As a seasoned industry professional with decades of experience under my belt, I find myself in agreement with the insights shared by these esteemed colleagues. The rise of unscripted content production is indeed a fascinating development, one that echoes my own observations in the ever-evolving landscape of entertainment.
Although MipTV shifts location to London, Mipcom Cannes sees a significant resurgence, stronger than it’s been in a long time, as attendance is growing for its historic 40th anniversary.
Despite facing a fourfold challenge from an economic downturn, corporate restructuring, a global pandemic, and two blows from Hollywood, the television industry is not wilting. Instead, executives and producers are seizing fresh opportunities, particularly in areas like unscripted programming and technological advancements.
So far, it looks like Mipcom will have even more attendees this year compared to 2023, with over 11,000 delegates representing 100 different countries flocking to the Croisette.
I find the worldwide TV sector remarkably adaptable. It continuously reinvent itself, and Mipcom contributes significantly to this transformation by assembling a large portion of our industry under one roof. This platform facilitates companies in navigating emerging trends, be it technological advancements, content creation, or viewing habits,” I observe, being Lucy Smith, the head of RX France’s Content Division that oversees Mipcom.
In addition to featuring key figures like Tony Vinciquerra from Sony Pictures Entertainment, James Farrell of Amazon MGM Studios, and Jane Turton from All3Media who will be delivering keynote speeches, Mipcom will also emphasize the intersection of technology and entertainment through two special events. The first is a summit focusing on FAST channels and AVOD integration, with experts from Banijay Rights, BBC Studios, and Fremantle participating. Secondly, an AI summit will be held, inviting tech companies such as Google and entertainment firms like Newen Studios and TF1 Group to discuss artificial intelligence.
According to Smith, although our primary focus remains international distribution, an increasing number of attendees at Mipcom are engaged in the crossroads of content and technology. These individuals are becoming increasingly influential in the industry.
Sally Habbershaw, Executive Vice President for Americas at All3Media International, has observed an increase in attendance from AVOD (Advertising Video on Demand) and FAST (Free Ad-Supported Streaming Television) operators, as well as some AVOD (Advertising Video on Demand) service providers experimenting with this area.
Approximately 3,600 attendees are projected for the industry conference held in Cannes. Among them are executives representing streaming platforms, traditional broadcasting companies, and Fast-Forward (FAST) channels. Moreover, Smith noted an increase in the number of attendees from Latin America and Asia.
As “Peak TV” appears to be fading into the past, terms like “premium unscripted programming” and “soap opera-style entertainment” will likely dominate discussions at Mipcom. Additionally, formats featuring celebrities, revivals of game shows, and singing competitions are currently very popular.
Arthur Essebag, a well-known French television personality, producer, and founder of Satisfaction Group in Paris, stated that broadcasters are increasingly focusing on unscripted programming to compensate for the gap created by American series. “There’s a significant issue with U.S. shows; they’re not performing as effectively as they once did, and this problem has been amplified by the Hollywood strikes,” Essebag said.
Essebag, a partner with Fulwell 73, Keshet International, and Yes Yes Media, states, “Quality TV programs that match or surpass American series for comparable costs primarily consist of game shows.
Initially, reality TV held little appeal for streamers, but that’s all changed now. They’ve hopped aboard the trend and have been more and more engaged, particularly in the realm of serialized unscripted series.
According to Lucas Green, the head of content for Banijay Entertainment, which manages shows like “The Summit,” “Deal or No Deal Island,” and “By Land, Air and Sea,” unscripted thrillers are proving to have a significant impact on streamers.
Green mentions that these productions often boast top-quality production values, yet they are significantly cheaper than expensive scripted series. They can also be quicker to produce. Since you’re not heavily dependent on famous showrunners, directors, and Hollywood celebrities with busy schedules, it’s easier to find a suitable shooting schedule,” Green explains.
At Ampere Analysis, the executive director Guy Bisson points out that unscripted content has seen an upward trend since the pandemic, particularly among streaming platforms. He attributes this to its affordability in production and localization, as well as the success of multi-episode series when released on a weekly or bi-weekly basis.
According to Bisson, the ongoing nature of unscripted content effectively engages viewers since the storyline evolves in real-time, mirroring the same factors that influence the success of scripted productions.
Bisson adds, “Around two to three years back, profit wasn’t our primary focus. Retention and advertising were not top priorities either. The investment return model has significantly changed from what it was two years ago, and now we operate in a market that is intensely competitive, requiring us to generate income rather than just spending it.
Amidst the surge of unscripted content creation, television networks are capitalizing on established franchises. They are either reviving or extending popular formats like the singing competition “Star Academy” and game show “Who Wants to Be a Millionaire?” (hosted by Essebag) on TF1, and “LOL: Last One Laughing,” which has achieved significant success in numerous regions, including France where it’s been locally adapted into two original spinoffs on Amazon Prime Video.
Various content creators are seeking unscripted programs that not only offer cost savings but also have the ability to turn into cultural phenomena and enhance brand visibility. The show “Star Academy” falls under this category of hit formats that became part of popular culture, according to TF1’s CEO and chairman Rodolphe Belmer.
Speaking about television, Belmer compares the current situation to what occurred in the movie industry. The reason being, there’s an excessive amount of TV content on various channels and broadcasters. This makes it tough for new series to gain traction, leading to a tendency to reinforce established franchises that viewers already know. He also points out that “discoverability,” a term coined by Netflix, is becoming increasingly crucial in the modern television industry as finding fresh content becomes challenging.
Belmer explains, “As seen in movies with series like ‘Harry Potter’ and Marvel, this is the strategy we’re applying in the audio-visual industry to stand out amidst numerous options. When we create unscripted content, we aim to leverage or resurrect familiar brand names.
Sheldon Lazarus, co-founder of Bitachon 365 and the mind behind the Paramount+ documentary “We Will Dance Again,” notes that there are fewer and fewer large scripted co-productions due to the way the market is becoming fragmented. He explains that the market is finding a sense of warmth in unscripted content, driven by a kind of pop culture nostalgia and a demand for hard-hitting facts.
Jens Richter, head of commercial and international at Fremantle, emphasizes that given the current “restart” of the industry, it’s crucial for individuals to interact and share insights about the present circumstances in their respective companies or platforms.
According to Danny Goldman, CEO of Omega Global Distribution, moving MIP TV to London makes Mipcom “even more significant” since it’s positioned “at a time of the year that aligns perfectly with the overall sales and distribution flow.
It provides a rhythm to the sales procedure, serving as a crucial link for uniting buyers and sellers in one platform. This convergence enables the industry to focus on matters, tendencies, and preserves the communal aspect of broadcasting that was temporarily lost due to the pandemic.
According to Will Tapley, head of acquisitions at Sphere Media, Mipcom has historically served as a benchmark for the upcoming year. He explains that attending the event involves spending around 10 hours each day in your booth, having consecutive meetings, and then following up after the market in hopes that this process creates a massive pipeline of opportunities for the remainder of the year.
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2024-10-18 16:20