In This Issue: NATPE In Miami Latin TV Directory U.S. DTV Openings Sección En Español THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION JANUARY 2010 VOL. 30 NO. 1 $9.75 ® www.videoage.org It’s like the story of the little engine that could. Liberman Broadcasting (LBI) is not afraid to take on challenges, as made evident by its pursuit of Hispanic TV giants like Univision (a Haim Saban group) and Telemundo (an NBC-Universal company). According to Lenard Liberman, the group’s executive vice president, LBI now has the two toprated shows after Univision in its Los Angeles flagship market, an area where there are six over-the-air Spanishlanguage TV stations. The next challenge for LBI is to expand Estrella, its national TV signal, beyond the current 70 percent coverage that is accomplished with 24 affiliates, of which six are owned and operated (O&O). Estrella TV was José Liberman’s Dream: Make Big Money Quietly With Spanish TV (Continued on Page 24) (Continued on Page 28) The theme of NATPE 2010 — being held January 25-27 at the Mandalay Bay Resort in Las Vegas — is “Content. Commerce. Connections.” Thus, there seems to be a great deal of focus and optimism in regard to the future of the television business heading into this year’s NATPE. Not only is the landscape changing in terms of the digital content world (something that will be highlighted in a number of panels and events), the actual logistics of the event have shifted as well. 2010 marks the first year that NATPE will be a predominantly suite-based exhibition. VideoAge weighed in with a number of industry participants. For the most part, people seem optimistic about the shift. “Bender Media Services is certainly happy that it will be an almost all-suite exhibition, as it will be easier for our buyers to be primarily in one location for the three-day event,” commented Susan Bender. Marcel Vinay, Jr. of Comarex felt similarly, saying, “We have been in a suite for a long time. The benefit will be to our clients, since they NATPE Visual, Vision Struggle New Argentina TV Law: Concerns & Expectations BY LORENA SÁNCHEZ The new Law on Audiovisual Communication Services in Argentina creates both expectations and uncertainties in different sectors of the industry. While dominant media holdings lawyers confronted with an imminent reduction of their assets study the fine print of the rule, (Continued on Page 9) (Continued on Page 16) BY DOMSERAFINI For someone who shuns the limelight, doesn’t give interviews, doesn’t want his picture taken and protects his privacy with zeal, Remigio Angel Gonzalez y Gonzalez is, surprisingly, an open book. The Mexican-born, Miami, Florida resident is president and owner of Albavision, a Miami-based group that controls 26 TV stations in 10 Latin American countries, 21 of which it owns while the rest are affiliated for programming. Albavision also controls 82 radio stations (25 of which are owned and operated) and 40 movie theaters (Cine Alba) in Guatemala and Costa Rica. To the international TV distribution industry, Albavision is merely seen as an entity worth an estimated $14 million per year for program acquisitions, but to the Central American Television Touched By An Angel Latin American TV seen through the eyes of caudilloAngel Gonzalez Remigio Angel Gonzalez y Gonzalez 7+(KRWHO 6XLWH
V I D E O A G E • N o. 1 • J a n u a r y 2 0 1 0 Cover stories: Latin American television seen through the dealings of caudillo Angel Gonzalez Don José Liberman's dream: Make money with Spanish TV in the U.S. while avoiding the limelight Argentina's new media law raises concerns and expectations in the television industry NATPE 2010: Not an easy market for the organizers. The vision thing seems elusive 4. World: Four U.S. stories — Craig Cegielski, Ad-based VoD, Odyssey Networks, plus: How useless are staff meetings 8. Book Review: A look at media moguls, the problems they create and solutions 12. Latin America TV Distribution directory. An updated buyers’ guide for NATPE 17. Sección en Español: Un momento critico para la Industria televisiva Italiana El Benjamín de Disney: Un jefe que da en la tecla La TV digital está haciendo el broadcast en los EE.UU. mas desafiante 30. NATPE 2011: Miami Beach as the new venue brings challenges and opportunities 32. Conference and events news: Your travel tips with some calendar dates 34. My 2¢. Traditional media should stop whining and find some leadership
Craig Cegielski Cegielski to Head GK-TV Hollywood producer Graham King’s GK Films has launched a new division for the development, production and worldwide distribution of television programming. GK-TV, a newly created operation, is run by former Lionsgate executive Craig Cegielski (pictured). It provides creative development, production (including co-productions with domestic and international broadcasters), and worldwide distribution of original programming. As president of GK-TV, Cegielski directs the television unit from GK Films’ Santa Monica offices and reports to company president and CEO, Graham King. Cegielski takes on this new role following his position as evp Programming and Sales, International TV for Lionsgate, where he created Lionsgate’s International distribution arm. Prior to joining Lionsgate, Cegielski worked for CBS/Kingworld International, specializing in local production and programming. Working in the co-production division of Paramount International Television from 1998 through 2004, Cegielski’s focus was on developing and producing programming for the international marketplace. Graham King launched his independent production company GK Films in May 2007 with business partner Tim Headington. Under this new production banner, the company produced the thriller Edge of Darkness starring Mel Gibson, set for theatrical release through Warner Bros. Pictures this month. In addition, GK Films recently completed shooting The Rum Diary starring Johnny Depp and costarring Aaron Eckhart, Amber Heard, Michael Rispoli, Richard Jenkins and Giovanni Ribisi. The film is produced by Depp’s production company, Infinitum Nihil. GK Films has also completed shooting the crime drama London Boulevardstarring Colin Farrell and Keira Knightley. AVoD is the Way to Go The standard TV business model is broken, said ZillionTV CoFounder and Executive Chairman Mitchell Berman. He contended that the typical subscription TV and settop box models have failed, and conventional video on demand is “antiquated,” particularly because it offers “no real consumer engagement.” The ecosystem for TV –– composed of “advertisers, content providers, Internet Service Providers (ISPs), and consumers –– has been out of balance, and an industrial revolution is taking place in the TV industry,” Berman asserted. He believes ZillionTV is well positioned to serve as a middleman between these different aforementioned elements, and “bring them together in a meaningful way.” His service is designed to provide a “quality video experience for content providers, a quality TV picture and greater engagement for consumers.” Berman is adamant that ZillionTV isn’t a box or technology company. ZillionTV offers consumers a wide variety of choices, which they can select on an á la carte basis. Those choices include renting movies, buying to own movies, and watching advertising video on demand (AVoD). JA N U A R Y 2 0 1 0 (Continued on Page 6)
JUNE, 16-17, 2010 CENTRO DE CONVENÇÕES FREI CANECA SÃO PAULO, SP - BRAZIL www.convergecom.com.br/eventos If you can’t stop thinking about TV too, join us. Find out all about the opportunities Brazil offers for buyers, sellers and distributors of content and programming. More Info: (+5511) 3138.4660 info@convergecom.com.br
From left to right: David Fox of David Fox & Associates; Charlie Maday, svp Historical Programming at Military History Channel; William Spencer Reilly, evp Creative Strategies, Productions & Partnership of Odyssey Networks; and Kenneth Cavander, consulting producer. Through ZillionTV, viewers have a choice of watching TV programs or movies with or without ads. Those choosing to watch programs with ads receive those programs for free, while those declining to view ads are charged a fee. One of the key advantages of AVoD is that it precludes fast-forwarding, Berman noted. In the future, ZillionTV will incorporate branded destinations, which will afford consumers access to videos of goods and services from such brands as MillerCoors, a ZillionTV sponsor. These destinations will also allow consumers to watch TV shows or movies sponsored by such brands, and directly purchase products from them. ZillionTV offers TV content providers a share of ad revenue and a key brand building opportunity. Berman believes his service offers special business opportunities for content providers that aren’t in the “top tier,” (including original, local, and national content providers) to reach their audiences in new ways, augment their existing revenue, and develop new means of monetizing their business through ZillionTV’s branded destinations. Currently, ZillionTV has over 60 content providers. Its “Tier 1” content providers include 20th Century Fox, Sony Pictures, NBC Universal, Warner Brothers, Walt Disney, Paramount, and Lionsgate. ZillionTV’s content includes new and classic TV shows, movies, sports, and music. ZillionTV’s business model is variegated, drawing on eight revenue streams, including those from advertising, video on demand, commerce, polling, branded destinations, and data. A limited market rollout of ZillionTV began in mid-September. Where possible, the service has been introduced through telco partners. Otherwise, the service has been directly introduced to consumers. Berman declined to disclose which markets ZillionTV has entered or the number of viewers the service reaches. At the same time, ZillionTV has had discussions with consumer electronics manufacturers to embed the service as an application in their products, which would include set-top boxes, DVD players, and Blu-Ray players. Berman emphasizes that ZillionTV is proceeding carefully and testing the waters in order to get the service right. He projects that the service will go nationwide in mid2010, and that an international launch of the service will likely be announced by that time as well. Berman readily admits ZillionTV “needs to prove that certain aspects of our business work,” and that the service won’t succeed overnight. (By Michael Mascioni ) Odyssey’s Film Screens at Fest Late last October, Odyssey Networks hosted a screening of Florence Nightingale at the New York International Independent Film and Video Festival. The film was the highest-rated single drama in primetime on BBC-1 in 2008. Screening guests included the film’s writer and director, Norman Stone, along with consulting producer Kenneth Cavander. Florence Nightingale is an Odyssey Networks/BBC co-production in association with CTVC and 8th Day, produced by 1A Productions in association with Lightworks Producing Group. JA N U A R Y 2 0 1 0 MARK YOURCALENDAR ALL DISCOP™ EVENTS ARE ORGANIZED BY www.basiclead.com www.discop.com discop@basiclead.com tel paris + 33 1 42 29 32 24 tel los angeles + 1 323 782 13 00 DISCOP AFRICA 3 DAKAR24-26 FEBRUARY 2010 DISCOP EAST 18 BUDAPEST22-25 JUNE 2010 DISCOP AFRICA 4 NAIROBI1-3 SEPTEMBER 2010 DISCOP MIDDLE EAST 1 ISTANBUL14-16 MARCH 2011 DISCOP EAST 19 BUDAPEST21-24 JUNE 2011 (Continued from Page 4) Staff Meetings Judged Useless According to a survey by the Menlo Park, California-based OfficeTeam, 28 percent of company executives suggested that internal staff meetings are unnecessary. Another 46 percent stated that there would be no change in productivity if they were eliminated.
Despite the general intent of new book The Curse of the Mogul (2009, Portfolio, 304 pages, U.S.$26.95) – which is essentially to suggest that media moguls worldwide (here defined as “any media company executive or owner with significant influence over significant operations”) are at fault for the destruction of value in the media markets – the three authors are quick to point out that the moguls themselves may be seen as a metaphor for how their respective industries have been run over time. They strive to impart that big media companies have been underperforming for over a generation, not just since the emergence of the Internet as a hated competitor. Thus, they give detailed descriptions of various companies’ rises and missteps, with a primary focus on America. They highlight the key “media myth” as follows: “The media industry involves managing creative talent and artistic product and as such is not subject to appraisal using traditional strategic, financial or management metrics.” The book takes a look at prominent media moguls of both past and present, noting career highlights but also taking great lengths to detail the inevitable strategic mistakes that come from resulting bloated egos. The authors hope to distinguish between those egomaniacal metrics favored by the media industry and those that should actually interest the public. As stated in a recent interview, “We think that media businesses can evaluate themselves with our framework and think about how they can find ways to create and defend their competitive advantages – and not make crazy acquisitions or have wild expectation about synergy among unrelated segments.” The latter comment reflects both the positive and negative elements of The Curse of the Mogul. Between them, the three authors have more than enough authority to analyze the business practices of modern times’ most notorious moguls. Jonathan A. Knee, a longtime investment banker, is also an adjunct professor and director of the Media Program at Columbia Business School in New York City. Bruce C. Greenwald, an economist, is the Robert Heilbrunn Professor of Finance and Asset Management at the same university. Ava Seave is principal and co-founder of the Quantum Media consulting firm and has held management roles at Scholastic Inc. and the New York City weekly, The Village Voice . Their academic leanings result in the only notable flaw of the book, which at times veers too far into the lexicon of economics to appeal to a casual reader. Those moments aside, the book’s overall message is clear and easy to absorb (this coming from someone who didn’t study a lick of economics in school). As an example of the ways in which successful media companies end up hurting themselves through pig-headed practices, the authors discuss the shift in the gaming industry from Nintendo’s dominance in the late 1980s and early ‘90s to the present-day growth of online play. “As computers get more powerful and networking interactive technology improves for the average home user, downloadable games and games played in a virtual reality allow game designers to bypass retailers entirely, and are marketed directly to consumers over the Internet by the publisher.” Thus, the point is made that the advent and spread of high-speed Internet across the globe reflects the public’s ability to bypass the middlemen, i.e., the moguls. And, it is suggested that if the media moguls don’t begin to take into consideration the needs of the shareholders (and consumers in general), the public loyalty required to maintain industry dominance will disintegrate. The Internet is highlighted as a major player in the reformation of the newspaper publishing industry as well. Which is to say, media moguls should be paying attention to these shifting trends and learn to adapt to them in order to maximize their empires’ profits. The authors point to “a fundamental and consistent disconnect between the strategies pursued by moguls and structure of the industries in which they operate” as a major source of poor overall performance. Since 2000, the world’s largest media conglomerates have written down $200 billion in assets from their collective balance sheets. The Curse of the Mogul suggests that these losses reflect “the level of desperation among media moguls faced with new competitors, new technologies, and new customer demands.” “If you are already the CEO of the largest consumer magazine or newspaper publisher in say, Holland, what do you do for your next act,” the book questions. “Local antitrust laws probably prohibit further consolidation at home. You have no expertise for operating such businesses in other markets and history has shown that buying such businesses in other markets – particularly in the giant U.S. market – is either prohibitively expensive, likely to end badly, or both. You could simply focus on operating these businesses well, growing them organically, and returning the extra cash to shareholders. But what fun is that?” So defines the faulty mogul logic re-tagged in this book as a “curse,” and further implies that the public must be aware of the mogul thought process in order to avoid being victimized on the market front. A permeating theme throughout is that the biggest flaw of modern mogul mentality is a reliance on poorly conceived mergers and acquisitions. The hope is expressed that upon reading the meticulously detailed accounts of past industry successes and failures, “a reader, when finished, will have acquired the tools to distinguish between ‘great’ media assets and ‘lousy’ media assets.” The average consumers of the world are hereby given the opportunity to make their own informed decisions about media industry movements, rather than relying on blind faith in ego-choked moguls. One of the first points made in the book is a troubling one. Apparently, of the 15 largest U.S. media companies, only four are broadly held public companies without absolute control or under disproportionate influence of a mogul. “The ability of the controlling holders to do as they will, for better or for worse, without fear of at least immediate repercussions gives media moguls a certain swagger not as readily found in other industries,” the authors suggest. Note to public — that swagger is not necessarily indicative of business savvy. Generally speaking, the tone of the book is fluid and easy to read, making the economic concepts that much more accessible. In the earlier referenced interview, the authors noted that the walls had come down between the public and old school content generators. “Anyone, and I mean anyonewith just a few bucks can put out content these days – publish a blog, make a film, put a song online, even print a book. Nothing exclusive there,” they seem to be warning the moguls of the world. “If you base a company on something that has an infinite supply and think somehow the laws of supply and demand will make you rich, you are sadly mistaken.” The book offers up six principles for good moguls to live by, principles that in theory could be adopted by upstart entrepreneurs as well: 1) “Dare to dream.” 2) “Keep it local, keep it focused.” 3) “Efficiency is cool.” 4) “Don’t be such a big shot.” 5) “Watch your back. 6) “There is much to be said for dying with dignity.” This renders the book an indirect how-to guide on to avoid being duped by mogul pomp and perhaps be inspired to reshape the media industry as a whole. KR V I D E O • A G E JA N U A R Y 2 0 1 0 8 B o o k R e v i e w How Media Moguls Hurt Themselves & You
V I D E O • A G E JA N U A R Y 2 0 1 0 (Continued from Cover) launched last September as a 24/7 service with 56 hours a week of new programming, mostly produced at LBI’s three sound stage studio complex in Burbank, California. Estrella TV affiliates receive 40 percent of the ad inventory, while LBI retains the remaining 60 percent. Programming generated in Burbank is retrieved from its server storage via IPTV by LBI’s Dallas center, which then packages it in a feed for two time zones. Estrella TV was able to achieve its vast coverage thanks to timely digital conversion, which gave U.S. TV stations three extra channels to program. In the words of Bill Garcia, the Burbank-based director of affiliate relations, the aim for LBI, is to be placed on the “dot 2,” where “dot” stands for the punctuation indicating channels after the primary one (in the case of channel 62 for example, there is 62.2). How far does LBI want to reach? “Every market where Univision is,” answered Lenard Liberman, the 47-year old son of LBI founder and president, José Liberman. Don José, as he’s generally known, is now 83. He emigrated to Los Angeles from his native Veracruz, Mexico, to attend college in 1946. After completing his U.S. studies, he went to work for a pharmaceutical company that was heavily advertising on radio to reach the local Hispanic community (Latin Americans in the U.S.). Realizing the business potential of radio advertising, Don José went into radio broadcasting in Hollywood in the early ’60s (he doesn’t remember the exact year) and in 1987, bought KWIZ-FM, his first radio station, in Santa Ana, California. He made the purchase with his son Lenard, who at the time had just graduated from Stanford University with a law degree. Don José also has two daughters who are not in the business. In 1998, the Libermans acquired their first TV station, KRCA Channel 62 in Burbank, which is now LBI’s flagship station. Today, in addition to the six O&O TV stations, Liberman Broadcasting owns one TV network (Estrella TV, or, Star TV) and a total of 22 radio stations, which, aside from being profit centers of their own, provide needed cross-promotion and bonus spots for large TV advertisers. In 2007, Liberman raised $200 million from two equity investors, Oaktree Capital and Tinicum, and began expanding nationally with a $10 million purchase of KPNZ-TV in Salt Lake City, Utah and KWIE (now KRQB-FM) in San Jacinto, California for $25 million. The following year, LBI purchased KVPA, a low-power TV station in Phoenix, Arizona, for $1.25 million. While waiting to add a seventh TV station in New York City, LBI also has holdings in Texas (Dallas and Houston) and San Diego, California. Today, the group has a workforce of 776 people. LBI’s strategy may call for other TV station acquisitions, because as Lenard said, “Stations that a few years ago were valued at $44 million, today are worth just $5 million.” On the other hand, he acknowledged that “value is in content, not distribution.” Perhaps unrelated to the infusion of new funds in 2008, Lenard resigned as LBI’s Chief Financial Officer, yet continued as evp and secretary of the group’s set of companies. Wisdom W. Lu, a former banker who previously served as Chief Investment Officer at Health Net, became CFO. LBI’s COO is Winter Horton. Always one to shun the limelight, Don José is still the president of the company and goes to the station every day, but today it’s run by Lenard. Don José is also camera shy, declining to have his photo taken for this article. He reluctantly agreed to talk to VideoAge. Students and TV historians should know about your accomplishments, we pleaded. “Having money in the bank is more important,” he said, adding, “My son Lenard now runs the business, he’ll be able to answer all your questions.” Lenard is quite tall and towers over his father, whom he reveres. Personality-wise, they also differ, with Don José’s easy demeanor and Lenard remaining rather stern, rarely cracking a smile. The son is an orthodox Jew; the father is not. Following in his father’s footsteps, Lenard hopes that a few of his six children will go into the family business. “Television is my passion, and I hope it is for my children,” he commented. For Lenard, challenging 800-pound gorillas such as Univision and Telemundo will not be easy, but he seems to have all the answers. The first challenge is the revenue stream. While the big competitors rely on three-tier income (advertising, retransmission fee and program sales), LBI can only depend on ad sales. Even though LBI has some 6,000 hours of programming in the can, such sales –– both internationally and domestically –– have proven to be an arduous task for the group. “Our first goal was to create a network in order to take advantage of network sales,” Lenard explained. Now, LBI earns from national sales, both network and spot, as well as local advertising. “Our second stage [of development] is to collect some cable retransmission fees.” National sales for the network are being handled by LBI Media’s wholly-owned rep, Spanish Media Rep Team (SMRT). José Liberman’s Dream (Continued on Page 10) Bill Garcia, director of affiliate relations, at LBI’s local and national news studio in Burbank Lenard Liberman next to the statue of Adam Sanchez in LBI’s Burbank, California flagship station’s front entrance The hosts of Alarma TV, Liana Grethel and Jorge Antolin 9
Local sales are also done in-house. It is clear that LBI wants to tap into the $2 billion-a-year Hispanic TV network advertising market. In 2008, EBITDA earnings for the LBI group were $43.8 million, and the growth potential remains big, considering that 35 million Hispanics, about 13 percent of the U.S. population, draw just two percent of ad spending annually. Lack of programming sales is not viewed as a drawback by Liberman. On the contrary, he sees it as an asset. “Univision and Telemundo were built on Spanish soap operas; novellas make up about 40 percent of programming at both networks. But audience research suggests Hispanic interest in the genre is waning. Bilingual households are hungry for lighter fare,” he said. That’s why Estrella features a steady diet of variety shows, music, news and comedy for its stations. “We counter-program the Univision model, which seems to be working. Audiences appreciate our slapstick humor. Viewers like our physical humor.” In his view, this is why audiences in Los Angeles, for example, reward his station with an up-to-16 percent share and a 2.3 primetime rating. But, this “asset” also has some drawbacks. While the Estrella venture is relatively low risk, promoting the network nationally will be a challenge, as many of its affiliates are digital signals that are not established in the marketplace. Plus, LBI has to contend with three negative factors: the fact that Hispanics will assimilate into the U.S. mainstream and thus be lost to Anglo stations; increased competition, which will further fragment the audience (newer Hispanic TV networks are now emerging, like LATV from Los Angeles and Mega TV from Miami). The marketplace could further heat-up, when cable giant Comcast will finalize the acquisition of NBC Universal, which includes the competing Telemundo network. “I would have the understandable concern that Comcast uses its dominant position in cable to limit access to homes for other Hispanic networks. Owning television networks and the main distribution system seems problematic from a competitive perspective,” said Liberman. Finally there is the fact that newcomers from Mexico don’t yet know about LBI. Not so, contended Lenard in regard to the latter. “Our branding consists of big name actors, theatrical stars and the best comedians from Mexico. People know these stars and follow them on our network when they cross the border.” Indeed, LBI has a great respect for its talent, to the point of erecting a statue of one of them, Adam Sanchez, in the main entrance of its Burbank station. Sanchez was a popular Mexican singer on LBI who died in a car accident in Mexico when he was 21 years old. Sanchez’s father, Chalino, was a well known artist who was murdered on stage while performing in Mexico. Shouldn’t you be on that pedestal, we ask Don José. “Not really,” he replied, “Adam Sanchez is more important than me.” JA N U A R Y 2 0 1 0 (Continued from Page 9) José Liberman’s Dream Lenard Liberman withVideoAge’s Dom Serafini
ARGENTINA America Video Films Sales Contact: Enrique Maya Virrey Loreto 2426, 1426 Buenos Aires, Argentina Tel: (54) 11 4787-9098 Fax: (54) 11 4787-9094 america@americavideofilms.com www.americavideofilms.net Artear Argentina Sales Contact: Mariana Fernandez Lima 1261, CP 1138 Buenos Aires, Argentina Tel: (54) 11 4305-0013 Fax: (54) 11 4339-1596 mariana_fernandez@artear.com www.artear.com Dori Media Argentina Sales Contact: Elena Antonini La Paz 1282, CP 1640 Martinez Pcia Buenos Aires, Argentina Tel: (54) 11 4006-3500 Fax: (54) 11 4006-3500 elena@dorimedia.com www.dorimedia.com Flor Latina Entertainment Sales Contact: Silvana D’Angelo Bonpland 2244 #105, Capital Federal 1425 Buenos Aires, Argentina Tel: (54) 11 4773-5929 www.flor-latina.com Ledafilms Sales Contact: Gabriela Lopez Virrey Olaguer y Feliu 2462, 3 Fl. Buenos Aires, C1426EBB, Argentina Tel: (54) 11 4788-5215 Fax: (54) 11 4788-5220 lopez@ledafilms.com www.ledafilms.com Polar Star Sales Contact: Carlos Kargauer, Sergio Sessa, Diego Kargauer, Cristian Sessa Bollini 2269 Buenos Aires, C1425ECB, Argentina Tel: (54) 11 4802-1001 Fax: (54) 11 4803-5757 www.polarstar.com.ar Resonant TV Sales Contact: Ivan Lindblom Dorrego 1655 Buenos Aires, Argentina Tel: (323) 319-6220 ivan.lindblom@resonant.tv www.resonant.tv Telefe International Sales Contact: Michelle Wasserman Pavon 2444 C1248AAT Buenos Aires, Argentina Tel: (54) 11 4102-5810 Fax: (54) 11 4308-6848 sales@telefeinternational.com.ar www.telefeinternational.com Telefilms Sales Contact: Alejandro Carballo Av. Del Libertador 1068, Piso 11 1112 Buenos Aires, Argentina Tel: (54) 11 5032-6000 Fax: (54) 11 5032-6099 acarballo@telefilms.com.ar telefilms@telefilms.com.ar www.telefilms.com.ar BRAZIL Globo TV International Sales Contact: Daniel Djadjah Rua Evandro Carlos de Andrade 160/7* andar São Paulo, Brazil Tel: (55) 11 5112-4359 Fax: (55) 11 5112-4305 international.sales@tvglobo.com.br www.globotvinternational.com Record TV Network Sales Contact: Delmar Andrade, Edson Mendes Rua do Bosque, 1393 Barra Funda, São Paulo, SP Brazil 01136-001 Tel: (55) 11 2184-5468 Fax: (55) 11 2184-5200 dandrade@sp.rederecord.com.br emendes@sp.rederecord.com.br www.recordtvnetwork.com CHILE Television Nacional de Chile Sales Contact: Ernesto Lombardi Av. Bellavista No. 0990 Santiago, Chile Tel: (562) 707-7240 Fax: (562) 707-7771 ernesto.lombardi@tvn.cl www.tvn.cl COLOMBIA Multimedia Broadcast Associated Sales Contact: Carlos Boshell Carrera 14 No. 93B – 29 of. 404 Bogota, Colombia Tel: (57) 1622-5919 Fax: (57) 1622-5891 Email: mba@mbacable.tv www.mbacable.tv RCN Sales Contact: Maria Lucia Hernandez Frieri Avenida de las Americas No. 65-82 Bogota, Colombia Tel: (57) 1414-1382 ext. 1190 Fax: (57) 1414-0412 mhernand@rcntv.com.co www.canalrcn.com MEXICO Comarex/TV Azteca Sales Contact: Marcel Vinay Jr. Bosques de Duraznos No. 69-905 Col Bosques de las Lomas Mexico DF Tel: (52) 55 5251-1410 Fax: (52) 55 5251-1409 mvinay@comarex.tv www.comarex.tv www.tvazteca.com Rose Entertainment Sales Contact: Rosamaria Gonzalez, Vicky Ruiz Umaran #51, Centro San Miguel de Allende, Gto. Mexico 37700 Tel: (52) 415-152-5326 Fax: (52) 415-154-6843 rosemexico2@cybermatsa.com.mx www.roseentertainment.com.mx UNITED STATES 20th Century Fox Television Distribution – Latin America Sales Contact: Jose Luis Gascue 2121 Ponce de Leon Blvd. Suite 1020 Coral Gables, FL 33134 Tel: (305) 774-4165 Fax: (305) 569-1681 joseluis.gascue@fox.com www.foxfast.com Albavision Sales Contact: Ignacio Barrera 2600 SW 3rd Ave PH-B Miami, FL 33129 Tel: (305) 860-2036 Fax: (305) 860-2102 ibarrera@albavision.tv www.albavision.tv APA International Sales Contact: Rafael Fusaro 7152 SW 47th Street Miami, FL 33155 Tel: (305) 666-0020 Fax: (305) 666-1725 Email: apafilm@bellsouth.net Bender Media Services Sales Contact: Susan Bender 150 Central Park South, Suite 310 New York, NY 10019 Tel: (212) 707-8244 Fax: (413) 702-8244 susan@bendermediaservices.net Caracol Television Sales Contact: Angelica Guerra, Lisette Osorio, Camila Reyes, Alejandro Toro, Berta Orozco 1800 NW 94 Avenue Doral, FL 33172 Tel: (305) 960-2018 Fax: (305) 960-2017 losoriol@caracoltv.com.co, creyesa@caracoltv.com.co, atorocan@caracoltv.com.co, borozco@caracoltv.com.co www.caracolinternacional.com CBS Studios International Sales Contact: Stephanie Pacheco 1691 Michigan Ave., Suite 200 Miami Beach, FL 33139 Tel: (305) 531-2300 Fax: (305) 531-6303 stephanie.pacheco@cbs.com www.cbssi.com Comcast International Media Group Sales Contact: Eugenia Briseno 5750 Wilshire Blvd. Los Angeles, CA 90036 Tel: (56 99) 436-4405 Fax: (323) 954-2657 efbriseno@eentertainment.com www.comcastintl.com Discovery Communications Sales Contact: Mercedes Dawson 6505 Blue Lagoon Dr., Suite 300 Miami, FL 33126 Tel: (786) 273-4700 Fax: (786) 273-4061 mercedes_dawson@discovery.com www.discoveryprogramsales.com Disney Media Networks Latin America Sales Contact: Fernando Barbosa 2 Alhambra Plaza, 9th floor Coral Gables, FL 33134 Tel: (305) 567-2280 Fax: (305) 774-3913 fernando.barbosa@disney.com www.disneyabctv.com Dori Media America Sales Contact: Andres Santos, Juan Fernandez 9800 NW 41st St., Suite 320 Doral, FL 33178 Tel: (786) 662-3051 Fax: (786) 662-3056 www.dorimedia.com LATIN AMERICA TV DISTRIBUTION DIRECTORY V I D E O • A G E JA N U A R Y 2 0 1 0 12 (Continued on Page 14)
SERIE COMICA 3 temporadas - Total Episodios 81x50’ MINISERIE/SERIE DE MAFIA 6x100’ o 12x50’ SERIE COMICA 12x50’ TV MOVIE FAMILIAR 1x100’ Tu público. Nuestras historias. O elige de nuestro catálogo de 500 títulos. THEhotel Suite # 4909 SERIE FAMILIAR 2 temporadas - Total Episodes 24x50’
E1 Entertainment Sales Contact: Valerie Cabrera 1801 Century Park Rast, Suite 1910 Los Angeles, CA 90067 Tel: (310) 407-0960 Fax: (310) 407-0961 VCabrera@e1ent.com www.e1entertainment.com Frecuencia Latina International Sales Contact: Miki Ivcher, Patricia Jasin 1250 East Hallandale Beach Blvd., Suite 606 Miami, FL 33009 Tel: (954) 457-1200 Fax: (954) 457-1213 www.flinternational.tv FremantleMedia (Latin America, US Hispanic & Caribbean) Sales Contact: Sheila Hall Aguirre Waterford Building 5200 Blue Lagoon Drive, Suite 200 Miami, FL 33126 Tel: (305) 267-0821 Fax: (305) 267-0459 sheila.aguirre@fremantlemedia.com www.fidtv.com HBO Enterprises Sales Contact: Rose Marie Vega 1100 Avenue of the Americas New York, NY 10036 Tel: (212) 512-1858 Fax: (212) 512-5698 rosemarie.vega@hbo.com www.hbotvsales.com HBO Latin America Group Sales Contact: Emilio Rubio 4000 Ponce de Leon Blvd., Suite 800 Coral Gables, FL 33146 Tel: (305) 648-8100 Fax: (305) 461-3943 erubio@hbo-la.com www.hbolag.tv Jerry Diaz & Associates (Nelvana, Scholastic, TV Loonland) Sales Contact: Jerry Diaz 1611 Biarritz Drive Miami Beach, FL 33141 Tel: (305) 866-5120 jdiaz@loonland.com, jerry.diaz@corusent.com www.loonland.com Laguna Productions Sales Contact: Elart Coello 28385 Constellation Road Valencia, CA 91607 Tel: (661) 257-7450 Fax: (661) 257-7451 elart@lagunaproductions.com www.lagunaproductions.com LAIN-Cinemania Networks Sales Contact: Julio Neri 1800 Sunset Harbor Dr., Suite 1701 Miami Beach, FL 33139 Tel: (305) 891-3330 Fax: (305) 891-3360 lainca@aol.com www.lain-cinemania.com www.cinemania.tv Liberman Broadcasting - Estrella TV Network Sales Contact: Bill Garcia 1845 Empire Ave. Burbank, CA 91504 Tel: (818) 558-4264 Fax: (818) 558-4203 bgarcia@lbimedia.com www.lbimedia.com NBC Universal International TV Distribution Sales Contact: Allan Navarrete 420 Lincoln Rd., Suite 506 Miami Beach, FL 33139 Tel: (305) 531-1618 Fax: (305) 531-1698 allan.navarrete@nbcuni.com www.nbcunitv.com Panamax Films Sales Contact: James McNamara 2000 Ponce de Leon Blvd. #500 Coral Gables, FL 33134 Tel: (305) 421-6336 jim@panamaxfilms.com www.panamaxfilms.com Power Sales Contact: Jose “Pepe” Echegaray 1040 Biscayne Blvd. Suite 2405 Miami, FL 33132 Tel: (305) 374-0675 Fax: (305) 374-0678 pepe@powcorp.com www.powcorp.com RCTV International Sales Contact: Guadalupe D’Agostino 4380 NW 128th Street Miami, FL 33054 Tel: (305) 688-7475 Fax: (305) 685-5697 info@rctvintl.com www.rctvintl.com Somos Distribution Sales Contact: Luis Villanueva, Eugenio Lacayo 2601 So. Bayshore Dr., Suite 1250 Miami, FL 33133 Tel: (786) 220-0440 Fax: (305) 858-7188 elacayo@somosdistribution.net www.somosdistribution.net Sony Pictures Television Sales Contact: Alexander Marin 601 Brickell Key Dr., Suite 200 Miami, FL 33131 Tel: (305) 400-3051 Fax: (305) 400-3002 alexander_marin@spe.sony.com www.spti.com Spiral/SevenOne International Sales Contact: Zasha Robles, Fabiola Flores, Gillian Kirby 10462 NW 31st Terrace Miami, FL 33172 Tel: (305) 594-3000 Fax: (305) 594-3061 zrobles@etceteragroup.com www.etceteragroup.com Telemundo International Sales Contact: Esperanza Garay 2745 Ponce de Leon Blvd. Coral Gables, FL 33134 Tel: (305) 774-0033 Fax: (305) 774-0031 esperanza.garay@nbcuni.com www.nbcuni.com Televisa Internacional Sales Contact: Carlos Castro 6355 NW 36th Street, Suite 309 Miami, FL 33166 Tel: (786) 265-2500 Fax: (786) 265-2269 ccastro@televisa.com.mx www.televisainternacional.tv Venevision International Sales Contact: Cesar Diaz, Daniel Rodriguez, Miguel Somoza 121 Alhambra Plaza, Suite 1400 Coral Gables, FL 33134 Tel: (305) 442-3411 Fax: (305) 446-4743 administrator@cisneros.com www.venevisioninternational.com VIP 2000 Sales Contact: Roxana Rotundo 1451 S. Miami Avenue, Suite 2511 Miami, FL 33130 Tel: (305) 373-2400 roxana@vip2000.tv www.vip2000.tv Warner Bros. International TV Distribution Sales Contact: John Garcia 4000 Ponce de Leon Blvd., Suite 490 Coral Gables, FL 33146 Tel: (305) 461-8256 Fax: (305) 461-8257 www.wbitv.com World Wrestling Entertainment Sales Contact: Emilio Revelo 1241 East Main St. Stamford, CT 06902 Tel: (203) 352-8600 Fax: (203) 359-5109 emilio.revelo@wwecorp.com www.wwecorp.com/worldwide LATIN AMERICA TV DISTRIBUTION DIRECTORY (Continued from Page 12) V I D E O • A G E JA N U A R Y 2 0 1 0 14
independent producers expect a higher demand for content arising from the new quota of national production (60 percent) and increased number of new players. To address this issue, VideoAge interviewed several experts: international consultant Hugo Di Guglielmo, Enrique Masllorens from Channel 7, and independent producers Alejandro Suaya from Rosstoc, Pablo Culell from Underground and Luciano Olivera from Zona Comunicación. The new rule replaces a Broadcasting Act dating from the last military dictatorship (1980). The draft of the new law was sent to the legislative chambers by president Cristina Fernández de Kirchner and was approved in the Senate last October after over 15 hours of debate and strong criticism from the opposition. Although the idea of changing the law and drafts from different political parties have arisen since the re-establishment of democracy in 1984, the final push came after the break-up of relations between the government and multimedia giant “Grupo Clarín” (Canal 13/Artear, Multicanal-Cablevisión, Mitre radio and Clarín newspaper, among other companies owned by the group). The most controversial issues of the new law, from the point of view of the big media corporations, are fourfold: limited media concentration of licensed over-the-air radio and TV stations and subscription channels; increased amount of TV outlets’ own production; the expansion of public sector involvement and the opening up of the market to NGOs (Non-Governmental Organizations. The new law allows NGOs — cooperatives, national universities, indigenous people, etc — to operate broadcasting services). The new law also creates a regulatory organization that would be mainly staffed by government appointees, Autoridad de Aplicación (Enforcement Authority), which replaces the Comité Federal de Radiodifusión / COMFER (Federal Broadcasting Committee). Hugo Di Guglielmo, a former programming director of Channel 13/Artear, said that it is difficult to predict the actual impact of the new law. In the Parliament, where the government no longer has the majority, opposition parties may now promote future changes to the law more easily. Indeed, one of the first legal considerations to limit the reach of the new law came to light last month. A federal judge suspended the application of Articles 41 and 161 of the new law, accepting a precautionary measure requested by Grupo Clarin. Article 41 prevents the transfer of TV licenses and Article 161 sets a one-year deadline for companies to meet the new requirements. “My impression is that there will be a status quo during the next few months to clarify the issues. After that, if some TV groups feel they must sell channels, inevitably there will be staff downsizing, cost cuttings and reduced productions,” commented Di Guglielmo. According to Di Guglielmo, the limit on media concentration proposed by the government “is not a bad thing if it aims to prevent monopolies or oligopolies. Nevertheless, it can create a smaller TV industry in an era when a certain degree of bigness is needed in order to compete in today’s global marketplace.” Another problem that Di Guglielmo pointed out is that “if there are more channels looking for content while the size of the TV advertising market remains the same, there will be less money for each station to invest in quality production.” As for the future of independent production companies, Di Guglielmo expects that “in the event of ownership changes, almost all that are currently producing exclusively for existing TV channels would be forced to renegotiate the relationship.” Enrique Masllorens, assistant manager of Project Development and secretary of the Federal Council of Public Television (CNTV) at state-owned Channel 7, believes that the new law created two scenarios: “The first is that the main channels of Buenos Aires (Capital Federal) will be forced to increase their own productions. This impact will be felt more on Channel 9, which will be forced to reduce the broadcast of foreign programs. In addition, state-owned stations from the country’s interior will have to limit the amount of content that they pick-up and repeat from Buenos Aires’ channels, and thus be forced to develop programs with local producers. The second scenario is the emergence of new TV ownership entities, such as universities, that will be applying for broadcasting licenses. In conclusion, more local content and increased inhouse productions create diversity and plurality of voices.” At Channel 13/Artear, executives contacted by VideoAge would not comment because “too much has already been said.” Before the law was passed, private broadcasting companies spoke extensively against the “K Media Law” (referring to the government of The Kirchners, since its current President is the wife of the former President) and tried to make a case for the protection of “freedom of expression.” Similarly, at America TV, executives would not comment on the implications of the new law because “the issue has many sides and an analysis would be premature given that the actual implementation of the law is only being determined right now.” However, when the bill was being debated in the Senate, Daniel Vila, chairman of América TV (owned by UNO Medios holding, which also controls Supercanal, La Red radio and Uno newspapers, among other companies), publicly said that these new regulations spearheaded by the government “will muzzle society and jeopardize democracy,” equating the future of Argentine television to that of Venezuela. Claudio Villarruel, Telefé’s director of content, also declined to comment, but told Telam news agency during an awards ceremony in late August, “I find it shameful and anachronistic that a law from a dictatorship that brought so many evil things to this country could be enforced after 26 years of democracy.” Nevertheless, Alejandro Suaya, the managing director of Rosstoc, one of the few Argentine drama producers ( Cita a Ciegas , Todos Contra Juan, Tierra Rebelde ) that is still independent, said that the new law “is positive for young producers like us, because it will open more possibilities of production for more channels. With the new law, the stations will have to meet a local production quota that will benefit all the producers.” “Today there are few production opportunities. It is good that the market can develop some new TV players. I say this without knowing how the new law will affect the business model of the channels, but I understand that it may not be good for companies with several stations,” Suaya said. As for the size of the Argentinean TV advertising pie, he said it is small anyway. “But, we compensated for the low advertising revenues with increased international sales of formats and products.” Luciano Olivera, director of content at Zona Comunicación, another independent non-fiction producer ( Mp3 Gira Latina, Fuimos Héroes ), said, “The new law will create more and better work because it helps develop new TV channels. The high percentage of domestic production demanded by the law is a key factor.” Pablo Culell, the production and content director at Underground said that changing the law is important because the old one was created during the dictatorship. Underground is a drama production company ( Los Exitosos Pells , La Lola, Botineras ), 60 percent owned by Sebastián Ortega and Alejandro Corniola and 40 percent by Endemol International. Culell explained, “The basis of the new law is that it will generate more domestic production and independent producers will have greater opportunities. The scenario will change much for us since we have a relationship with Telefe, but we’re looking forward to working with all channels.” During a mid-October interview on the TV show Intrusos en el Espectáculo, Adrián Suar, chairman of Pol-ka (55 percent owned by Artear) and artistic director of Artear’s Channel 13, expressed his concerns, stating, “I hope I’m wrong, but I don’t think that the new law will generate more work as they say.” V I D E O • A G E JA N U A R Y 2 0 1 0 (Continued from Cover) New Argentine TV Law 16 Alejandro Suaya of Rosstoc Channel 7’s Enrique Masslorens International consultant Hugo Di Guglielmo
Benjamin (Ben) Pyne, tiene 49 años, de Nueva York y Burbank, y es el Presidente de Global Distribution for Disney Media Networks (Distribución Global de Disney Media Networks) con base en California, la nueva “Matrix” que asomó de las “cenizas” de la antigua Buena Vista. La marca anterior fue retirada en 2007, cercano al momento en que Pyne asumió el cargo. Tomando en consideración las variadas responsabilidades de Pyne, uno podría imaginarlo sentado detrás de una consola, tecleando botones. Otra metáfora posible sería la de él haciendo sonar las divisiones de su grupo como si fueran las cuerdas de su guitarra (dado que es un eximio guitarrista) produciendo armónicos resultados. Pero, antes de abordar cualquier tema con Pyne, uno debe comprender la compleja estructura de su grupo (al que Sección en Español THE BUSINESS JOURNAL OF FILM, BROADCASTING, CABLE TV, PAY TV, VOD, DBS, IPTV, PRODUCTION, DISTRIBUTION ENERO 2010 VOL. 30 NO. 1 $9.75 ® www.videoagelatino.com El Benjamín de Disney, un jefe que da en la tecla (Continuación a la pàgina 18) La TV digital está haciendo el broadcast en los EE.UU. más desafiante La television digital está haciendo el broadcast en los EE.UU. cada vez más desafiante y los broadcasters finalmente se están poniendo manos a la obra, aunque de mala gana. Pero aún si el tema digital le genera a los broadcasters locales dolores de estómago, también puede servirles de alivio. En Julio último, NV Broadcasting, que opera 10 (Continuación a la pàgina 22) (Continuación a la pàgina 20) VideoAgemantuvo una entrevista sin restricciones, de 360 grados con Pier Silvio Berlusconi, Vicepresidente de la compañía italiana Mediaset (el Presidente es Fedele Confalonieri y el CEO es Giuliano Adreani) e hijo del Primer Ministro Silvio. Este es un momento crítico para Mediaset y para la industria televisiva italiana en general. La transición a la televisión terrestre digital, la competencia con Sky Italia de Rupert Murdoch (tanto en términos de canales Premium como el desarrollo de una nuevo satélite con plataforma para TV), la adquisición de Endemol, la creación de nuevas compañías productoras con el objetivo de bajar los costos del los dramas diarios de los actuales 70,000 Euros (u$d 100,000) por hora a niveles más manejables de 15,000 Euros (a la par de los de Argentina que consigue vender sus shows de bajo costo de producción en todo el mundo). Todo esto envuelto por la crisis financiera internacional que afecta las ganancias por publicidad, como así también el incremento de la competencia, hacen que estos sean momentos sumamente interesantes. VideoAge International: Más del 80% de las ganancias de Endemol son generadas por contenido no codificado. ¿Es esto un factor negativo? Pier Silvio Berlusconi: Para nada. Por el contrario, es un síntoma de fortaleza. Para una network que transmite TV abierta, programas no codificados representan una manera conveniente de balancear los costos y los resultados. VAI: Considerando que Mediaset es uno de los clientes principales de Endemol (invirtiendo cerca de 150 millones de Euros por año), ¿podría usted decir que representa al socio esencial? PSB: En términos del foco de la industria, nos gustaría que Mediaset se convirtiese en el socio esencial en el futuro. Por el momento, aún, no existe un socio esencial para Endemol. VAI: Estratégicamente hablando, es comprensible tratar de recuperar parte de las inversiones en los programas de Endemol con un arreglo de ganancias compartidas. Sin embargo, en lo que se refiere a la sinergia, las ventajas no son muy claras todavía. PSB: Para nosotros, la sinergia deriva del hecho que Mediaset va a desarrollar y lanzar nuevos formatos que Endemol podrá luego vender en el mercado internacional. Básicamente, Mediaset puede convertirse en una fuente de programas para Endemol. VAI: ¿Cómo describiría usted el futuro de Endemol? PSB: ¡Muy bueno! Contenidos son la Un momento critico para la industria televisiva italiana Dom Serafini y Pier Silvio Berlusconi
llave a nivel mundial y Endemol representa una inversión estratégica que es perfecta para Mediaset. Aún siendo un mundo difícil, éste ha sido un desafío que tomamos con entusiasmo. VAI: ¿La adquisición por parte de Endemol de Southern Star indica una forma de estrategia? PSB: Es parte del mandato de desarrollo que posee Endemol, que consiste en el desarrollar nuevos formatos y la adquisición de compañías que generan contenidos. VAI: ¿Podría usted describir las dos nuevas divisiones de Mediaset: Media Vivere y Med2? PSB: Media Vivere es una productora compuesta en un 50-50 en sociedad con Endemol Italia, con la intención de producir series de larga duración. Med2 es una unidad de producción formada por dos de nuestras divisiones [recientemente adquiridas] Tao2 y Medusa, con la intención de desarrollar nuevas series de TV de los populares films de Medusa y nuevos films de las exitosas series de TV de Tao2. VAI: ¿Mediaset está quitando sus TV networks de la plataforma Sky Italia de Rupert Murdoch? PSB: Nuestras señales, incluso en satélite, fueron siempre sin costo. Estar o no en el paquete de Sky [Italia] nunca fue nuestra elección. Lo que hemos planeado es una manera de asegurar que con el advenimiento de la televisión terrestre digital, nuestros canales terrestres sin cargo puedan ser vistos por todos, particularmente por espectadores en aquellas áreas en las que la señal terrestre digital por razones técnicas no es posible de ser captada. Para ello, se formó un consorcio entre Mediaset, RAI y La7 para crear Tivú Sat, una nueva plataforma de TV satelital que [lleva] tiene a todos los miembros de los canales de aire sin cargo. Tiene propósito de servicio, no comercial. Ni bien Tivú Sat entró en operaciones [en Agosto 2009], los socios codificaron los canales de TV abiertos. Esto fue para asegurar que los derechos en nuestro territorio estuviesen protegidos. Para todos aquellos espectadores en el territorio italiano que deseen recibir todos los canales abiertos de TV, Tivú Sat provee sin cargo [tarjetas inteligentes] para decodificar la señal. VAI: ¿Cuántos canales de TV digital usted prevé en el futuro? PSB: Es difícil de determinar en este momento. Creemos que no más de 30 o 35 canales en total pueden sobrevivir costeados por publicidad. Con relación a los ‘pagos’, el mercado lo determinará. TIVÚ SAT Tivú Sat es un consorcio con base en Roma formado por Mediaset (48.25% de la propiedad), el broadcaster estatal de Italia la RAI (48.25%) y el operador de telefonía de Italia, Telecom Italia (3.5% a través de su división Telecom Italia Media Division). El Presidente es Luca Balestrieri de la RAI y el CEO es Alberto Sigismondi de Mediaset. El sistema entró en operaciones el 31 de Julio de 2009, con un costo técnico de un millón de euros, con cada canal alquilando (y pagando de manera individual) por el espacio del trasnponder del mismo satélite de Eutelsat que lleva la señal del servicio de Sky Italia de Rupert Murdoch. Tivú Sat no es una operación rentable y es costeada como un servicio para los espectadores italianos que, por diferentes motivos, no pueden recibir la señal terrestre digital (cerca de tres millones de hogares). Además, explican que Tivú Sat se hizo necesario para proteger los derechos de emisión frente a todos los otros servicios satelitales. El costo de mantenimiento anual de Tivú Sat es compartido por los canales emitidos, cerca de 20,000 Euros por año por canal, con un costo anual total de 440,000 Euros, que aumentará con el incremento de más canales. Actualmente, Tivú Sat emite un total de 22 (pronto serán 27) canales de TV abierta que son recibidos con un platoantena, cuyo costo al usuario es de 150 Euros (u$d 200) con un decodificador que cuesta un adicional de 100 Euros. Este último cargo incluye una ‘tarjeta inteligente’ que permite la decodificación sin costo de todos los canales de TV abierta asociados a Tivú Sat. Los canales digitales sin cargo de Mediaset son Iris (films), MediaShopping y Boing (programación infantil), además de sus tres canales bandera de interés general (Canale 5, Rete 4 e Italia 1). Asimismo, a inicios de 2010, incluirá Italia 2, una versión para adolescentes de su canal Italia 1. Los canales de TV abierta sin cargo de la RAI son sus tres canales bandera de interés general: Rai-1, Rai-2 y Rai-3, además Rai News 24, RaiSport, Rai Storia, Rai Gulp (para niños) y el nuevo y recientemente lanzado Rai-4. Los canales de Telecom Media Italia son La7 y MTV. Los otros tres canales sin cargo de Tivú Sat son proveídos por la BBC World News, France 24 y otros operadores italianos e internacionales tales como K2-Kids TV que se emite para Italia desde San Marino junto a otros canales digitales de TV. A finales de Julio último, todos los canales terrestres asociados sin cargo emitidos de manera satelital desde Tivú Sat fueron codificados por momentos (según el criterio de los canales) con el sistema Nagravisión. Esto significaba que los espectadores que recibían estos canales por medio de los codificadores de Sky Italia NDS no pudieran seguir viéndolos sin el conversor de Tivú Sat (incluso cuando podían utilizar la misma antena). Se espera que en el futuro la plataforma de Tivú Sat transmita también todos los canales Premium de Mediaset, que ahora solamente están disponibles en la televisión digital terrestre (y por lo tanto recibida con una antena aérea común y un decodificador digital si es que no se posee una TV digital). Los canales Premium propios de Mediaset son: Cinema, Calcio 24 (fútbol), Joi, Joi+1, Mya, Mya+1, Steel+1 e Hiro. Este año, se espera que los canales Premium de Mediaset generen ventas por 500 millones de Euros (más de 400 millones de Euros en 2008) de sus 3.5 millones de suscriptores y se estima que lleguen al punto de equilibrio en 2010. TELEVISION TERRESTRE DIGITAL Ahora, si piensa que lo mencionado anteriormente es complicado, aguarde a que le expliquemos como Mediaset fue capaz de ganar capacidad de canales para su network. Mediaset posee 3 networks de canales analógicos (Canale 5, Rete 4 e Italia 1), dos DVB-T (DVB-T1 y DVBT2) y un DVB-H (TV en celulares). El canal DVB-H es alquilado a Telecom Italia y a Vodafone para su propio uso. La network DVB-H de Mediaset deriva de las frecuencias analógicas de la ex Telepiú TV que digitalizó Mediaset. Esta network de la ex Telepiú TV fue adquirida por Tarak Ben Ammar, lo que le permitió poseer frecuencias digitales para una network (por cada network analógica, los dueños son facultados a poseer una network digital). Ben Ammar guardó las frecuencias para su propia network digital (D-Free) y le vendió a Mediaset las analógicas (de las cuales Mediaset digitalizó para DVB-H). Dado que Mediaset no puede poseer nada más que tres networks analógicas, las frecuencias adquiridas a Ben Ammar debían ser digitalizadas. Las dos networks DVB-T de Mediaset (DVB-T1, DVB-T2) fueron creadas al adquirir varias frecuencias en el mercado abierto (incluyendo frecuencias de ReteMia). Por lo tanto, actualmente, Mediaset opera dos DVB-T networks y una DVB-H. Cuando en 2012 llegue el fin de la era analógica, Mediaset tendrá (de acuerdo a la publicación italiana Millecanali que VideAgeconsultó para esta nota): Dos nuevas DVB-T networks convertidas de dos de las tres networks análogas (Canale 5, Rete-4 e Italia-1). Las dos DVB-T networks (DVB-T1 y DVBT2) ya en existencia. Una network existente BVB-H con las frecuencias analógicas de la ex Telepiú (adquiridas a Ben Ammar). También es posible que Mediaset y la RAI hagan una oferta para digitalizar su tercer network analógica (ambas organizaciones operan tres networks analógicas). Estas frecuencias deben ser usadas para DVB-T en 2012. Si esto ocurre, Mediaset (junto con la RAI) terminarán poseyendo seis frecuencias digitales. Cada DVB-T network puede llevar hasta siete canales de TV, por lo tanto, Mediaset podrá llegar a ser capaz de operar un total de 42 canales digitales. Por el momento, para tener el espacio necesario para todos los canales digitales ofrecidos, Mediaset debe alquilar espacio de D-Free. De manera similar, D-Free alquila su MUX (Multiplexor) a otros canales de la plataforma Premium de Mediaset, tales como los dos de NBCUniversal y tres de Disney. En términos legales, hasta el cierre analógico del 2012, Mediaset está obligada a alquilar el 40% de algunos de sus canales a terceras partes. De manera similar, aún así, Mediaset puede rentar capacidad de otros operadores de DVB-T, lo que en efecto, equilibra el sistema. EL FACTOR MURDOCH Es claro que Italy, Inc. (las compañías italianas) están dispuestas a terminar con el monopolio en el país de la TV satelital Sky Italia de Rupert Murdoch con un ataque de tres puntas: aumento del impuesto a las ventas de las subscripciones de Sky Italia (de 10% al 20%. Mediaset Premium optó por pagar la diferencia impositiva por sí misma), desconectando ‘de facto’ todos los canales de Mediaset y de la RAI TV de Sky y compitiendo con su propia plataforma satelital “Made in Italy,” lo que es desde su inicio, una propuesta económicamente deficitaria. Además, la reducción por ley de la cantidad de minutos que Sky Italia pueda anunciar y no concediéndole los derechos para la plataforma satelital de Medusa (Mediaset) y de RaiCinema con su populares films. La competencia entre Italy, Inc. y Murdoch es tal que la RAI rehusó a los 50 millones de Euros anuales (por un período de siete años) que Sky Italia le ofrecía por los canales Premium de RaiSat. Por el momento, Murdoch ha respondido el combate utilizando todo el poder de su prensa atacando a Silvio Berlusconi, que controla Mediaset y que, como Primer Ministro de Italia, regula la RAI estatal. Sin embargo, él tiene tres opciones: Primero, él podría competir a nivel DTT, TV terrestre digital, potencialmente adquiriendo (no antes del 2011) frecuencias como las de las tres TV networks que Telecom Italia informó está decidida a vender por medio de Merryl Lynch en unos estimados 800 millones de Euros (u$d 1.1 billion). Eso le daría a Murdoch cerca de 21 canales terrestres digitales. Alquilando espacio de terceras partes, podría incluso llegar a 40 canales DTT, suficiente para competir en el mismo terreno que Mediaset y la RAI. A corto plazo, Murdoch podría comprar decodificadores Tivú Sat y darlos gratis a sus suscriptores de Sky Italia para que ellos puedan recibir con continuidad los canales de Mediaset y la RAI. Segundo, él podría bajar los costos de suscripción de Sky y aumentar el número de canales del paquete básico. Esto podría ser también visto como una movida estratégica, dado que, con sus 4.8 millones de suscriptores, Sky Italia ha madurado rápidamente, con un lento crecimiento y un decidido incremento (con picos del 15%). Esta movida presentará una fuerte competencia para la Italy, Inc. Tivú Sat, y será un incentivo para aplacar su agitación. Tercero, Murdoch podría revolucionar el sector de la TV italiana y dar vuelta toda esta afrenta sustituyendo los decodificadores satelitales de Sky con sets de IPTV. Italy, Inc. no confía en absoluto en la tecnología del IPTV debido a su V I D E O • A G E JA N U A R Y 2 0 1 0 (Continuación de la pàgina 17) Industria televisiva italiana 18 (Continued on Page 20)
RkJQdWJsaXNoZXIy MTI4OTA5