-Bretagne a été une très bonne nouvelle, et je suis navré d’apprendre que les Français s’en inquiètent. Nous vivons une période où les modes de consommation du divertissement se répandent sur de plus en plus de plateformes. Ce qui signifie simplement de plus en plus de possibilités de voir de la fiction. Netflix n’est rien d’autre à mes yeux qu’une nouvelle chaîne, qui accroît la diversité.

 

Il est vrai que Netflix peut fragiliser les chaînes traditionnelles. Dès son arrivée en Grande-Bretagne, elle a annoncé vouloir concurrencer Sky par exemple [bouquet de télévision par satellite britannique qui a aussi sa plateforme de streaming]. Mais les fragiliser n'est pas forcément une mauvaise chose. Cela peut provoquer une certaine émulation, un électrochoc, pour que les acteurs traditionnels bougent un peu plus vite et épousent plus rapidement les nouveaux modes de consommation. 

Netflix a le poids nécessaire pour les inquiéter, mais pas encore celui qu’il faudrait pour les détruire. Ça crée une fenêtre de tir pour les chaînes traditionnelles, pour qu’elles modifient leur manière de voir les choses, sortent un peu de leur carcan. Et je crois que Netflix a déjà ce pouvoir libérateur.

 

On voit en Grande-Bretagne que l’industrie de la télévision cherche de nouvelles idées pour satisfaire le public, et Netflix les a poussés à chercher ça. Sky et la BBC se démarquent dans ce champ d’innovation. [Le système de rattrapage de programmes de la BBC met en ligne les programmes plus longtemps, par exemple, s’approchant de Netflix. Ou Sky a encore baissé ses tarifs de SVOD pour être compétitifs vis-à-vis de Netflix.]

 

Mais ce qui est sûr, c’est que Netflix ne doit pas écraser tous les systèmes et toutes les particularités. La diversité, en Grande-Bretagne comme en France, est une condition sine qua non pour créer de la bonne fiction. Et les Américains ont aussi tout avantage à ce que leur fiction ne prenne pas le pas sur toutes les autres.»

 

Tony Grisoni, scénariste. Il a notamment co-écrit Las Vegas Parano et Tideland, de Terry Gilliam. Plus récemment, il est l'auteur de la mini-série Southcliffe • Grande-Bretagne

 


 

 

«Je trouve que ce qui est intéressant dans ce débat autour de Netflix, c’est qu’outre le fait que l’entreprise veut s’implanter dans le plus de pays possibles, et se développer, on sent la demande des spectateurs. Ils ne se contentent pas de consommer ce qu’on leur donne, ils sont en demande, ils impulsent les changements. Et ça c’est très récent. Et de la même manière que les gens veulent des plateformes de streaming, ils veulent choisir quand ils regardent quoi, et non plus s’asseoir devant la télévision pour consommer ce qui passe.

 

Pour être honnête, moi-même je ne regarde plus la télévision au moment où c’est diffusé. J’achète des coffrets DVD, je télécharge. Et j’aime consommer ainsi librement, le plus possible. Je vois bien, via des amis musiciens par exemple, que le téléchargement illégal, les nouveaux moyens de consommation, les empêchent de toucher les revenus qu’ils auraient eus avec des moyens de consommation plus traditionnels. C’est un problème, mais c’est comme ça. Je ne crois pas que légiférer “contre” Internet soit la solution. Empêcher les gens de regarder ce qu’ils veulent au moment où ils le veulent, sans suivre la chronologie des médias par exemple, n'est pas la solution.

 

Netflix favorise le binge-watching et c’est un mode de consommation de la télévision qui me fascine. Ça me fascine de voir ce lien que les spectateurs entretiennent avec les personnages. Ils deviennent des personnes. Vous allez prendre un café avec un ami, vous allez parler d’eux. Et un accord se met immédiatement, tacitement en place pour ne pas spoiler l’autre. Le spoiler devient le tabou ultime.

 

Et vous consommez les séries comme de la drogue. Vous mettez un épisode, mais ce n’est pas assez. Vous en lancez un deuxième, puis encore, parce que vous n’avez jamais votre dose. Vous buvez un verre en même temps, parce que ça va parfaitement ensemble, et puis vous vous endormez. Vous vous réveillez sans bien savoir où vous en êtes, à quelle saison. La nuit suivante, vous recommencez.

 

Moi j’aime de plus en plus les séries. Je n’écris presque plus que ça. Les films me paraissent trop courts désormais.

 

Et si Netflix se met à produire de plus en plus de séries [originales, comme House of Cards ou Orange is the New Black], moi je ne le vois pas comme une menace pour les autres chaînes mais comme un nouvel acteur dans la production. Donc plus de séries possibles. Netflix n’est pas la même chose que BBC 2 ou Channel 4. Ils ne vont pas se dévorer les uns les autres, ils vont apporter d’autres sortes de séries, d’autres idées.

J’ai travaillé avec Channel 4 notamment. Ils ont accepté de prendre des risques énormes. Bien plus grands que je n’aurais cru. Je leur ai dit:

"Je veux écrire une histoire qui se passe dans un petit bourg anglais. Je sais qu’il y aura une fusillade. Mais ce qui m’intéresse c’est le sens du deuil, les questions que les personnages vont se poser. Mais je ne sais pas encore ce que ce sera, ce qui se passera, parce que je veux d’abord rencontrer des gens à qui c’est arrivé. Et je ne sais pas combien d’épisodes il y aura."

Et ils ont passé commande sur ça!

 

D’après ce qu’a dit Kevin Spacey dans son discours sur Netflix [au festival de télévision d'Edimbourg, en Ecosse en 2013], Netflix aussi a fait preuve d’une sacrée audace en y allant sur House of Cards, sans faire de pilote, en commandant la série entière d’un coup. Des gens qui prennent des risques comme ça, il n’y en aura jamais trop sur le marché.»

François Létourneau, scénariste et comédien. Il a notamment co-écrit Les Invincibles. Il est aussi l'auteur de Série Noire • Canada

 



«Comme spectateur, je suis ravi de l’arrivée de Netflix au Canada, je regarde des séries dessus. Mais surtout, en tant qu’auteur, nous aurions besoin d’une plateforme moderne qui nous produise, [alors que Netflix ne produit pas encore de séries originales au Canada, il se contente d'être un diffuseur].

 

Ma dernière série, qui s’appelle Série Noire, vise un public plutôt jeune. Elle a été diffusée à la télévision, sur Radio Canada (groupe audiovisuel), mais aussi sur Internet, sur une plateforme similaire à Netflix, qui s’appelle Tou.tv, et qui appartient à Radio Canada. Et c’est surtout sur Internet qu’elle a très bien fonctionné. Sauf que nous avons un problème: au Canada, les cotes d’audience se calculent le lendemain de la diffusion télévisée en direct. Et nous, elles n’étaient pas très bonnes parce que les gens regardaient sur tou.tv et que ce n’est pas vraiment comptabilisé.

Ça paraît absurde qu’à une époque où la façon de consommer la télévision est en train de changer, où les gens veulent regarder les séries en rafale [binge-watching], la consommation sur Internet soit mal comptabilisée. Mais c’est un problème parce que les diffuseurs se fondent sur ces cotes d’audience pour financer la série. Et ils vont peut-être donc interrompre le financement. Sans compter que les budgets de Radio Canada, gros investisseur de la fiction canadienne, sont menacés par le gouvernement conservateur d’Ottawa.

 

Et on se dit si SérieNoire ne revient pas sur Radio Canada, est-ce que Netflix ne pourrait pas nous produire? Eux seraient adaptés à notre public en ligne. Et ils savent produire des séries; tou.tv diffuse, mais ne produit pas.»

 

Joanne Forgues, productrice. Elle a notamment produit Les Invincibles, Les Rescapés et Série Noire • Canada

 

 

 

«En fait, Netflix n’a pas changé grand-chose pour le Canada. C’est juste une chaîne supplémentaire, les jeunes qui n’ont pas de télévision y regardent les séries américaines.

 

Mais nous avons un système qui ressemble à la chronologie des médias française, sauf qu’elle est simplement un usage, résultant de la volonté des diffuseurs [au lieu d’être régie comme en France d'abord par la loi puis par des accords interprofessionnels]. Au Canada, chaque diffuseur qui finance une série décide ensuite de la chronologie de l’œuvre, et Netflix n’a pas forcément obtenu des diffuseurs d'avoir un accès précoce pour la diffusion, donc on n'y trouve pas les séries canadiennes les plus récentes. 

 

Chez nous, la chronologie des médias est quand même en pleine évolution, indépendamment de Netflix. Par exemple, Série Noire, série que je produis, a été diffusée de janvier à fin mars 2014 au Canada et le DVD sort en mai. Alors que quand j'avais produit Les Invincibles[2005], nous avions attendu 18 mois entre la diffusion télé et la sortie DVD.

 

Simplement parce que nous pensions, le diffuseur et nous, que c’était la meilleure stratégie. Maintenant, on se rend compte que des sorties quasiment parallèles sur les différents supports, c’est plus intéressant. Notre chronologie des médias est en train de disparaître, mais ce n’est pas du tout du fait de Netflix, simplement de notre meilleure compréhension du marché, des publics.

 

C’est un changement naturel qui va avec celui des nouveaux usages.

La seule chose qui m’inquiète avec Netflix finalement, c’est la qualité du sous-titrage. Nos séries québécoises sont sur Netflix, comme Les Invincibles, mais nous n’avons pas le contrôle de la traduction. On ne sait pas qui sous-titre, mais manifestement quelqu’un qui ne comprend pas très bien le français et parfois il y a des contresens étonnants. J’en ai parlé à la société des auteurs au Québec, en demandant de faire pression pour que les traductions soient meilleures. Je pense que toutes les séries francophones ont le même problème. Netflix a fait savoir qu’ils feraient attention, mais pour l’instant rien n’a changé.

 

Si j’étais à la place des Français c’est de ça que je m’inquiéterais: le sous-titrage. C’est une chose sur laquelle il faut être exigeant.»

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Netflix Beats Expectations With 4M New Subscribers, Earnings Of 86 Cents Per Share | TechCrunch

Netflix Beats Expectations With 4M New Subscribers, Earnings Of 86 Cents Per Share | TechCrunch | (Media & Trend) | Scoop.it

Netflix today released its first-quarter financial results, with the company beating analyst expectations. For the first three months of the year, the company reported earnings of 86 cents per share on revenues of $1.27 billion.

 

Earnings were above analyst expectations of 83 cents a share, while revenues were in-line with the $1.27 billion Wall Street forecast for the quarter. In last year’s first quarter, Netflix earned 5 cents a share on $1 billion in revenue.

 

From January through March, Netflix gained 2.25 million domestic subscribers, bringing the total to 35.7 million. That was in line with the company’s forecast 2.25 million new domestic subscribers from the last earnings announcement. On the international side, Netflix added 1.75 million subscribers, which was above its estimate of 1.6 million.

On the international front, Netflix said that it ultimately expects non-U.S. subscribers to surpass those in its home market at some point. Today, international accounts for 25 percent of its streaming revenues. The company also said that the international business is on pace to achieve profitability, but that its plans to expand will keep that segment at a loss for the time being.

 

Netflix growth has remained steady as the company continues to add new original series, while also releasing new seasons of series its viewers already know and love. In the first quarter, that meant the release of second season of Emmy-winning series House Of Cards, which was the first of its originals to be announced.

 

It’s coming out with its second season of successful series Orange Is The New Black, as well as new Hemlock Grove and Derek episodes coming soon. It’s also added series like kid-focused Marco Polo, Marvel’s Daredevil, Wachowski sci-fi drama Sense 8 from the Wachowskis, and action-drama series Narcos from Brazilian director José Padilha.

At the same time, Netflix has been working to improve its quality of service from a technical perspective. It recently added 4K video streams for some titles, for instance.

 

The most significant move, however, was a deal it struck with Comcast that enables adirect connection between the two at the transit layer and cuts out third-party middle men. While the deal wasn’t expected to impact the company’s earnings, it did cause streaming speeds to improve by 65 percent after the connection was in place.

Investors applauded the earnings announcement, sending shares up more than 5 percent in after-hours trading.

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Why Netflix Stands Alone Against The Comcast-Time Warner Merger

Why Netflix Stands Alone Against The Comcast-Time Warner Merger | (Media & Trend) | Scoop.it
There's been nary a word on the record from Viacom, from Disney, from Twenty-First Century Fox.

 

In Netflix’s letter to shareholders on Monday, CEO Reed Hastings took his strongest stand yet against the massive cable merger between Comcast CMCSA +1.88% andTime Warner Cable TWC +1.34%.

There are other voices speaking out, from consumer groups to politicians (most notably Minnesota Senator Al Franken), but Netflix NFLX +7% is surprisingly the only content company willing to go to bat against the mega-merger. Or maybe not that surprising. Here’s what Hastings and CFO David Wells wrote:

The Internet faces a long term threat from the largest ISPs driving up profits for themselves and costs for everyone else as detailed in our recent blog post.

If the Comcast and Time Warner Cable merger is approved, the combined company’s footprint will pass over 60 percent of U.S. broadband households, after the proposed divestiture, with most of those homes having Comcast as the only option for truly high-speed broadband (>10Mbps). As DSL fades in favor of cable Internet, Comcast could control high-speed broadband to the majority of American homes. Comcast is already dominant enough to be able to capture unprecedented fees from transit providers and services such as Netflix. The combined company would possess even more anti-competitive leverage to charge arbitrary interconnection tolls for access to their customers. For this reason, Netflix opposes this merger.

The idea that the new, bigger Comcast will have increased leverage over content companies isn’t new — it applies to both online media and television networks — but only one of the two is making any noise. There’s been nary a word on the record from Viacom VIAB -0.34%, from Disney, from Twenty-First Century Fox .

Those companies have plenty to lose if the merger is approved. They all routinely renegotiate carriage deals with cable providers like Comcast and Time Warner, and increased leverage on that side will inevitably leave content companies in a weaker position.

But the difference that at the end of the day, while a company like Disney has to negotiate with Comcast over fees for carrying ESPN and its other networks, the two are more like partners than competitors. Both sides succeed by working together — Disney gets billions of dollars from Comcast, and Comcast turns around and gets billions of dollars more from their TV customers. The negotiating table may be adversarial, but both sides have a stake in the status quo.

Netflix, on the other hand, has nothing invested in keeping cable companies happy or profitable. ISPs may stream Netflix’s content over their pipes, but the two sides are natural competitors in the video space — where cable companies make their main profits. It’s no coincidence that Comcast’s positive recent earnings statements have hinged on bucking the trend of declining video subscribers. The more cord-cutters Netflix inspires, the worse it is for Comcast.

Hastings would rather see cable TV blown up and all content distributed online through “dumb” pipes. As long as cable TV remains dominant, Netflix’s 30% of the country’s Internet traffic is at risk simply because it has to rely on gatekeepers who are also competitors. That became obvious last month when Netflix shares sank after a report revealed that Comcast and Apple were conducting secret talks to integrate services. Here’s the performance of both stocks since the merger agreement was announced:

In a message of its own yesterday, Comcast SVP Jennifer Khoury fought back:

Netflix is free to express its opinions.  But they should be factually based.  And Netflix should be transparent that its opinion is not about protecting the consumer or about Net Neutrality.  Rather, it’s about improving Netflix’s business model by shifting costs that it has always borne to all users of the Internet and not just to Netflix customers.

Whichever side you come down on, Khoury is certainly right that Hastings wouldn’t be speaking out if it wasn’t in Netflix’s best interest. Unlike the other content providers, Netflix’s business model automatically makes an adversary out of a large ISP and TV provider like Comcast. Which is also why we likely haven’t heard the last of this growing feud.

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Hollywood Begs for a Tax Break in Some States, Including California

Hollywood Begs for a Tax Break in Some States, Including California | (Media & Trend) | Scoop.it
A battle for filmmaking tax credits has begun in several states — including in California, the home of Hollywood — and has led to cutbacks in others like Maryland.

 

LOS ANGELES — The San Fernando Valley has served as home to award-winning movies like “E.T.,” “Boogie Nights” and “Crash.” But Raul Bocanegra, a state lawmaker representing a large swath of the valley, worries about the collapse of film and television production in his district and across Hollywood’s home state.

 

“There was a time when we actually made things,” said Mr. Bocanegra, referring to the automobile and aerospace manufacturing plants that have left California.

 

“Now, we make films here,” he said. “If we’re not careful, we will lose it.”

Mr. Bocanegra is leading an aggressive push, along with entertainment companies and Hollywood unions, to hand out as much as $2 billion in new tax breaks to increase movie and television production in California, which has lost business to states like New York with far more generous subsidies. Last year, for the first time, more studio movies were filmed in Louisiana than in California, according to the nonprofit FilmL.A.

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But tax credits for Hollywood, a glamorous and mostly thriving industry, are not an easy sell. While California allots about $2 billion in annual general credits to state businesses for research and development, few if any industries have enjoyed state largess as big as the entertainment sector. And the recent arrest of a California state senator accused of accepting bribes in exchange for supporting film credit legislation has provided further ammunition for opponents of the program.

 

“I’m not a fan of tax credits in general,” Senator Lois Wolk, who leads the state Senate’s governance and finance committee, said in a statement that signaled opposition to the push. “In fact, I’m a real skeptic of all of them and have done everything possible to limit their size and duration.”

It is not just California. Lawmakers across the country are wrestling with the efficacy of these programs and how generous they should be in luring film and television production to their states.

 

Nationwide, about $1.5 billion in tax breaks is awarded to the film industry each year, according to a 2012 survey by The New York Times. Several tax policy groups oppose film incentives; a 2010 report by the nonprofit Tax Foundation said states justified them using “fanciful estimates of economic activity” and they largely just shift production from one sector to another without producing a net increase in economic activity or employment. (In a letter, California’s legislative analyst in 2012 told lawmakers that varying methodology and special circumstances in California diminished the reliability of often-conflicting studies.)

In Maryland this month, a $3.5 million tax credit proposal to support the “House of Cards” TV series, which is filmed in and around Baltimore, failed a vote in the Legislature. The makers of “House of Cards” had previously threatened to move to another state if they didn’t receive sufficient incentives. Maryland’s governor, Martin J. O’Malley, is working with the show to reach an agreement, said a press officer for the governor.

 

Critics in Minnesota have called for dismantling the state’s small incentives program, which was recently scheduled for a legislative audit of its effectiveness. The new television series “Fargo,” set in Minnesota, is being shot in Alberta, Canada, with a lift from incentives there.

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A coast-to-coast duel erupted after CBS named Stephen Colbert its new “Late Show” host, with Eric Garcetti, the mayor of Los Angeles, lobbying for the show to move to Los Angeles and the New York governor, Andrew M. Cuomo, calling for it to remain in New York. New York recently lured NBC’s “Tonight Show” from Burbank to Manhattan with a tax credit that has been valued at $20 million a year.

 

In California, a new law would expand the film credit program to cover not only smaller films and new TV series as it does now, but also major studio productions that cost as much as $100 million, and expensive, established television shows.

 

The bill, co-sponsored by Mr. Bocanegra and Mike Gatto, both Democratic legislators in California’s State Assembly, has been criticized by the California School Employees Association and the California Teachers Association. Pointing to what they said were $20 billion in cuts to state support for education in the last several years, the teachers’ group said in a statement, “Tax credits for special interest groups, corporations and others have, over the last decade, depleted our general fund of billions of dollars.”

 

Supporters of the proposed increase in tax incentives for Hollywood point to a report published by the Milken Institute in February noting that California lost more than 16,000 production jobs since 2004, while other states with substantial subsidy programs, including Texas and North Carolina, together gained that many, and more.

 

Louisiana last year served as the location for 18 of 108 feature films, versus 15 in California, according to FilmL.A., which monitors film permits in Los Angeles County. Los Angeles logged about 7,000 feature film location shooting days last year, down 50 percent from a 1996 peak of roughly 14,000 days, while television dramas were shot on location here for about 4,100 days, down 39 percent from their recent peak in 2008.

 

“This iconic California industry is at a tipping point from which it might not return,” Kathy Garmezy, a senior executive at the Directors Guild of America, said last week.

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But public talk — “We’re going to Sacramento and storming that place like never before,” Mr. Garcetti said recently — has been the loud part of a mostly quiet campaign. And there are some hitches and obstacles in the existing laws that might yet keep producers from tapping California tax credits for their big movies or TV dramas like “Boardwalk Empire” and “The Good Wife,” which have already gone elsewhere.

 

One complication is that an existing, smaller incentive program in California — it is helping to underwrite the “Entourage” movie and the cable series “Major Crimes” — will exhaust all of its $100 million-a-year funding in June 2015, though the program technically exists for two years beyond that. That funding gap results in part from practices that have accelerated the assignment of some credits.

 

California’s proposed five-year credit program would kick in on July 1, 2016. But its backers, including Kenneth Ziffren, director of the Los Angeles entertainment industry and production office, fret that a rule barring overlapping laws could prevent the granting of new credits until the old program expired a year later, leaving California exposed to competitors.

 

“We’d be a year behind, as it is, and the legislation in its current form won’t kick in for two years,” Mr. Ziffren said. Lawmakers will find a way to close the gap, Mr. Bocanegra said.

 

Bargaining over the size of the new tax credits program is most likely to begin next month, after delivery of a revised proposal for next year’s state budget. Supporters of film credits are hoping ultimately to get the assent of Gov. Jerry Brown, who earlier this year proposed a budget with roughly $4 billion in various reserves. To date, the governor has taken no public position on the tax credit.

 

The proposed enhanced tax incentives will face a serious test in the California State Senate, which was recently stung by the indictment of Ron Calderon. Mr. Calderon has pleaded not guilty to charges that, among other things, he tried to peddle his influence over film subsidies to an undercover F.B.I. agent posing as a Hollywood executive.

 

“It certainly casts a dark cloud over the whole subject,” Ms. Wolk, the state senator, said in her statement. “We should not be considering a renewal or expansion of the very same legislation that was and may still be at the center of an ongoing F.B.I. investigation into corruption in the Legislature.”

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YouTube gets original

YouTube gets original | (Media & Trend) | Scoop.it

 

With YouTube channels and their content providers toasted as the talk of MIPTV last week, multichannel operators, TV producers and analysts tell Jesse Whittock why original content is the key to monetising the emerging YouTube ecosystem.

 

Question: What do a hyperactive Swedish video gamer, a geeky American comic duo and  DJ Avicii have in common? Answer: They all featured on channels in the roster of top ten YouTube subscription networks in March 2014, according to data from social analytics website Social Blade.

 

Sweden’s PewDiePie was until very recently the most popular channel on the Google-owned platform, with nearly 25 million subs and more than 3.8 billion views for Felix Kjellberg’s video game commentaries. Ian Andrew Hecox and Anthony Padilla, better known together as Smosh, have 17 million subs and three billion-plus views, while Swedish DJ Avicii’s official Vevo page has nearly a billion views.

If pure numbers were the only metric, you could argue that these three channels are far more valuable to advertisers and content distributors than CBS, ITV or TF1 could ever be. However, YouTube’s ecosystem is not yet at a stage where it threatens to replace linear TV.

YouTube is still often thought of a schizophrenic mess of random user-generated video and cute animal montages, but for the platform’s owner, Google, and the wider community of digital content producers, that is just scratching the surface.

In October 2011 YouTube announced that it would fund 100 professionally produced channels in the US as part of a US$100 million push to make the platform a genuine contender in the growing digital video network sector. Funded channels later launched in the UK, France and Germany. Meanwhile, as this was happening, MCNs (multichannel networks) including Maker Studios, ChannelFlip, Base79 and Diagonal View were emerging – aggregating hundreds and in some cases tens of thousands of channels of content  from professionals and bedroom stars and finding ways to turn click-throughs and young platform-agnostic eyeballs and meaningful revenues and into effective partnerships with brands.

All this was compounded last month when it emerged Disney that had agreed to buy PewDiePie operator Maker Studios in a deal that could eventually be worth US$950 million. Yesterday (April 14), film firm Relativity Media threw its hat in the ring, attempting to hijack the deal with its own near-billion-dollar deal. Maker’s shareholders meet today to discuss the Disney deal.

“People are starting to realise that there are specific clusters of YouTube audiences that you can target in certain ways, and specific demographics who don’t watch as much TV  any more whom you can communicate with through social media in a very effective way,” says Claire Tavernier, interim managing director of Shine Group-owned ChannelFlip.

Former FremantleMedia digital chief Tavernier joined ChannelFlip this year after the departures of co-founders Justin Gayner and Wil Harris, taking charge of the business’s 200-plus channels and production assets. The firm has produced channels for Ricky Gervais and online series for UK stars David Mitchell (best know for Peep Show), Richard Hammond (Top Gear) and Harry Hill (Harry Hill’s TV Burp).

“The content needs to be commercially viable,” says Tavernier. “It’s not the only thing to consider – it needs to feel like it fits our brand – but at the end of the day we take on projects that are going to be profitable.”

 

Television producers are fast coming round to Tavernier’s way of thinking and increasingly making businesses out of their content. Barcroft Productions, a London-based indie known for current affairs and documentaries, began using YouTube as a platform for video segments it made for magazine and news programmes.

“All of a sudden, as our white-label video content grew, we started to realise more buyers were finding our content via YouTube than via our [content] sales team. We clocked the fact it could be a great shop window for our content,” says company founder Sam Barcroft.

Soon it became apparent that B2B sales weren’t the only new revenue stream. “The by-product was we started building a B2C audience because people started wanting to see what we were putting out,” says Barcroft (right).

The firm began drawing revenues from advertising and soon joined the Rightster MCN. More money went into carefully curated exclusive shortform productions – there are now around five uploads a week – and at for a week at Christmas last year, Social Blade stats showed Barcroft overtook the One Direction and The X Factor channels as the most watched YouTube channel in the UK. “It made for a great Christmas work party,” says Barcroft.

The firm has even had Discovery Networks International commission warm-hearted factual series Preposterous Pets, which was pitched with footage and data from the YouTube network.

Like Barcroft, US-based music video business Vevo, which operates channels for popular music acts, targets a young Millennial audience. “Traditional TV is increasingly irrelevant for younger audiences who are turning to online, mobile and TV apps at a very high rate,” says Vevo’s chief revenue officer Jonathan Carson. “Vevo reaches as many Millennials as the biggest TV networks.”

Music videos are the bread and butter of the Vevo business model, but it is increasingly creating its own live concert events and original lifestyle programming. “Our original programming strategy is to produce content that helps viewers and brands connect with other lifestyle passion points,” says Carson. “Where it’s fashion, sports, food, travel – music touches everything that we do, every day.”

Meanwhile, traditional programme makers have identified an opportunity to use their TV brands to target online audiences. Unscripted prodco Zig Zag Productions recently partnered with online operator Diagonal View to launch a magic-themed YouTube channel, All Time Magic, after a spate of commissions around the theme that saw Channel 4 pick up Troy and Discovery channels in EMEA go forClose Up Kings.

“We’ve become a bit of a magic magnet, and young talent is approaching us,” says Zig Zag CEO Danny Fenton. “It felt like a great opportunity to launch a YouTube channel showcasing them.” Zig Zag is producing 30 minutes of original content a week for the channel, which now forms part of Diagonal View’s ‘All Time’ channels bouquet. Talent includes South Londoner Troy (left), ‘adrenaline magician’ Gerry Sims and Ranjit Singh.

“We self-funded the channel with Diagonal View, and because they’ve got the experience and other channels to cross-promote it, we think of it as educated risk,” adds Fenton. “We’ve learned quickly that a TV production company has to learn to make content for different platforms. That’s not to say we’re going to drop the quality of productions, but we have to make content with a shortform focus in a more cost-effective manner.”

Meanwhile, kids TV producer and IP owner Coolabi sees YouTube as an opportunity to reinvigorate its classic brands, which include Purple Ronnie and Bagpuss. The firm has partnered with Little Dot Studios – the multiplatform channel operator All3Media’s ex-interactive boss Andy Taylor launched last year – to create a bespoke Purple Ronnie channel.

“Content on YouTube is highly shareable and is available on every platform, which helps to future-proof and make the most of the shift to mobile viewing,” says Naomi Dare, the firm’s head of digital. Furthermore, “What helps is that kids’ content tends to be shorter than traditional TV, which is much better for viewing on YouTube,” she adds.
Coolabi is also planning strategies for the Bagpuss, Clangers (which is soon to return to television) and Ivor the Engine brands.

Dare says Coolabi’s channels primarily act as a marketing tool and a way of forming relationships with highly invested consumers, while Zig Zag’s Fenton contends that “the quickest way to profitability is to have multiple channels” and is therefore planning more networks before long. “The economies of scale are there if you can get there quickly,” he says.

Preposterous Pets

As most content creators have found, YouTube is a young person’s medium. Research from the Interactive Advertising Bureau, which organises New York’s Digital Content Newfronts (see box), last year released a report revealing that a massive 45 million viewers were watching originally produced professional digital video in the US every month. Within this number, young adults (18-31) accounted for 31% of all views, markedly higher than other demographics.

As Sherrill Mane, senior VP, research, analytics and measurement at the IAB notes, quoting a separate Nielsen report, “The lightest TV viewers consume the most original online video”.

“Look at how Netflix has changed the way people view the TV experience: the notion of binge viewing didn’t exist until recently,” she adds. “It’s more important than ever to think about sequencing, distribution and windows. There’s a whole generation who grew up in the digital media era and they don’t care about the TV schedule.”

Ironically, one group that does care about the TV schedule is the executives overseeing YouTube channels, as newly created Defy Media’s executive VP Barry Blumberg explains. “Our brands are built with intelligent design from the beginning. They are managed in the same way a television network.

“A lot of traditional rules apply – respect your audience, give them regularly scheduled programming, extend your brand into areas where your audience has affinities, and you want to keep your guys motivated and fresh.”

Defy, which came into being in October 2013 upon the merger of digital content companies Break Media and Alloy Digital, operates comedy hub Smosh, a YouTube channel consistently among the site’s most popular.

The network, which launched on the Google platform in 2005, has always benefited from investment and professionally produced content. In March, it uploaded a pair of new series, 16 Bit High, featuring video game characters such as Mario dealing with the dramas of a regular high school, and Honest Game Trailers, which puts a cheeky spin on game commercials through snarky voiceovers. “Both are steps forward from the content we’ve been producing for the channel,” says Blumberg.

Sam Barcroft agrees that treating a YouTube channel with the care an exec would for a television channel yields rewards. “We try to put out a video each day of the week between 45 seconds and four minutes long. The consistency is really important, because the YouTube algorithm rewards a certain type of production value. These are things TV producers wouldn’t get excited about – careful metadata captions and information, good titles and strong thumbnails.”

Learning the “grammar” of YouTube and correctly identifying how much to invest in original content are the main challenges to successfully running a YouTube channel, Barcroft adds. “Online video is entirely different to a TV or news production because it is consumed in an entirely different way – I always say, only half joking, that most videos are watched on the loo.”

Barry Blumberg

Though YouTube as a platform has been an excellent partner for producers, the Google firm’s own track record in the originals space is mixed. Its multi-million-dollar original channels investments, first announced in 2011 for the US and later expanded into Europe, have been scaled back, with insiders referring to the initiative move as simply “proof of concept”. YouTube’s dedicated Originals page was taken down in November, but YouTube reps say many of the channels are successful, with the top 25 averaging more than 5.3 million views a week, and that 115 have more than 100,000 subs – placing them in the top 2% of channels.

YouTube is now more interested in those ‘home-grown’ stars whose channels have millions of viewers. It has production bases in LA, New York, London and Tokyo and marketing capability, and last year launched two themed content initiatives – Geek Week (above, top) and Comedy Week.

ChannelFlip oversaw production of the latter, which ran from May 19-25 and showcased US and UK talent, when Harris and Gayner were still in charge. New boss Tavernier describes the web video platform’s strategy as “focusing on those people who’ve grown up through the platform and are branching out and becoming bona-fide stars in their own right”.

In the same way YouTube’s home-grown stars are coming of age, the wider ecosystem of online digital content is moving toward consolidation – a sure sign high-powered decision makers see the money in the market.

Lis Murdoch’s Shine bought ChannelFlip in 2012 and, as noted, Maker Studios is joining the Disney stable in a US$500-plus million deal. Elsewhere, Warner Bros. recently led an US$18 million funding round for Machinima. FremantleMedia has acquired stakes in StyleHaul and German diginet operator Divimove and its parent RTL has invested in BroadbandTV. The Chernin  Group and Comcast are said to be among investors in leading MCN Fullscreen, while Endemol has revealed a US$40 million play in the shape of digital channel division Endemol Beyond.

“Digital video is the fastest-growing area of the global content market, and  digital platforms not only is the content itself different but also the way it is consumed. The key is for us to invest in both original content and audience development,” says Endemol Beyond International MD Georg Ramme (right).

Break Media and Alloy Digital’s 2013 merger created a company strong among younger audiences and females through Alloy and men through Break, Barry Blumberg notes.

“There will be continued consolidation in the market,” he says. “From a viewer or advertiser perspective, there is way too much content out there, and there is not enough differentiation between what is being produced. As larger companies are formed or come into the space you’ll see content that is higher end and more viewer- and advertiser-friendly.”

DIGITAL ORIGINALS: A BUYER’S MARKET

This year at MIPTV, Reed MIDEM launched the MIP Digital Fronts, an event Laurine Garaude describes as “the first international market for digital content”.

“There is a real demand for discovering new talent from the online space,” says Garaude, Reed MIDEM’s television division director, explaining the move. One thousand of the 4,000 buyers at MIPTV this year were acquiring for digital platforms, she adds.

The event, at the Palais des Festivals in Cannes, was held on April 9-10 and see original digital video programming presented to buyers, advertisers, strategists, agencies and distributors from a variety of content creators.

Founding partners include YouTube, which present a showcase of channels and talent; channel operator Maker Studios, whose executive chairman Ynon Kreiz will was scheduled to deliver a keynote but upon the event was unable to do so, with international president Rene Retchtman stepping in; France-based platform Dailymotion and youth brand Vice Media, whose CEO Steve Smith responded to questions of whether the firm is a ‘TV’ or ‘digital brand’ by saying: “I don’t give a sh*t. All I care about is the content.”

Michael Stevens, creator of YouTube channel group VSauce, presented the event (above), while US restaurant chain Chipotle Mexican Grill and veteran actor Ray Wise (Twin Peaks) presented a session on their Farmed and Dangerous web satire (pictured), which launched on Hulu in February.

Barcroft held an upfront in association with Rightster, where they presented videos such as Snake Eats Crocodile and explained how an MCN can back a content producer, and vice versa. “Barcroft are the content experts, incredible at picking out these stories,” said Rightster founder Muirhead. “Our job is to make sure all those experiences get shared across platforms.”

Collective Digital Studio, which ProSiebenSat.1 was also among presenters, showcasing series such as action comedy Video Game High School (above). The show, now into its third season. The show is coproduced with Freddie Wong’s RocketJump, which yesterday entered into a multi-year content and marketing deal with Lionsgate.

“MIPTV has created an important international platform for online video, and the new event offers a forum for Maker creators to showcase their talents on a global scale and connect with the digital entertainment community,” Maker’s Kreiz, formerly CEO of Endemol, told TBI just days before Maker US$500 million Disney is announced.

Garaude says inspiration for the event came from the digital advertising trade body IAB-organised Digital Content NewFronts, the digital equivalent of the US TV Upfronts.

The precursor to the current form of the event began in 2008, when ad firm DigitasLBi decided an event was needed to bring digital content makers together with advertisers. In a bid to widen the appeal of the event, it asked the IAB to take over the running of the event ahead of the 2013 NewFronts.

YouTube also held an Upfront week in the UK last year. Clearly, digital video markets are becoming increasingly important to the online content ecosystem because they can “create and move a market where money moves”, says IAB’s senior VP Sherrill Mane. “That’s what advertisers care about.”

But why should traditional TV companies care? Because, Mane argues, the converging worlds of television and digital mean “you cannot stop at TV” anymore.

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Drama data: Europe challenges the US

Drama data: Europe challenges the US | (Media & Trend) | Scoop.it

CBS Studios International is the most successful international distributor, according to the TV ratings analysis expert Eurodata TV Worldwide. CBS juggernaut ratings franchises NCIS and CSI remain the shows that, across the leading 15 TV territories around the world, appear most regularly in the rosters of top ten most-watched programmes. Also near the top of the data pile, Disney Media Distribution’s Criminal Minds and Castle continue the dominance of the studios and their ever popular procedurals.

 

However, a closer look at the latest numbers reveal the picture is changing, and series from outside the US are gaining share. BBC Worldwide’s Call the Midwife places fourth and DRG’s Doc Martin fifth. The UK is emerging as an increasingly important source of scripted programming.

“What we have noticed is that American series are still the strongest audience boosters and the ones that bring slot averages up, but the influence of US programming is slowing down after several years of supremeacy,” says Sahar Baghery, international TV research manager at Mediametrie-Eurodata TV Worldwide.

 

The proportion of top-ranking series has fallen, she adds, from almost 20% a few years ago, to 13% in recent times. Back in 2008, when House was the most-watched international series, the top-performing episode of the medical drama would command an international audience of 82 million. Fast forward to 2012, and the top-performing series was The Mentalist with a peak international audience of 58 million.

The popularity of locally originated drama is increasing fast, even in territories where it does not dominate schedules. For example, domestic series account for 10% of broadcasters’ primetime in Denmark, but 45% of  viewing. In Sweden, local series account for just 7% of primetime, but take 24% of all eyeballs.

France, meanwhile, is emerging as an increasingly influential territory with Les Revenants going out in its original language on Channel 4 in the UK and Sundance in the US. Political drama Les Hommes de l’Ombre is now selling internationally and being adapted by Endemol Studios for AMC in the US.

CBS with CSI, NCIS and recent hit Under the Dome is the leading distributor in terms of the number of top performing shows. It leads out Warner Bros. International TV Distribution, which has The Big Bang Theory, The Mentalist and Persons of Interest. The first non-US ranked distributor is BBC Worldwide, which has fared well with Call the Midwife, DCI Banks and Doctor Who.

 

ZDF Enterprises ranks highly largely because of the popular Scandinavian drama it coproduces and distributes. Endemol’s push into drama is paying off with the likes of Spanish soap Love is Forever andDeath Comes to Pemberleyhelping it to eleventh in the ranking of leading drama distributors.

Baghery concludes that while their US counterparts still hold sway, European producers and distributors are gaining ground.

“Europe has become a pillar of creativity and differentiation to the US,” she says. “The main strength is as coproducers and when financial and creative assets are combined.”

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'Fargo' gets strong start in ratings

'Fargo' gets strong start in ratings | (Media & Trend) | Scoop.it

Crime does pay, apparently, as the first episode of FX's new series "Fargo" premiered Tuesday to strong ratings.

 

The first installment of a 10-episode limited series inspired by Joel and Ethan Coen's Oscar-winning 1996 film of the same name drew 4.15 million viewers over three telecasts on Tuesday night. It delivered 1.79 million viewers in the key demographic of adults 18-49.

 

John Landgraf, chief executive of FX Networks and FX Productions, said in a statement that he was "incredibly proud" of the show's reception. "This is truly one of the best shows we've ever had on the network."


FX ran a risk by taking a film by the fan and critical favorite Coen brothers and turning it into a series, but rather than attempt to retell the story of hapless car dealer Jerry Lundegaard and the pregnant police chief Marge Gunderson (William H. Macy and Frances McDormand in the film), the series tells a new story with new characters. 

 

Martin Freeman, Billy Bob Thornton, Allison Tolman, Colin Hanks and Bob Odenkirk all star in the series, which is overseen by Noah Hawley. The Coens serve as executive producers of the series, which retains the same mix of gritty crime and "Minnesota nice" that made the original film a distinctive hit.

 

In her review, the Times' Mary McNamara called the series an "atmospheric homage that quickly stands on its own nimble feet."

The news comes on the same day that FX announced it has renewed its series "The Americans" for a third season.

 

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British Pathé Uploads Entire 85,000-Film Archive to YouTube in HD

British Pathé Uploads Entire 85,000-Film Archive to YouTube in HD | (Media & Trend) | Scoop.it

British Pathé, the U.K. newsreel archive company, has uploaded its entire 100-year collection of 85,000 historic films in high resolution to YouTube.

The collection, which spans 1896 to 1976, comprises some 3,500 hours of historical footage of major events, notable figures, fashion, travel, sports and culture. It includes extensive film from both World War I and World War II.

 

“Our hope is that everyone, everywhere who has a computer will see these films and enjoy them,” British Pathé GM Alastair White said in a statement. “This archive is a treasure trove unrivaled in historical and cultural significance that should never be forgotten. Uploading the films to YouTube seemed like the best way to make sure of that.”

 

Personalities captured in the newsreels include Princess Diana, Arnold Schwarzenegger, Elizabeth Taylor, Marilyn Monroe, Fidel Castro, John Lennon, Salvador Dali, Mother Teresa, Muhammad Ali and Charlie Chaplin. British Pathé already makes numerous clips available on its website free for personal use, and it licenses the archive to TV and film producers and other companies and organizations.

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Comcast: Netflix's Opposition to Time Warner Cable Deal Is About Shifting Costs to All Broadband Users

Comcast: Netflix's Opposition to Time Warner Cable Deal Is About Shifting Costs to All Broadband Users | (Media & Trend) | Scoop.it

Comcast accused Netflix of coming out against the cable operator’s proposed $45 billion takeover ofTime Warner Cable because of a desire to shift delivery costs to all broadband users — rather than just the streaming-video service’s customers.

 

On Monday, Netflix said it opposed the combination of the two biggest U.S. MSOs, saying the resulting entity would pass more than 60% of U.S. broadband households and give it unprecedented control over the high-speed Internet market.

“Comcast is already dominant enough to be able to capture unprecedented fees from transit providers and services such as Netflix,” Netflix CEO Reed Hastings and CFO David Wells wrote in their Q1 2014 letter to shareholders. “The combined company would possess even more anticompetitive leverage to charge arbitrary interconnection tolls for access to their customers. For this reason, Netflix opposes this merger.”

 

Comcast countered that Netflix’s opposition is based on “inaccurate claims and arguments.”

“Netflix is free to express its opinions. But they should be factually based,” Jennifer Khoury, Comcast’s senior VP of corporate and digital communications, said in a statement. “And Netflix should be transparent that its opinion is not about protecting the consumer or about net neutrality. Rather, it’s about improving Netflix’s business model by shifting costs that it has always borne to all users of the Internet and not just to Netflix customers.”

 

In February, Netflix reached a deal with Comcast under which the streaming-video company is paying for direct connections to the cable giant’s Internet networks. But Hastings last month issued a call for a “strong” form of net neutrality that would prohibit broadband service providers like Comcast from “charging a toll” to deliver content.

 

“Some big ISPs are extracting a toll because they can – they effectively control access to millions of consumers and are willing to sacrifice the interests of their own customers to press Netflix and others to pay,” the Netflix CEO wrote. According to Hastings, Netflix agreed to pay Comcast only “reluctantly” to improve video quality.

 

Comcast reiterated its position that private Internet interconnection agreements have “nothing to do with net neutrality.”

 

“There is nothing unprecedented about our agreement with Netflix,” Khoury said. The deal is very similar to those that companies like Akamai Technologies, Yahoo, Limelight Networks and Google have with companies like Comcast, Verizon, AT&T, Level 3 and Sprint, she said.

In fact, according to Khoury, “Netflix approached us for this direct connection between Netflix and Comcast, cutting out the wholesalers with whom Netflix had traditionally contracted and paid for transit. This arrangement was thus about Netflix exercising its market power to extract a more favorable arrangement directly from Comcast than what Netflix had been paying for through third-party providers.”

Asked for a response to Comcast’s charges, a Netflix rep referred to Hastings’ prior blog post on the subject.

 

The Federal Communications Commission’s net neutrality rules, which prohibited ISPs from blocking or degrading traffic based on source, were struck down by an appeals court in January. But Comcast is still bound to abide by those rules until 2018 under its agreement with the U.S. government in connection with its deal for NBCUniversal. According to Khoury, “One of the many benefits of our proposed transaction with Time Warner Cable will be the extension of net neutrality protections to millions of additional Americans.”

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La fiction « made in France » séduit

La fiction « made in France » séduit | (Media & Trend) | Scoop.it
Les chaînes privées investissent un peu moins dans le genre, alors que les téléspectateurs en redemandent.

 

Cela se confirme : la multiplication des chaînes de la TNT ne profite pas à la production audiovisuelle française, bien au contraire. Alors que les nouvelles venues du PAF représentaient, en 2013, un tiers du marché publicitaire et 24 % de l’audience, elles n’ont fourni que 4 % des investissements dans la création de fictions, de documentaires ou de films d’animation, selon le Centre national du cinéma (CNC).

Certes, l’organisme n’étudie que les programmes qui bénéficient de son aide, mais ils constituent l’essentiel de la production française. Crise oblige, les cordons de la bourse se resserrent, mais la baisse des investissements des chaînes TNT traduit aussi un changement de l’environnement. « Le rachat par Canal+ de D8 et D17 a modifié la structure de programmation de ces deux chaînes, avec plus de films de cinéma, moins de documentaires et plus d’émissions de flux, tandis que d’autres chaînes ont privilégié leurs investissements dans des shows de télé-réalité », observe Benoît Danard, directeur des études au CNC.

 

LA PRODUCTION AMÉRICAINE EST EN BAISSE


La fiction pâtit particulièrement de ces évolutions. Alors que l’apport financier des chaînes privées progresse dans le documentaire (+ 10,1 %) et dans l’animation (+ 97,6 %), il a reculé de 1,3 % dans ce secteur, pour se situer tout juste sous les 170 millions d’euros. Dans le même temps, les diffuseurs publics ont investi 281,8 millions d’euros (+ 10,3 %) et les chaînes payantes 48 millions d’euros (+ 26 %).

 

Pourtant, la fiction plaît. Après une légère baisse en 2012, le temps consacré au genre est reparti à la hausse pour s’élever à 782 heures. Les formats de quatre-vingt-dix minutes ont toutefois moins la cote, leur volume baisse de quatorze heures, tout comme ceux de vingt-six minutes, qui chutent de soixante-deux heures. A l’inverse, les formats courts, tels « Parents mode d’emploi » (France 2), « Y a pas d’âge » (France 2), « Scènes de ménages » (M6) ou « Nos chers voisins » (TF1), ont le vent en poupe. Ils progressent de quarante-deux heures, tandis que les fictions de cinquante-deux minutes grimpent de cinquante-huit heures.

La fiction française ne se porte pas trop mal. L’offre de production américaine est en baisse pour la première fois en cinq ans, alors que l’exposition de la fiction européenne est en croissance constante. En 2013, les soirées consacrées aux feuilletons américains diminuent. Ce recul ne se fait pas forcément au bénéfice du « made in France ». Les prime times consacrés aux fictions européennes non françaises bondissent (+ 22 soirées), comme la fiction étrangère hors Europe et nord-américaine (+ 20 soirées). Les soirées made in France se stabilisent (+ 2 soirées). Autre bémol, si la part des fictions inédites augmente en prime time, ce n’est pas grâce aux séries tricolores inédites, dont la part diminue aux heures de grande écoute.

 

Un choix qui visiblement frustre un peu le téléspectateur. L’appétence pour les produits étrangers est en effet un peu moins forte. Plus des deux tiers des Français trouvent important que les chaînes de télévision diffusent des fictions françaises et près d’un tiers souhaite qu’elles en programment plus. En 2013, la part d’audience des séries étrangères a diminué de 1,7 point sur M6 par rapport à 2012 (soit près de 500 000 téléspectateurs en moyenne). La part d’audience s’est effritée de 0,7 point sur TF1 et Canal+ et de 0,2 point sur France 2. Elle reste en revanche stable sur France 3 et Arte.

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Un outil pour mesurer l’audience des tweets sur la télé

Un outil pour mesurer l’audience des tweets sur la télé | (Media & Trend) | Scoop.it

Médiamétrie et Twitter s’associent pour lancer un outil de mesure de la « télévision sociale ».

 

Le grand chantier de la mesure d’audience de la télé sociale est lancé. Médiamétrie, société de référence pour la mesure d’audience de la télévision, et Twitter s’associent pour lancer Médiamétrie Twitter TV Ratings, le premier outil, en France, de mesure d’audience des tweets émis en lien avec un programme de télévision.

 

En clair, jusqu’ici on savait dénombrer le nombre de tweets générés par une émission de télévision. Et, à l’avenir, on saura aussi dire combien de personnes ont vu les tweets en question. « Nous allons mesurer le rayonnement et le public touché. Par exemple, lorsqu’une chaîne tweete pour appeler à regarder tel ou tel programme, ce qui compte c’est combien de personnes vont lire ce tweet », affirme Julien Rosanvallon, directeur du département Télé de Médiamétrie.

Jusqu’à 33 millions de fois

Aux Etats-Unis, la mesure existe déjà depuis octobre 2013. Twitter a signé un partenariat avec Nielsen. La semaine dernière, les MTV Movie Awards ont produit 2,4 millions de tweets, générant une audience de 9,1 millions de personnes, selon le Top Nielsen Twitter Ratings. « Le rapport entre un tweet et le nombre de fois où il a été vu peut aller de 20 à 100 fois en moyenne », explique Justine Ryst, directrice du développement de Twitter France.

 

A ce jour, le record est détenu par le « selfie » de stars réalisé par Ellen DeGeneres, la maîtresse de cérémonie des Oscars : un seul tweet qui a été vu 33 millions de fois, à l’intérieur de Twitter, mais aussi parce qu’il a été repris par un grand nombre de médias et de sites internet. Avec près de 3 millions de « retweets », la photo en question est la plus partagée sur le réseau social.

 

Comme, aujourd’hui, les télévisons disposent des audiences sur leurs programmes télé, demain, elles auront l’audience des tweets sur leurs programmes. Elles bénéficieront ainsi du retour des utilisateurs de Twitter sur leurs émissions ou séries, pourront mesurer leur « engagement » et valoriser la communauté des Français qui sont exposés aux tweets d’une émission. Autant de données susceptibles d’ntéresser les annonceurs publicitaires. Cependant, les données socio-démographiques de l’audience se limiteront au sexe et aux tranches d’âge.

Mesurer pour monétiser

Aujourd’hui, les utilisateurs du réseau social à l’oiseau bleu lisent plus les tweets qu’ils n’en produisent. Toute la stratégie de Twitter en direction de la télévision consiste à mesurer cette audience, en vue de la monétiser. Twitter a ainsi récemment racheté deux start-up spécialisées dans la mesure d’audience : le britannique SecondSync etle français Mesagraph .

« On a commencé à construire des offres publicitaires pour les chaînes de télévision. On veut désormais prouver la valeur économique de Twitter en mesurant les audiences connectées aux programmes », note Justine Ryst. Reste à prouver l’enjeu business. Pour l’heure, les revenus générés via la télévision sur Twitter ne seraient pas très élevés. En affinant la mesure d’audience, Twitter espère multiplier ses recettes publicitaires.

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Dossier | [MIP TV 2014] Laurine Garaude, directrice de la division TV du MIP : " Nous assistons à une convergence entre les mondes de la télévision, de l'Internet et de la publicité "

Dossier | [MIP TV 2014] Laurine Garaude, directrice de la division TV du MIP : " Nous assistons à une convergence entre les mondes de la télévision, de l'Internet et de la publicité " | (Media & Trend) | Scoop.it
Du 7 au 10 avril dernier, s'est déroulé le MIP TV, marché international de la télévision, qui réunit les plus grands acteurs de la distribution, des programmes et de la création audiovisuelle. Interview de Laurine Garaude, directrice de la division télévision de Reed Midem, organisateurs du MIP TV.

 

[MIP TV 2014] Laurine Garaude, directrice de la division TV du MIP : " Nous assistons à une convergence entre les mondes de la télévision, de l'Internet et de la publicité "Du 7 au 10 avril dernier, s'est déroulé le MIP TV, marché international de la télévision, qui réunit les plus grands acteurs de la distribution, des programmes et de la création audiovisuelle. Interview de Laurine Garaude, directrice de la division télévision de Reed Midem, organisateurs du MIP TV.

Marketing : Pourquoi avoir choisi comme thème cette année " The New Age of Storytelling " ?

Laurine Garaude : Avant toute chose, rappelons ce qu'est le MIP, un salon international qui accueille cette année plus de 100 pays, 11 000 participants ainsi que 1 700 sociétés de production venues présenter leurs programmes. Outre l'accent mis sur la création et la distribution de programme, le MIP TV met en avant l'innovation et son impact sur la création de contenu. Pour cette raison, nous avons choisi l'Israël, reconnu comme un des acteurs les plus innovants tant au niveau des formats que de la technologie, comme pays d'honneur cette année. Le salon accueille 4000 acheteurs dont, fait notable, 1600 pour les plateformes numériques.

Le thème 2014 qu'est " The New Age of Storytelling " recouvre plusieurs dimensions. Il y a une réelle convergence entre les chaînes de télévision, les producteurs et le digital.Le marché de la vidéo en ligne occupe une place croissante et représente un nouveau et puissant marché. You Tube est d'ailleurs notre partenaire fondateur cette année. Les acteurs du Web occupent une place de plus en plus importante dans le paysage audiovisuel mondial et favorisent le développement de nouvelles écritures et formats.

Pour valoriser et faire découvrir ces contenus, le MIP TV organise pour la première fois les premiers MIP Digital Fronts qui présentent un éventail international de la création de vidéos en ligne : YouTube, son concurrent français Dailymotion, le MCN Maker Studios, le groupe média américain Vice, etc. Il s'agit de faire découvrir aux acteurs classiques de la télé les nouveaux formats et les talents qui les conçoivent.

La social TV est également mise à l'honneur avec la présence de Twitter, mais aussi de nombreuses start-up venues présenter leur activité.

Par ailleurs, ces contenus s'expatrient de plus en plus en plus. C'est une seconde spécificité du marché des programmes : " The New Age of Storytelling ", c'est aussi des programmes du monde entier vus dans le monde entier. La période actuelle se caractérise par la capacité nouvelle des producteurs à exporter leur concept au niveau mondial. Les nouveaux entrants et petits producteurs qui ont développé de bons concepts ont beaucoup plus de chances de percer au niveau international. L'Israël en est une illustration. La série américaine " Homeland " était d'abord un programme israélien avant que le concept ne soit adopté ailleurs. Au niveau des programmes de flux, le format " Rising Star " d'origine israélienne est aussi un succès mondial.

Marketing : La place accordée tant aux start-up qu'à des plateformes comme YouTube marque-t-elle un tournant pour l'industrie audiovisuelle : le Web prend-il le pouvoir sur la télévision " classique " ?

Laurine Garaude : Plus qu'un tournant, c'est l'accélération d'un processus qui voit, chaque année, se renforcer les liens entre ces deux mondes. Progressivement, leurs relations deviennent de plus en plus étroites. Les chaînes médias n'hésitent plus à investir massivement dans les nouvelles plateformes et les MCN (Multi Channel Network) à l'instar de Disney qui a racheté le mois dernier Maker Studios(1)pour 500 millions de dollars.

Plus qu'une prise de pouvoir de l'un sur l'autre, c'est davantage un nouvel écosystème qui se développe sous la forme d'un mariage de savoir-faire et de compétencesen réalité. On a besoin de développeurs jeunes et créatifs comme Vice ou Maker Studios et eux-mêmes ont besoin de professionnels qui ont une connaissance des médias. Il est intéressant de noter que le patron de Maker Studios, Ynon Kreiz, était précédemment celui du groupe de production audiovisuelle Endemol.

Le Web et la technologie sont devenus organiques. En témoigne la place prise par le MIP Cube, lieu de rencontre entre les professionnels de la technologie et ceux des programmes audiovisuels, qui permet aux professionnels de découvrir de nouveaux concepts et outils qui marient technologie et contenu : s'il y a quatre ans à sa création, MIP Cube était hébergé sous une tente à l'extérieur du Palais des Festivals de Cannes, il est aujourd'hui au coeur du salon.

Marketing : Qu'en est-il des marques qui, de plus en plus, investissent le brand content and entertainment et deviennent productrices de contenu ?

Laurine Garaude : Si le brand content n'est pas nouveau, il est en forte croissance : de nouveaux formats et récits émergent au carrefour de la publicité et du digital. Ce mariage entre contenus et publicité est une autre dimension du " New Age of Storytelling " : nous assistons à une convergence du monde de la télévision, de l'Internet et de la publicité. Les marques et les annonceurs font de plus en plus appel à la vidéo en ligne non-publicitaire et aux webséries pour capter l'attention, nourrir leur image et créer un buzz viral. C'est le cas par exemple de la série produite par la chaîne de restaurant américaine Chipotle, " Farmed and Dangerous ", qui est présentée pour la première fois en France au MIP. Diffusée sur la plateforme américaine Hulu, la série cherche avant tout à raconter les coulisses et pratiques douteuses d'une firme agro-alimentaire fictive sur un mode satirique.

Parce que le marché montant de la création digitale s'adresse aussi aux publicitaires, on voudrait d'ailleurs développer à l'avenir leur présence sur le salon : le MIP constitue pour les annonceurs une opportunité pour s'inspirer, rencontrer des producteurs et développer une stratégie de contenu.

Marketing : Est-ce que la législation française en matière de publicité ne constitue pas un frein au développement de ces nouveaux contenus produits par les marques ? Je ne peux pas répondre, ni commenter ce sujet.

Si vous deviez me résumer cette édition 2014 en trois mots...

Marché du contenu, incubateur des tendances et de nouveaux business.

(1) Maker Studios revendique 5,5 milliards de "vues" par mois pour ses vidéos diffusées sur YouTube, dans la comédie et le divertissement (NDLR).

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