V I D E O • A G E 30 SE P T E M B E R/ OC T O B E R 2 0 1 2 BY BOB JENKINS Given the proliferation of content trade shows over the years, one could be forgiven for thinking that the television business had reached its saturation point — that it was all “marketed out.” But as the international content executives gather at MIPCOM in Cannes for its biggest TV event, it seems the reverse is true — that the industry just can’t get enough of them! Complaints of “too many markets” are not something new. In fact, in 1996, VideoAge reported that cries of “too many markets” had been heard as early as 1984. By 1996, market organizers were introducing new TV markets at the rate of two per year. This is in addition to companies’ individual screenings, such as the BBC Showcase and RAI Trade Screenings, and different countries’ general screenings such as Le RendezVous, the German Screenings, and Nordic Screenings. Today,thereisanincreaseinspecialized markets (animation, licensing, digital rights, documentaries, scripts, cable, satellite, IPTV, etc.) and localized markets (DISCOP Africa, DISCOP Istanbul, Hispanicize). Plus, there are large hardware trade shows, such as NAB, IBC and recently, Entertainment Technology Expo, which are expanding into the content business and, naturally, the film markets themselves that are vital components of the TV business. Though years ago most markets were concentrated in a few territories, today the industry is witnessing a proliferation of event locations as well: Singapore (ATF), Malaysia (Asia Animation Summit), Thailand (Media Hub), China (Sichuan TV Festival), the U.K. (Brand Licensing Europe), Hungary (NATPE Budapest) Ukraine (Kiev Media Week), Brazil (Rio Content Market), Colombia (Andina Link) and Mexico (Canitec) among them. The rise in the number of TV trade shows — and their diversity — seems to mimic the audience fragmentation TV network executives are facing, which could be problematic for both the criticalmass generators (the big networks) and the large market organizers. Seemingly, this splintering of the TV trade business could create a challenge for organizers of MIPCOM and NATPE since buyers and sellers alike could save money and be more effective with smaller markets. But, to Rod Perth, CEO of the Los Angelesbased NATPE, “Today there are markets everywhere, although the reality is that many of them aren’t really markets at all, they’re gatherings for screenings, panels, conferences, awards etc., but not real markets, like NATPE, NATPE Budapest and MIP and MIPCOM, which are markets first and everything else second. “There is an increasing need for real markets such as NATPE and NATPE Budapest, but it is also clear that as the organizers of these events we have to be very mindful that everyone is taking a very hard look at expenditure. This is one of the main reasons why there has been an expansion of markets focused by region. It is why NATPE bought the market in Budapest from DISCOP, because we wanted to expand our footprint into new areas and we chose Budapest, because it is at the heart of a very vibrant and growing region, and it is an easy place to get to and move around in, and a pleasant place to be,” he said. “I am less convinced of the demand for markets operating by genres [but] the content business today is really about content shown across an ever-increasing variety of platforms. Even in countries where for decades there were just one or two state run broadcasters we are now seeing this plethora of new platforms. This means that developing windowing for these multiple new buyers is a very complicated business,” Perth said. Similarly, Laurine Garaude, director of the TV Division for Paris-based Reed MIDEM, said, “There have always been a number of smaller events around the world which have happily co-existed with our international MIP-TV andMIPCOM markets. There are many regional or national events that serve clients’ goals. Our aim with MIP-TV and MIPCOM is to provide an entirely international market for our clients and with over 100 countries represented at both shows.” Considering that NATPE recently bought DISCOP Budapest, VideoAge asked Garaude if this might be the start of a trend which will see larger operators, such as Reed MIDEM, buying up smaller, more focused events. “Reed MIDEM is always open to opportunities to develop or acquire businesses, but we do not have any particular announcements to make at this point in time,” she answered. Don Taffner Jr., president of DLT Entertainment, who regularly attends MIP-TV, MIPCOM and NATPE, said, “Just lately we have been adding a number of smaller, more focused markets. We have been doing this for two principal reasons. The first is that you often get more done at thesemarkets, simply because they are smaller, and so people have more time to spend with you, and secondly they are a lot cheaper to attend.” Among the new markets for DLT are The Rio Content Market, “which we attended for the first time last February, and which we will certainly be attending again next February;” The Kiev content market, which the company attended for the first time in September, and which Taffner anticipated would “provide a good opening into Russia and the CIS countries;” and The RealScreen Summit in the U.S. in January, “which is certainly going to become a regular market for us.” Taffner is clearly quite taken with The RealScreen Summit not only because, “almostallfactualbuyersfromallchannels are there,” but also because “it has a very relaxed atmosphere, the Ballroom [of Washington D.C.’s Renaissance Hotel] is turned into a large meeting area with sofas where you can meet with buyers.” Although he’s convinced of the value of markets, which he describes as, “an ideal platform for us tomeet our partners on a personal level,” Patrick Elmendorff, managing director of Studio 100 Media, is adamant that the current roster of markets his company attends — MIP, MIPCOM, NATPE Budapest and Asia Television Forum — is adequate for the company’s needs. “We do not, currently, attend any other markets on an occasional basis,” he said. Saralo MacGregor, EVP of Worldwide Distribution at Content Television and Digital, is convinced of the value of content markets both large and small. She listed MIP and MIPCOM, NATPE Miami andBudapest, theL.A. Screenings, Local, Specialized Markets Challenging the World Order T V T r a d e S h o w s Laurine Garaude, director of the TV Division for Reed MIDEM Patrick Elmendorff, managing director of Studio 100 Media In an increasingly diversified marketplace we believe there is room for both international and regionally focused events. – Saralo MacGregor, Content Television (Continued on Page 32)
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