Nicola Larder is a co-producer of the Netflix and ITV globally successful and Emmy winning noir drama series MARCELLA. She has got a huge experience in series production, namely she worked for the BBC incontinuing and returning series, such as WATERLOO ROAD, CASUALTY and NEW TRICKS. Then she moved to Sky Drama Commissioning, where she worked on THE TUNNEL and DRACULA, before going freelance to create MARCELLA, produced by Buccaneer Media.
Emmy Award winning Netflix and ITV drama series MARCELLA starring Anna Friel is a noir crime drama from Swedish superstar screenwriter and novelist Hans Rosenfeldt. MARCELLA’s first season debuted in April 2016 on ITV and delivered an average audience of 7.6 million viewers, premiere of the second season scored 5.1million viewers. By the time the episodes were available for Netflix audience on over 200 territories globally. The third season premieres in Autumn 2019. Besides, the first season has been recently acquired by Polar+ (which is part of the Canal+ group) for France.
In the course of KYIV MEDIA WEEK 2019 Nicola Larder will present the Netflix and ITV globally successful and Emmy winning noir drama series case MARCELLA to the audience. The case study format for the presentation means that the speaker will mainly focus on the practical issues, such as producer’s approach and series production features.This case study is a part of KMW series production events range, supported by TV Channel Ukraine.
Moderator — Nataliia Strybuk, Chief of Film and TV-series production department, TV Channel Ukraine
Please find more details here.
Supported by TV Channel Ukraine
TV Channel Ukraine is one of Ukraine’s TV series production and broadcasting leaders. It was ranked the first among the national channels for all major audiences by the results of 2018. Ukraine TV Channel produces and broadcasts television products of different genres: serials, news and entertainment shows, social and journalistic talk shows, musicals, comedy, documentary projects, football broadcasts. Ukraine TV Channel takes the leading positions in film production as well. About 1,000 premiere hours of TV shows are scheduled for broadcasting in 2019, over 80 TV series premieres are planned to be aired in total and about 50 of them in the autumn season.
Representatives of the largest Ukrainian media groups are going to reveal their wishlists and highlight their programming content strategies during the panel discussion at KMW.
Speakers will tell KMW audience about the key features of broadcast schedule planning and name the most sought-after content from the channel positioning and TV analytics point of view. The discussion will touch upon the programming strategies and key factors that determine their success, namely genres and formats selection within long-time planning and effective ratio between own production and acquisitions and not just that.
KMW audience will hear insights on the new programming approaches and get to know about challenges of both creating and searching of content.
Media groups representatives will speak about program strategies in the context of internal transformations of each group and the impact of global market trends, such as development of technologies and growing popularity of VoD services. What are the international ambitions of local broadcasters and how have the preferences of Ukrainian audience changed over the past year (if they have) and is there a lack of any specific content on the market? Producers, distributors and audiovisual market representatives are welcome to join the discussion!
Panel discussion, moderated by Igor Koval, Director of Television Industry Committee, will be opened by a brief analytical report on TV viewing over the past year. It will give the overview of key factors that effect on the TV industry in Ukraine, present the structure of media consumption and main viewing preferences of local audiences and outline the picture of television landscape.
Panel discussion speakers:
MRM presents the selection of the freshest and brightest formats of non-scripted content of all kinds and genres from around the world.
The screening will traditionally include the autumn season premiers and the catalogues’ headliners of all3media international, Banijay Rights, ITV Studios Global Entertainment, BBC Worldwide, Red Arrow Studios International, FremantleMedia, Endemol Shine Group, Armoza Formats, Dori Media, Eccho Rights, Small World IFT, Global Agency, Fuji Creative Corporation, CBS Studios andmany others.
What are new vectors of Ukrainian TV series industry? Discussion about the recent breakthrough, overview of successful projects from low-budget to international co-productions with Ukraine at KYIV MEDIA WEEK.
Speakers:
Moderator: Artem Vakalyuk, Head of Analytical department of MRM, Deputy Editor-in-Chief of MBR
Supported by TV Channel Ukraine
TV Channel Ukraine is one of Ukraine’s TV series production and broadcasting leaders. It was ranked the first among the national channels for all major audiences by the results of 2018. Ukraine TV Channel produces and broadcasts television products of different genres: serials, news and entertainment shows, social and journalistic talk shows, musicals, comedy, documentary projects, football broadcasts. Ukraine TV Channel takes the leading positions in film production as well. About 1,000 premiere hours of TV shows are scheduled for broadcasting in 2019, over 80 TV series premieres are planned to be aired in total and about 50 of them in the autumn season.
Chinese media industry representatives will present the screening of popular shows and share their ideas how to find new attractive formats for traditional TV transformation.
With the rapid development of the Internet in China, Internet video has made a far-reaching impact on the traditional TV production, which was unable to meet the modern viewers` needs. In order to attract the audience, producers have come up with a variety of ways to make the show more interesting, practical and full of topicality.
For the third year running in the course of KYIV MEDIA WEEK Focus On China events are organized, giving forum visitors the opportunity to meet leading Chinese content producers and distributors. During thescreening and discussion,moderated by world-known expert Virginia Mouseler, CEO of international research company The WIT, there are going to be representedthe successful content examples and unique formats of different genres, including documentaries, variety and reality shows. Producers will also share their experience of working with different formats and creating new shows from a new perspective and by new means.
The showcase is organized by SMG Innovations, iFORMATS, and backed up by the National Radio and Television Administration, P.R. China and Ukrainian Motion Picture Association.
Moderator: Virginia Mouseler, CEO of The WIT
Speakers:
LI Jing, Chief Producer of Large Projects, Shanghai Hei U Media Co., Ltd
BAI Yue, Director of "Magic Chinese Characters", HUNAN TV, Hunan Broadcasting System
HUANG Minli, Chief Director & Producer, Guangdong Radio and Television
LI Liping, Chief Director, Guangdong Radio and Television
For the first time ever KMW will host special event dedicated to the content industry features of Moldova, Kazakhstan, Azerbaijan and Kyrgyzstan. Key topic for the discussion, moderated by Artem Vakalyuk, MRM’s Head of Analytical Department (Ukraine), will be the region’s cooperation opportunities for the partners from all over the world.
Countries of CIS region draw a great interest of foreign companies both in terms of international content distribution and coproduction. What are the region’s business opportunities in television, film and digital media fields?
The panel discussion will gather media market experts from the each featuring country. It will be opened by brief analytical report on the key data about each territory, including: advertising market volumes, number of households, the structure of TV and production markets. Speakers will be invited to comment on this, point out the key trends and common problems of audiovisual content production industry of each country. Participants will also present the overview of main creative and technical benefits of each country, giving an idea about the most promising areas of cooperation with foreign partners (distribution, co-production, filming locations, etc.) and outline the priorities and desired vectors of industry development.
Moderator:
Artem Vakalyuk, Head of Analytical department of Media Resources Management and MBR, Deputy Editor-in-Chief of MBR, Ukraine
Speakers:
Dumitru Tira, CEO of Realitatea Media (Moldova)
Nikolay Pak, Director of First Creative Association (Kazakhstan)
Ali Aliyev, Executive Director of Association of ICT market participants of Azerbaijan
Elina Karakulova, Country Director of Internews in Kyrgyzstan
Special presentation and screening of new and popular content from South Korea, organized with the support of KOCCA. During the screening, KMW participants will watch shows and series of various genres from the influential Korean media companies and producers, both brand new or already declared remarkable hits in Korea with a great potential to win hearts of the world as well.
At the showcase, content from the following Korean companies will be presented:
– KBS Media, representative – Dongcheul Moon, Manager
– MADMANPOST, representative – Choi Soojin, Manager
– KSEEK, representative – Lee Yong Hyuk, Manager
– Pictionary Art Factory, representative – Nick Jo, Director
Korea Creative Content Agency (KOCCA) is a governmental agency, which promotes Korean content industry by supporting creative works in various genres, including videos, games, and even tech-related fields, such as VR/AR. As a part of these endeavours, KOCCA exerts itself to introduce K-content to many around the globe.
Virginia Mouseler is back at Kyiv this year with an exclusive 2-part trend report!
In the Global viewing trends keynote, Virginia will deliver her Fresh take on non-scripted shows. Where do the latest hottest formats come from? Korea or not? VOD or not? What are, if any, the upcoming inspiring IPs on linear TV and VOD? Is TV doomed to be all live or all about sex?
“Young adults, dating, abuse, and identity are this year’s obsessions in both unscripted and scripted genres. But in the unscripted market, we now face multiple choices, multiple platforms, multiple stars… So what The Wit subscribers ask us more and more: WHERE it is? rather than WHAT? Where in the world do I find the best opportunities for creation and acquisition? I’ll try to give some directions at KMW 2019!”, says Virginia.
The Wit – Analytical partner of KMW – is a research company focused on global TV and VOD content and trends since 1996. The Wit services are used by the most active broadcasters, producers and distributors around the world. The Wit offers the ‘Daily Wit’, a newswire on scripted and non-scripted projects and formats in development; ‘The Fresh TV’, an online database on all the new shows broadcast and streamed in more than 70 countries on linear tv and VOD platforms; The ‘Fresh Projects’ database about new upcoming shows; the ‘Cool’, an analysis of the best performing creative trends; the ‘Witspotter’, with exclusive Social TV analytics, and ‘The Wit Schedules’, the ongoing and enriched programming grids of 80 channels worldwide, efficient for programming strategies.
The second keynote by Virginia Mouseler – ‘Global drama trends’ will be held on Tuesday, September 17 at 10:00.
Former NASA scientist and Co-founder of Cinelytic, Dev Sen will tell how algorithms can predict the success or failure of the film at the script development stage as well as about other wonders of AI implementation that have become reality today.
Dev Sen, a physicist by training, previously had been working for 15 years in one of the most high-tech organizations in the world —National Aeronautics and Space Administration (NASA), where he was engaged in analyzing the operational risks of next-generation spacecraft and advancing the field of spaceflight risk assessment and policy.
In 2013, Tobias Queisser and Dev Sen started the company Cinelytic, and Dev became its chief technical officer.
Cinelytic is a company that combines big data capacity, artificial intelligence (AI), machine learning (ML) and cloud technologies to create a unique platform that allows the AV industry professionals to make decisions on the content development, creation and distribution faster and more efficiently. Cinelytic has become one of the most successful startups in this promising area. For example, last year the company received $2.25 million investment from T&B Media Global, the largest film fund in Thailand.
Risk prediction, scenario, and casting solutions testing, distribution models optimization is far not the full list of tasks where AI and ML can be implemented. Concerning film industry, high technology can help calculate and predict box office, suggest how to reach the target audience: which actor is better to choose, which genre/topic is better to focus on to attract the interest of specific audience segment.
In his presentation, Dev Sen will tell how AI and ML were implemented in the process of development and production of Disney’s animated classic film version THE LION KING which hit $1.5 billion at global box office with $260 million budget; in GEMINI MAN (2019), the upcoming sci-fi action movie by Oscar-winning director Ang Lee starring Will Smith. Besides, Dev will elaborate on the AI and ML integration into the work of streaming platforms.
Find out the answers to all these questions in presentation by Dev Sen "How AI and ML are changing the entertainment Industry" at KMW.
Exclusive presentation by globally renowned expert in financing, production, and business models in digital media industry – Manuel Badel on KYIV MEDIA WEEK.
Blockchain, artificial intelligence (AI), and machine learning are the new hot topics for all tech-driven markets. As technologies move forward the digital transformation shapes the media industry as well, changing the way the business is done. Blockchain has recently been on the top of minds, many predicted to revolutionize creative industries’ landscape by introducing the new ways to improve efficiency, profitability and transparency of business transactions.
In his session Manuel Badel will focus on the main advantages of blockchain technology and its application opportunities. Не considers blockchains might become a smart solution for project funding, content distribution and monetization.
Manuel Badel, CEO Badel Media globally renowned expert in financing, production, and business models in the digital media industry. As a CIO Certified Blockchain Professional, he frequently participates in discussions concerning the potential connections between blockchains and the creative industries worldwide. With a degree in finance, marketing, and electronic commerce from HEC Montréal, and project management training from McGill University, Badel has been a consultant and manager with Telefilm Canada, associate director of program administration for the CMF, and director of film and television tax credits at the SODEC.
Based on the findings from C21’s premium Schedule Watch strand, which analyses global schedules and programming worldwide, this session uncovers the programming trends, opportunities and challenges in the international content market. What are the programming missions and strategies of the most active channels and platforms worldwide and, more importantly, how can you get a piece of the action?
C21Media – International Media Partner of KMW, is a digital publisher that provides the international entertainment community with daily news and analysis through a variety of online, print and live products and services. Launched in 1997, C21Media has built a multi-platform business that is versatile, effective, and invaluable for those whose job it is to make and distribute programming to all platforms in the 21st Century. Leading executives, from the heads of Hollywood studios, to those running channels and production companies around the world, turn to C21 first every day to find out what’s going on in the world of content.
HIDE AND SEEK, produced by FILM.UA Group, is the first Ukrainian noir crime drama and is also on a clear path to become one if not the most successful internationally Ukrainian series to date. Unprecedentedly for Ukrainian drama, HIDE AND SEEK was picked up for distribution by ZDF Enterprises (the same people who introduced THE BRIDGE to the world) at an early stage. The project also became the first Ukrainian series to be selected by prestigious MIP Drama Buyers Summit 2019, held annually in Cannes as a part of MIPTV. Its work-in-progress materials were screened to international buyers alongside projects from Netflix, BBC, etc. The artistic value of the project is further recognized by its selection to a number of key TV festivals. To give you a small taster: HIDE AND SEEK case study and Q&A was already presented at The Great Series Summit (Cologne, Germany) and Series Series (Fontainebleau, France). Next ahead for the series are Serial Killer (the first festival of TV and online series in the region of Central and Eastern Europe) in Brno, Czech Republic and more.
The case study is dedicated to the international rollout of a Ukrainian series, for the first time bringing together creators / producers, broadcaster and international distributor. The participants of the media forum will have a unique chance to watch selected scenes of HIDE AND SEEK and learn from the experience of the key people involved.
The case study will be presented by creative producer Olesya Lukyanenko (Creative Producer, FILM.UA Group), co-producer Kateryna Vyshnevska (Head of Development and Co-Productions and Co-producer, FILM.UA Group), Mirela Nastase (ZDFE.Drama Director) and Anastasia Shteinhaus (managing director of ICTV, Ukrainian series broadcaster). They will discuss the creative process, international and Ukrainian strategy and what it all means for Ukrainian drama.
The eight-part crime drama HIDE AND SEEK premieres on ICTV Ukraine in autumn 2019. It integrates elements of both noir and thriller: what starts as a detective story, when a 7-year-old girl disappears from a locked apartment, gradually develops into a drama that touches upon social and psychological issues.
Creative communications are transforming, both in terms of form and essence. The boundaries between art and advertising continue to blur. Corporate slogans become cinematographic metaphors, the commercial becomes a short film, a documentary or even a feature movie. Art is triumphant. Is that so? Let's see. Let's analyze. Let's enjoy it.
Since 2006, the Cannes Lions Representative office Ukraine has been working to promote the latest achievements and most significant works in the field of creative industries, as well as helping Ukrainian companies to represent themselves on the international stage – at the Cannes Lions, Eurobest, Dubai Lynx and Spikes Asia festivals. More details about its activity at www.creativity.in.ua.
Cannes Lions is the premier award in the creative communications segment and one of the most prestigious in the creative industries. Namely this international festival gathers the groundbreaking, non-standard ideas, approaches and technologies that set trends in culture, business and society development. The festival has been held since 1954, and for 66 years the most famous brands and prominent people from various spheres gather here to meet, share knowledge and demonstrate the strength and effectiveness of a creative approach in all the industries.
Key topic of the section is integration of brands into Ukrainian content and creation of own content for brand promotion.
At a time when the audience is rejecting ads using ad blockers and other technologies, brands need to look for new ways to connect with their audience. Branded content has become an effective instrument to build meaningful connections between brands and consumers, approaching them in creative and engaging ways.
Creators of branded content does not seek to use rational arguments about why a brand is better than the competitors, but instead seeks to connect with the audience on a more intimate and emotional level. According to the experts’ estimation, branded content segment is the fastest growing on the Ukrainian media and advertising market.
Ukrainian video content has started thriving overseas, and large advertisers are launching large-scale campaigns integrating their brands into their own and partners content. Besides, brands often create their own content, building a successful and engaging content-based advertising strategies.
In our section you will learn about the fresh cases of branded content in Ukraine and their role in overall marketing strategy of key advertisers. FILM.UA Group and StarLightMedia will present their vision for the further development of this segment and FILM.UA Group will announce projects for 2020 and 2021.
Moderators:
Julia Pylypenko, Head of Sponsorship Division FILM.UA Group
Zoia Khilyk, CMO of StarLight Brand Content
Speakers:
Olena Martynova, CMO of StarLightMedia
Kostiantyn Los, Brand-Manager of TM “Lvivske”, Carlsberg Ukraine
Eugene Razuvaev, Marketing Director, Snack Production
Anna Zarytska, Marketing Director, Lantmännen
Kateryna Belska, Brand-Manager of Carlsberg Ukraine
‘Television as Business’ conference – a part of KYIV MEDIA WEEK international media forum – is the annual meeting of television industry leaders, where the top media brands and best experts discuss burning issues of the industry, look for best solutions and share their experience in successful media projects and financial management. In addition, the participants have the opportunity to learn the success and fail stories of projects based on the example of real cases from around the world.
‘Television as Business’ conference is hosted by Television Industry Committee.
Speakers are top managers of TV channels, production studios, sales houses, advertising agencies, state and public media authorities, representatives of major television advertisers, Ukrainian and foreign media experts and analysts.
Agenda of last year’s conference was dedicated to legislative and regulatory changes for media, functioning of multimedia platforms, best television formats and their promotion, search for niche audiences and launch of new channels. In addition, experts reviewed the activity of the advertising market and estimated its development in future periods.
Updates of the conference program, speakers, as well as news are available on the official website and Facebook page.
Should you have questions about ‘Television as Business’ conference, please call +38 044 353 13 98 or send an e-mail to pr@itk.ua.
More detailed information is on the conference's webpage.
Alysha Naples, Chief Experience Officer at Tin Drum, Immersive Experience Designer and Co-active Coach, is going to visit KYIV MEDIA WEEK to highlight the topic of VR/AR, design and UX in content audiovisual industry and offer a new vision of this topic. Artificial intelligence, virtual reality and machine learning are the new ways people interact, conduct business and understand the world. Immersive technologies move out of the game-play space novelty into mainstream, and film making industry is one of the most relevant fields for application of this new technologies.
Alysha will make a forecast on the future of the world, where VR and AR become a very commonplace for people to live and communicate. In her presentation she will make the audience aware of AR and VR potential and how it can enrich the industry, but also mention threats the technology might bring to the world when “creators can beam content right to the people’s heads, eyes and ears”. She will touch upon the important topics of humanism and social responsibility, communities and interaction between different groups of people, cultural and psychological aspects of VR and UX technologies utilization.
Alysha Naples is an immersive experience designer andco-active coach with over 20 years of experienceintechnology and design. In her previous role as Magic Leap's Senior Director of User Experience and Interaction, she worked on interactions modalities for VR and AR interfaces. On her current position as a Chief Experience Officer at Tin Drum (a production studio and technology developer using volumetric moving photography of real people to create presentations of performance, narrative and installation) Alysha takes part in innovative and artistic projects.
As an international speaker, Alysha covers challenging topics of future design, education, innovation, women in tech, and the role of experience in virtual and augmented realities.
Supported by The Creatives' Catalysts
Joël Chapron is UNIFRANCE Central and Eastern European manager for the promotion of French cinema abroad. For more than twenty years he has been working with the Cannes Film Festival, drawing up a short-list of films from the CIS and Eastern Europe. He had been doing the same job for Locarno Film Festival from 2006 until 2012. Mr. Chapron is author and co-author of plenty of books and articles related to French cinematography, film industry financing, promotion, distribution and state support. His works have been translated into many languages.
In his special report at KYIV MEDIA WEEK Joël Chapron will talk about the creation of an image of a country’s cinema and the role of the state support in this process. Using the example of UNIFRANCE, he will explain the main tasks of the organization for national cinema promotion, elaborate on the special events organized by UNIFRANCE and the principles of providing them with financial or technical support. He will cover two main components of the image of national cinema — film distribution and promotion. In addition, Mr. Chapron will consider DVD and VOD as options for international distribution of the films that don’t get to the theaters and role of short films in national cinema promotion. Joël Chapron will also discuss the image of other countries cinema in France, and whether it can be built further, explaining the role of filmmakers and state support in this process.
The section is supported by Ukrainian State Film Agency
Asian content market is booming. Despite cultural differences which influence both story and viewing tastes, hundreds of hours of drama and entertainment shows by Korean, Chinese and Indian companies annually travel to other territories as readymades and formats. So what’s the key to the success? What kind of business models are used to find the common ground with European and the US partners? How the biggest Asian markets’ representatives adjust to the new media market landscape that involves globalization, the companies’ mergers and obsessive demand for locally produced shows? Discover new business opportunities and benefit from cooperation with the fastest growing region in the world.
Successful recipes are usually made in the kitchen, more often than not by a process of trial and error. The fiction market in Central and Eastern Europe seems to have found the right recipe to produce series that are not only successful in their respective local or regional markets (markets with historic ties like former Czechoslovakia, former Yugoslavia, former USSR countries) but also internationally.
And this goes not only for dramas which will be the focus of this panel discussion, but also for comedies. A good example for a successful series from the region that illustrates well the title of the discussion is Russian series KITCHEN. The producers and the creative team behind the project which launched back in 2012 have obviously cooked up a very successful recipe, since the series has been sold to numerous territories not only as a ready-made series but has also been adapted as a format.
But putting the focus on drama – there is one series that took the TV (and not only) world by storm this year – CHERNOBYL. And even though it is an international HBO and Sky production, with an international crew and cast, most of the filming of CHERNOBYL took place in Lithuania. And the fact that this project with 19 Emmy nominations and the highest score ever on IMDB for a series presents a very CEE-focused story. Well, viewers would now definitely take a much closer look at what CEE has to offer in terms of drama.
So, what are the major changes in the CEE drama market in the past few years? What are the main ingredients for a local drama to become an international hit? What are the most-successful series in the panelists’ catalogues and why?
The answers to these questions and much more – at KMW on September 17.
Guy Bisson – Executive Director at Ampere Analysis and leading analyst for pay TV and multichannel will tell KYIV MEDIA WEEK audience about successful streaming strategies, opportunities for content from CIS region and its performance on the international stage. He will speak about local and global trends of content consumption, a role of original content in the development of streaming platforms.
This presentation will draw on lessons from both local and global streaming platforms to look at how original production and content acquisition are used to differentiate and grow market share in an increasingly crowded market. The speaker will talk about the ways global and local players are using content to succeed in the fast-moving steaming TV space and how are exclusivity and originality become the instruments to build competitive strategies. Besides, the overview of quality content from the CIS region and its performance on the international stage will be presented. Among the important questions to be highlighted are the strategies of the streaming platforms around the globe, who increasingly seeking unscripted and reality content for both production and acquisition. Drawing on consumer behavior research, market sizing data and unique title-by-title analysis of the global streaming TV space, this presentation will give pointers to refine sales and distribution strategy; highlight production and co-production opportunities.
Guy Bisson has more than 25 years’ experience as a leading entertainment market analyst with a specialization in the global television business. He is a regular speaker and moderator at many of the world’s leading entertainment business conferences, a frequent media commentator and author of numerous reports and research articles on the business and strategy of the television industry. Most recently, Guy has been focusing on the SVoD content market and the impact of new viewing platforms on the traditional channel and platform business. Guy previously led the television research practice at both Screen Digest and IHS and is now Executive Director of Ampere Analysis, a London-based company with a global focus on television and new media that is combining, for the first time, big data analytics, consumer research and industry analysis.
Final of SMALL WORLD. BIG IDEAS – annual contest for new original concepts (formats) of non-scripted entertainment shows.
SMALL WORLD. BIG IDEAS winner – the author of the best idea according to experts and partners of the competition, will get a great opportunity for professional growth at the international level, while the winning format will be kickstarted globally to win the hearts of audiences on all continents.
The project partners – international distributor Small World IFT (USA) and the world’s biggest audiovisual content market MIPCOM (France).
Virginia Mouseler is back at Kyiv this year with an exclusive 2-part trend report!
During the Global drama trends keynote Virginia will offer her vision of the drama creative trends answering the one question: what are the most sought after viewing target groups, genres, themes and stories driving the simultaneous explosion of series and SVOD platforms?
“The drama market is currently obsessed with IPs, Y.A. (young adults) and VOD. In my presentation I’ll present great new shows from around the world ticking these boxes while capturing the zeitgeist. I’ll also show ways to track and acquire the best scripted content. That’s what we do every day at The Wit,and I can’t wait to bring this passion at KMW 2019”, says Virginia.
The second keynote by Virginia Mouseler – ‘The Wit’s global viewing trends’ will be held on Monday, September 16 at 10:00.
The Wit – Analytical partner of KMW – is a research company focused on global TV and VOD content and trends since 1996. The Wit services are used by the most active broadcasters, producers and distributors around the world. The Wit offers the ‘Daily Wit’, a newswire on scripted and non-scripted projects and formats in development; ‘The Fresh TV’, an online database on all the new shows broadcast and streamed in more than 70 countries on linear tv and VOD platforms; The ‘Fresh Projects’ database about new upcoming shows; the ‘Cool’, an analysis of the best performing creative trends; the ‘Witspotter’, with exclusive Social TV analytics, and ‘The Wit Schedules’, the ongoing and enriched programming grids of 80 channels worldwide, efficient for programming strategies.
Supported by TV Channel Ukraine
TV Channel Ukraine is one of Ukraine’s TV series production and broadcasting leaders. It was ranked the first among the national channels for all major audiences by the results of 2018. Ukraine TV Channel produces and broadcasts television products of different genres: serials, news and entertainment shows, social and journalistic talk shows, musicals, comedy, documentary projects, football broadcasts. Ukraine TV Channel takes the leading positions in film production as well. About 1,000 premiere hours of TV shows are scheduled for broadcasting in 2019, over 80 TV series premieres are planned to be aired in total and about 50 of them in the autumn season.
International media consultancy K7 Media offers a binge-worthy feast of updates from the evolving streaming landscape in a keynote presentation in the course of KMW 2019.
The session will focus on the on-demand market evolution and attempting to predict the streamers' next moves. David Ciaramella will share his insights into strategies of top streaming services players and the new set of players that are bound to make waves on the market in 2019.
The top players expand their reach and focus on high quality ‘local’ content and its adjustment to the authentic audiences demands. Netflix is continuing its push to create more shows that resonate with ‘local’ audiences whilst still retaining global appeal, with offices and production hubs emerging around the world. And Amazon is also expanding its reach, establishing European offices, whilst also making forays into high profile unscripted originals.
Speaking about the upcoming presentation, David says: “Whilst many in the industry spent last year unnecessarily worrying about Facebook, YouTube and Snapchat challenging the ‘TV’ landscape, there’s a new set of players ready to join the on-demand party such as Disney+, which launches with a major competitive advantage: classic and original entertainment based on cherished IP from Disney, Pixar, Lucasfilm and Marvel. And that’s only the beginning.”
K7 Media – KYIV MEDIA WEEK's Knowledge Partner – is an international media consultancy which provides insights and intelligence on global TV and video trends to the world's biggest media brands. Creators of the ‘Top 100 Travelling TV Formats’ annual report, K7 Media draws on extensive knowledge of the global TV and digital sector to produce personalized reports for broadcasters, distributors, digital media players and production companies – across unscripted, scripted, kids and digital.
The goal of the MBR’s analytical report is to formulate a comprehensive vision of all key processes that have taken place in the Ukrainian audiovisual market over the last 5 years, as well as to capture key indicators as of the third quarter of 2019, and to outline the main trends that will determine the development of the industry in the nearest future.
What indicators and dynamics has the local box office shown over the last 5 years and what was the share of Ukraine-produced films in it? How has the number of movie theaters changed and how many are there at the moment? How has the volume and structure of the state support for Ukrainian film production been transformed, and how has it affected the development of the industry? The speakers are going to focus on these key issues.
Concerning television, the report will analyze the Ukrainian TV content of recent years. In addition, the presentation will highlight the key indicators of TV ads, as well as analyze the main figures that give a comprehensive understanding of the TV viewing and distribution of content in Ukraine.
Anastasia Rakhmanina
Editor-in-Chief of the new online platform about media business and AV content industry MBR, Ukraine
Artem Vakalyuk
Head of Analytical department of Media Resources Management and MBR, Deputy Editor-in-Chief of MBR, Ukraine
Media Business Reports is new information and analytical platform about media business and AV content industry. This is a subsidiary project of the leading Ukrainian media consulting company Media Resources Management, launched in test mode in September 2019. MBR constantly monitors the film and TV market of Europe and the world, paying particular strategic attention to Ukraine, the Eastern European region, as well as the post-Soviet countries. MBR comprises systematic analytics on TV viewing and box office of Ukraine, detailed information about opportunities and services of the Ukrainian market, interviews with content industry professionals, reports on key industry events, as well as analyses the global trends and forecasts their impact on the local market and much more.
The fight against content theft in Ukraine is a continuous, long-playing, but promising and economically viable process. This is already definitely true for participants of III conference for rights holders ”Fighting Piracy in Ukraine: 5 “what for” and results of fight against content theft” that will take place on the 17th of September during KMW.
Following experts will share their experience in order to strengthen and speed up this difficult path together
Kateryna Fedorova, director of “Clear Sky Initiative” Public Union, will moderate the discussion.
They will find answers to 5 ‘why’
This event is a meeting place for business owners, lawyers of Ukrainian and International rights holders and all those concerned with the intellectual property rights protection. There practical solutions are provided, constructive dialogue is conducted and joint decisions on further actions are made.
Organizer – ”Clear Sky Initiative” Public Union, created with the purpose to foster the licensed video content marketplace and confront intellectual property rights violations.
Artem Vakalyuk will give a traditional overview of the results of film distribution in Europe and pay attention to the share of national films in the local box office. What kind of local produced films can compete with American blockbusters, which genres of local European production are among most popular and highest-grossing and take leading positions at local market.
A detailed analysis of each European country providing focus on countries where local films made it in the top in terms of ticket sales and box office fees.
Artem Vakalyuk is an analyst, journalist, Head of Analytical department of Media Resources Management and MBR, Deputy Editor-in-Chief of MBR. He works in the field of media for over 10 years, in particular as analyst. He wrote more than 1,5 thousand articles on media and advertising. In June 2010 he joined Media Resources Management, in September of the same year the first edition of the new analytic magazine Content Report was issued under Artem’s lead. Presentation of Media Business Reports, a new magazine edited by Artem, will take place at KYIV MEDIA WEEK.
Supported by Ukrainian State Film Agency and Media Business Reports
The Ukrainian film industry representatives, namely those who believe in Ukrainian cinema, who are now ready to invest their resources in the industry development and who can make local film industry a profitable business very soon, are invited to join the discussion in the course of the forum. Along with producers, distributors, broadcasters as well as movie theaters and online services representatives we will discuss why synergy between all industry participants is so important and how to build an effective film business in Ukraine through cooperation.
Moderator:
Julia Sinkevych, general producer of Odesa international film festival, co-founder of Ukrainian Film Academy
Speakers:
Iryna Kostyuk, Producer FILM.UA Group
Andriy Nogin, General Producer FinalCutMedia
Roman Martynenko, CEO of Multi Media Distribution
Vitaly Pisarenko, CEO Multiplex
Khrystyna Shkabar, Head of the Department of Production of feature (fiction) projects at 1+1 Production
Aleksandr Rezunov, CEO of Sweet.tv company
The event is organized with the support of Ukrainian State Film Agency.
K7 takes the wrapper off some of the best new kids shows from around the world.
Kids are watching video across an ever increasing number of screens, consuming more of it, and changing their viewing patterns accordingly. And the type of video keeping our younger ones engaged is evolving too: just a few years ago, who would have thought that watching children (and adults!) unbox and play with toys could ever be classed as entertainment, let alone amass the audiences enjoyed by some of the biggest ‘toy play’ creators? In turn, this DIY approach to kids video has started to influence ‘traditional’ properties, with the likes of DHX’s WildBrain ramping up native digital spin-offs from familiar IP such as The Moomins and The Clangers.
At this exciting time, K7 Media's David Ciaramella will present a snapshot of the kids' programming landscape, showcasing the hottest new shows from around the world, designed for multiple screens and platforms.
K7 Media – KYIV MEDIA WEEK's Knowledge Partner – is an international media consultancy which provides insights and intelligence on global TV and video trends to the world's biggest media brands. Creators of the ‘Top 100 Travelling TV Formats’ annual report, K7 Media draws on extensive knowledge of the global TV and digital sector to produce personalized reports for broadcasters, distributors, digital media players and production companies – across unscripted, scripted, kids and digital.
Every year Ukraine becomes brighter and more confident in demonstration of its potential on the international content production market. As far as projects involving Ukrainian production companies and services, post-production and visual effects companies find acceptance and make a big hit all over the world. And this is a thing worth talking about.
Local companies representatives involved in the production of the most resonant Ukrainian and international projects are invited to join the panel discussion “Ukrainian Breakthrough: From CHERNOBYL to China”. Darko Skulsky, the founder of Radioaktive Film, a company that managed to collaborate with such TV giants as the American HBO and British Sky, who organized and provided shootings for Chernobyl TV miniseries in Ukraine, will tell you about the efforts it took to bring the project to Ukraine, challenges the crew faced with during the process, why Chernobyl was filmed in Lithuania, and what Ukrainian industry should take care of to attract such large projects in the future.
Ukrainian costume drama LOVE IN CHAINS, a project created by FILM.UA and StarLight Films was a big hit in Poland. This summer, the show aired on one of the largest Polish TV channels TVP 1, the series became the leader of TV viewing and keeps breaking the record. How expected was this effect? How to succeed in the international series market? We’ll find out the opinion of Igor Storchak (FILM.UA) and Katerina Sheveliuk (StarLightMedia).
This year, among the leaders of the Chinese film distribution market which is the second-largest market in the world, are blockbusters The Wandering Earth and Looking up!. Specialists from the Ukrainian company Postmodern Digital are one of those who created incredible visual effects for both films. The CEO of the company, Egor Borschevsky, will tell how the Ukrainian company can enter the closed and original Chinese film market, as well as about the features of cooperation with Chinese partners.
Moderator: Victoria Yarmoshchuk, Executive Director of Ukrainian Motion Picture Association
Speakers:
Egor Borschevsky, CEO of Postmodern Digital
Igor Storchak, CEO FILM.UA Distribution
Kateryna Sheveliuk, Head of monetization department, StarLightMedia
Darko Skulsky, Founder of Radioaktive Film
The event is organized with the support of Ukrainian State Film Agency and Ukrainian Motion Picture Association.
KMW's special guest, world-famous film producer, director and media manager Alexander Rodnyansky, will talk about the impact of globalization on the AV-content industry and the opportunities for local content producers due to the digital technologies development. He will share his thoughts about the influence of globalization on the audiovisual content industry and opportunities, that emerge for the local producers due to the digital technologies development, also about global changes in content consumption and its impact on both audience and producers.
Alexander Rodnyansky – film producer, director and mediamanager, is one of the most recognized and prolific East European film producers having created over 30 TV series and 40 feature films including key works by some of the most acclaimed filmmakers in modern history. Born in Kyiv, he began his career as a documentarian, working on many renowned films including THE MISSION OF RAOUL WALLENBERG (1990) and LAST FAREWELL USSR (1994), which won the FIPRESCI Prize from the Yamagata International Documentary Film Festival.
Following these early successes as a director, he quickly lent his talents to producing. His earliest success was as producer on A CHEF IN LOVE (1996). Directed by Nana Dzhordzhadze, it was the first time the Asia Pacific country of Georgia received an Academy Award nomination for Best Foreign Language Film. Rodnyansky soon followed that as executive producer on EAST-WEST (1999), a co-production between Russia, France, Ukraine, Bulgaria and Spain that once again earned an Academy Award nomination for Best Foreign Language Film, this time for France.
In 2009, Rodnyansky founded AR Films, he owns the Non-Stop Production company, and has served as the President of Russia’s leading national film festival Kinotavr since 2004. Alongside television series, several significant films followed: THE SUN (2005) from Russian auteur Alexander Sokurov won awards and competed for the Golden Bear at the Berlin International Film Festival, Aleksandr Mindadze’s INNOCENT SATURDAY (2011) about the Chernobyl nuclear disaster also competed for the big prize in Berlin, and Fedor Bondarchuk’s STALINGRAD (2013) was a Russian blockbuster that became the first film he produced that was selected to represent Russia at the Academy Awards.
In 2011 he produced ELENA, the first collaboration between Rodnyansky and director Andrey Zvyagintsev. Next came LEVIATHAN (2014), which became an international sensation – it was an Academy Award and BAFTA nominee for Best Foreign Language Film and won the same award at the Golden Globes, along with 35 other awards from around the world. That success was followed up by LOVELESS, another Academy Award and BAFTA nominee. Additionally, all three won an APSA and all won awards while in competition at the Cannes Film Festival. LOVELESS also became the first Russian film in history to win The César Award in France.
While he has continued to produce a blend of acclaimed art-house cinema like the award-winning documentary ¡VIVAN LAS ANTÍPODAS! (2011) and big budget fare like the IMAX-shot The DUELIST (2016), Rodyansky has also moved into American productions. He produced JAYNE MANSFIELD’S CAR (2012) for director Billy Bob Thornton, as well as Robert Rodriguez SIN CITY: A DAME TO KILL FOR (2014) and MACHETE KILLS (2013). He was also a co-producer on the adaptation of CLOUD ATLAS by the Wachowski siblings and Tom Tykwer.
In 2018 THE MAN WHO SURPRISED EVERYONE, produced by Alexander Rodnyansky, premiered at the Venice Film Festival and won the Best Actress award.
In 2019 Alexander Rodnyansky launched a Moscow-LA based development company AR Content designed to deliver premium quality content for film and television on an international scale. With a focus on true stories, around global events or spotlighting relevant and diverse cultural situations, the company will also delve into fictional drama and genre films. AR Content is a hub for filmmakers and screenwriters to develop their passion projects and partner with producers and distributors, in order to foster a cohesive creative vision.
AR Content recently announced DEBRIEFING THE PRESIDENT, a firsthand account of the interrogation of Saddam Hussein, to be directed by Oscar nominated director Ziad Doueiri (THE INSULT), EVERYBODY’S WOMAN, a drama series centering on a woman working in the porn industry directed by Kornel Mundruczo as well as an Oscar-winning director Kevin Macdonald-produced documentary about the refugee crisis in Europe that preceded the Holocaust and World War II.
BEANPOLE, directed by a 27-years old Kantemir Balagov and produced by Alexander Rodnyansky won the Best Director prize in Cannes in Un Certain Regard program as well as the International Federation of Film Critics prize (FIPRESCI).
How to increase the volume of original, intelligent and relevant documentary content on Ukrainian TV channels and create sustained audience interest in it? This issue will be considered during special discussion within the framework of KMW, involving representatives of European and Ukrainian TV channels, as well as content creators. Speaking of documentary content we refer to its broader meaning from factual to documentary cinema.
The panel discussion has multiple aims. First of all, showing that documentary content can be entertaining and exciting, not only for niche viewers (culture, science, stories of famous personalities, nature and nature protection, lifestyle) but also for a large television audience. Second of all, learning about interaction between TV channel and the audience with the help of documentary content beyond linear television (Linear 360 Broadcast) — on digital platforms, in social networks, etc. And lastly, discussing what kind of content it might be (format, duration, delivery) and which connection should be between the content and linear television including its digital platform.
Speakers:
Susanne Spröer, Head of Culture Online, Deutsche Welle (DW)
Yaroslav Lodygin, General producer, UA:PBC, UA:PERSHYI and UA:KULTURA (UA:Suspilne)
Ekaterina Mihajlovic, Senior Manager Commercial Projects for CEEMCA (Central and Eastern Europe, Mediterranean and Central Asia), Discovery Inc.
Elena Malkova, producer of BACK TO BASICS, FILM.UA Group
Moderator: Andriy Kulykov, co-founder of Hromadske Radio
The event is organized with the support of DW Akademie
DW Akademie, Germany’s leading organization for international media development, in partnership with BBC Media Action, the BBC’s international development charity, and NIRAS, an international, multidisciplinary consultancy company, supports the reform process of the National Public Service Broadcaster of Ukraine (UA:PBC). A key objective of the project is the promotion of public broadcasting through the establishment of a functioning digital multiplatform Newsroom and a training centre, the Public Media Academy (PMA). The project seeks to create a permanent basis for quality, objective and unbiased news.
Ukrainian animation viewer - producer - distributor - finding a Mutually Beneficial Partnership
Ukrainian animation is gathering momentum. Today Ukrainian studios can offer quality content to a global audience. This is the reason for the discussion between animation product manufacturers, distributors, and broadcasters.
The participants will exchange views on the production and distribution specifics of animated films. Representatives of leading Ukrainian channels will share their experience of broadcasting cartoons; animation producers will talk about the challenges they face while creating content, as well as about trying to communicate the content to a broadcaster and a viewer.
Together, the industry members will try to find ways of profitable cooperation to increase the pace of Ukrainian animation production, exchange thoughts and estimates of the prospects for domestic production increase and various forms of cooperation, discuss what potential distribution channels have and what they can offer domestic producers and viewers.
A pilot study on the image of a favorite children's animated hero will be presented on the panel discussion.
Moderator: Yurii Marchenko, Journalist, radio host, chief editor Platfor.ma
Speakers:
Olena Golubieva, Executive Director of the Ukrainian Animation Association UANIMA and Director of Chervoniy Sobaka
Michael Margulis, Producer, Founder of production animation studio KAPI
Ivanna Nayda, General Producer of niche channels at 1+1 media
Vitaly Tchirkov, Creative Executive Officer at Starlight Digital
Olga Cherepanova,Creative Producer, Co-founder Glowberry
Lyubov Naydenova, Head of Laboratory of Psychology of Mass Communication and Media Education in Institute of Social and Political Psychology NAES of Ukraine
The panel discussion is organized for the second time with the support of the Ukrainian Animation Association UAnimA.
Screening of the freshest and most iconic series that set and rule global drama production, distribution and viewing trends. During the section the best series from the USA, Latin America, Europe and Asia will be presented, among them – those that were broadcast already, as well as long awaited premiers of the upcoming season.
Supported by TV Channel Ukraine
TV Channel Ukraine is one of Ukraine’s TV series production and broadcasting leaders. It was ranked the first among the national channels for all major audiences by the results of 2018. Ukraine TV Channel produces and broadcasts television products of different genres: serials, news and entertainment shows, social and journalistic talk shows, musicals, comedy, documentary projects, football broadcasts. Ukraine TV Channel takes the leading positions in film production as well. About 1,000 premiere hours of TV shows are scheduled for broadcasting in 2019, over 80 TV series premieres are planned to be aired in total and about 50 of them in the autumn season.
Andrew Reid — Head of Production, NI Screen will tell about the successful strategies of building screen industries in Northern Ireland and what was done for their promotion worldwide. He will also give his insights on effective international cooperation basing on examples of several world’s recognized projects including GAME OF THRONES (GoT) by HBO.
Andrew Reid has joined the industry in 1990 as a production runner; he moved to London for BBC training as a television drama Location Manager. In 1997, he joined Northern Ireland Screen. As Head of Production, Andrew is responsible for the investment of Northern Ireland Screen’s $16m annual development, production, skills and funds. He oversees the delivery of physical production, project development, new emerging talents, and skills development schemes. Andrew has a BA in Drama, Film, and Television from St John’s York; got MBA at Queen’s University Belfast, he is an alumnus of Cass Business School’s Inside Pictures, a member of BAFTA and a founding member of the Irish Film and Television Academy.
Famous eccentric and visionnaire Sergey Tsyptsyn is coming to Kyiv to share his insights on the future of the visual content industry influenced by modern technologies. Sergey aims to make his listeners reflect upon the meaning of intensive use of artificial intelligence technology for people as both creators and consumers of content. The discussion will address not only the issue of innovations in technologies but also creativity, because machines have already achieved success even in this seemingly human realm.
Sergey Tsyptsyn will analyze how artificial intelligence made this far into the field of computer graphics, and what this may change in this field, when development of film and television is heavily dependent on it. Finally, Sergey will assume hypothesis on the future of the visual content generated by artificial intelligence to people’s “order” and how we will perceive it. To prepare us for the future, the speaker will demonstrate what artificial intelligence technology is capable of today and how it is implemented in the audiovisual industry.
Supported by CG Event
KMW's special guest, world-famous film producer, director and media manager Alexander Rodnyansky, will talk about the impact of globalization on the AV-content industry and the opportunities for local content producers due to the digital technologies development. He will share his thoughts about the influence of globalization on the audiovisual content industry and opportunities, that emerge for the local producers due to the digital technologies development, also about global changes in content consumption and its impact on both audience and producers.
Alexander Rodnyansky – film producer, director and mediamanager, is one of the most recognized and prolific East European film producers having created over 30 TV series and 40 feature films including key works by some of the most acclaimed filmmakers in modern history. Born in Kyiv, he began his career as a documentarian, working on many renowned films including THE MISSION OF RAOUL WALLENBERG (1990) and LAST FAREWELL USSR (1994), which won the FIPRESCI Prize from the Yamagata International Documentary Film Festival.
Following these early successes as a director, he quickly lent his talents to producing. His earliest success was as producer on A CHEF IN LOVE (1996). Directed by Nana Dzhordzhadze, it was the first time the Asia Pacific country of Georgia received an Academy Award nomination for Best Foreign Language Film. Rodnyansky soon followed that as executive producer on EAST-WEST (1999), a co-production between Russia, France, Ukraine, Bulgaria and Spain that once again earned an Academy Award nomination for Best Foreign Language Film, this time for France.
In 2009, Rodnyansky founded AR Films, he owns the Non-Stop Production company, and has served as the President of Russia’s leading national film festival Kinotavr since 2004. Alongside television series, several significant films followed: THE SUN (2005) from Russian auteur Alexander Sokurov won awards and competed for the Golden Bear at the Berlin International Film Festival, Aleksandr Mindadze’s INNOCENT SATURDAY (2011) about the Chernobyl nuclear disaster also competed for the big prize in Berlin, and Fedor Bondarchuk’s STALINGRAD (2013) was a Russian blockbuster that became the first film he produced that was selected to represent Russia at the Academy Awards.
In 2011 he produced ELENA, the first collaboration between Rodnyansky and director Andrey Zvyagintsev. Next came LEVIATHAN (2014), which became an international sensation – it was an Academy Award and BAFTA nominee for Best Foreign Language Film and won the same award at the Golden Globes, along with 35 other awards from around the world. That success was followed up by LOVELESS, another Academy Award and BAFTA nominee. Additionally, all three won an APSA and all won awards while in competition at the Cannes Film Festival. LOVELESS also became the first Russian film in history to win The César Award in France.
While he has continued to produce a blend of acclaimed art-house cinema like the award-winning documentary ¡VIVAN LAS ANTÍPODAS! (2011) and big budget fare like the IMAX-shot The DUELIST (2016), Rodyansky has also moved into American productions. He produced JAYNE MANSFIELD’S CAR (2012) for director Billy Bob Thornton, as well as Robert Rodriguez SIN CITY: A DAME TO KILL FOR (2014) and MACHETE KILLS (2013). He was also a co-producer on the adaptation of CLOUD ATLAS by the Wachowski siblings and Tom Tykwer.
In 2018 THE MAN WHO SURPRISED EVERYONE, produced by Alexander Rodnyansky, premiered at the Venice Film Festival and won the Best Actress award.
In 2019 Alexander Rodnyansky launched a Moscow-LA based development company AR Content designed to deliver premium quality content for film and television on an international scale. With a focus on true stories, around global events or spotlighting relevant and diverse cultural situations, the company will also delve into fictional drama and genre films. AR Content is a hub for filmmakers and screenwriters to develop their passion projects and partner with producers and distributors, in order to foster a cohesive creative vision.
AR Content recently announced DEBRIEFING THE PRESIDENT, a firsthand account of the interrogation of Saddam Hussein, to be directed by Oscar nominated director Ziad Doueiri (THE INSULT), EVERYBODY’S WOMAN, a drama series centering on a woman working in the porn industry directed by Kornel Mundruczo as well as an Oscar-winning director Kevin Macdonald-produced documentary about the refugee crisis in Europe that preceded the Holocaust and World War II.
BEANPOLE, directed by a 27-years old Kantemir Balagov and produced by Alexander Rodnyansky won the Best Director prize in Cannes in Un Certain Regard program as well as the International Federation of Film Critics prize (FIPRESCI).
Reardon's experience in the industry is over 30 years. He began his career as a talent agent in MGA Agency and since then has come a long way that has included, among other things, such significant milestones as the post of president of companies IM Global Television, ... and Action! Distribution, GRB Entertainment, and vice-presidency in MTM International Distribution. Since 2009, Reardon has been responsible for co-production and sales in Incendo, TV content production company with more than 70 TV-films, series, and documentary products in its portfolio.
The biggest co-production project of Incendo in recent years is VERSAILLES series (2015–2018). This large-scale project was co-produced by Canada and France, famous British actors were invited to take up leading roles. George Blagden (VIKINGS series, LES MISERABLES) played king Louis XIV, and Alexander Vlahos (MERLIN series) – his brother Philip, Duke of Orléans.
The first season of VERSAILLES was an international sales hit – it traveled to more than 135 countries around the world – and it also broke a three-year ratings record for Canal Plus Creation Originale label. In the UK, on BBC Two, “Versailles” attracted almost 2 million viewers for each episode – one of the best rated drama acquisition in recent years, according to Zodiak Rights.
As of 2015, VERSAILLES was the most expensive series ever made in France: according to The Guardian, the total budget of the first season was 30 million euros.
VERSAILLES is undoubtedly a very interesting co-production case. That is why Gavin Reardon will dedicate most of his speech at KMW to this topic, focusing on the practical aspects of production of this project.
In addition, Reardon will consider distribution in Canada. He will also dwell separately on the topic of Ukrainian-Canadian co-production, which is especially relevant after the signing of the state agreement on co-production of audiovisual products this summer, which greatly facilitates the process of cooperation between the two countries.
Supported by TV Channel Ukraine
TV Channel Ukraine is one of Ukraine’s TV series production and broadcasting leaders. It was ranked the first among the national channels for all major audiences by the results of 2018. Ukraine TV Channel produces and broadcasts television products of different genres: serials, news and entertainment shows, social and journalistic talk shows, musicals, comedy, documentary projects, football broadcasts. Ukraine TV Channel takes the leading positions in film production as well. About 1,000 premiere hours of TV shows are scheduled for broadcasting in 2019, over 80 TV series premieres are planned to be aired in total and about 50 of them in the autumn season.
KMW CoProduction Meetings is a forum for reinforcement of international co-production in Ukraine in the field of film and TV production. The goal of the event is very practical: to find partners for international co-production with Ukraine and to spread the word about Ukrainian projects, production capacity and creative potential on the international level.
Supported by Ukrainian Cultural Foundation.
The admission is free for pre-registered participants only. Learn more about the event and how to participate on the official website of KMW CoProduction Meetings.
Panel discussion participants:
Panel discussion participants:
Panel discussion participants:
16:00 – 18:30 | Paris conference hall
KMW CoProduction Meetings – Day 2 (Face-to-face meetings)
KMW CoProduction Meetings is a forum for reinforcement of international co-production in Ukraine in the field of film and TV production. The goal of the event is very practical: to find partners for international co-production with Ukraine and to spread the word about Ukrainian projects, production capacity and creative potential on the international level.
Supported by Ukrainian Cultural Foundation.
The admission is free for pre-registered participants only. Learn more about the event and how to participate on the official website of KMW CoProduction Meetings.
The 13th Kyiv Media Week will take place on October 4, 2023, in Kyiv.
Stay updated with the latest information about KMW '23 on the official forum's Facebook page.