Monday, November 02, 2020

ViacomCBS International Studios Elevates Content Sales Leadership, Launches ViacomCBS International Studios Distribution

VIACOMCBS INTERNATIONAL STUDIOS ELEVATES CONTENT SALES LEADERSHIP, LAUNCHES VIACOMCBS INTERNATIONAL STUDIOS DISTRIBUTION


LONDON / NEW YORK, OCTOBER 7, 2020 – ViacomCBS International Studios (VIS), a division of ViacomCBS Networks International (VCNI), today announced a new unified structure, ViacomCBS International Studios Distribution, which will encompass all studio sales business including co-productions, presale, formats, tape sales and co-developments. Under the unified structure, the company’s former IPS (International Program Sales) division, which previously focused on tape and format sales for network-branded content outside Latin America including the Nickelodeon library and MTV formats, is now combined with VIS’s sales division, which previously focused on VIS original content revenues only. 

To lead ViacomCBS International Studios Distribution, Lauren Marriott has been appointed Senior Vice President of Sales & Business Operations and Distribution Lead for the UK, and Laura Burrell will serve as Vice President, International Formats, both effective immediately. Marriott will dually report to Pierluigi Gazzolo, President, Studios and Streaming, VCNI, and Arran Tindall, Chief Commercial Officer and Executive Vice President, Commercial & Content Distribution, VCNI. Burrell will report to Kate Laffey, Vice President, VIS.


Marriott and Burrell will collaborate closely with Laffey to grow VIS’s global footprint. The new division will play an integral part in supporting ViacomCBS’s larger studio and media networks businesses. The streamlined sales division will ensure access to broad content distribution rights across all platforms and will promote a centralized leadership structure to ensure timely, efficient processes that better serve clients worldwide. Distribution Leads within each cluster will lead Content Sales Specialists, who will also focus on co-pros & pre-sales.

Marriott has been with ViacomCBS since 2008, and in her new role will drive a central strategy to expand VIS’s sales and distribution by collaborating closely with ViacomCBS Media Networks in the U.S. and VCNI’s international brands, including Nickelodeon, MTV, Comedy Central and BET. In addition to oversight of Tape Sales for ViacomCBS’s legacy branded networks business, Marriott will manage all  tape sales internationally for VIS original products in partnership with the clusters. As well as managing stakeholder relationships across the company’s international studios and brands, Marriott will oversee central business operations, including legal, operations, finance, marketing, and global content licensing revenues.  


Burrell, who joined ViacomCBS in 2009, will oversee the continued growth of VCNI and VIS’s format libraries. Burrell will focus on increasing revenue from 3rd party format sales, co-productions and pre-sales, in addition to supporting VCNI’s local channel format adaptations. She will also oversee an increased portfolio that now includes all scripted and non-scripted titles, including those from Telefe, Awesomeness TV and Ananey. She will also be responsible for multi-territory and strategic 3rd party format deals, while overseeing sales in all territories worldwide. She will lead on the development of global rollout strategies for new formats to ensure success and visibility of all properties. In her new role, Burrell will be the key point person for all format-related business for VCNI and VIS.

Pierluigi Gazzolo said, “As we continue to expand our studio’s global footprint, our new content sales division will allow us to unlock efficiencies and simplify client touchpoints, enabling us to take full advantage of the unprecedented demand for quality content worldwide. ViacomCBS International Studios is critical to ViacomCBS’ overall content ecosystem, and I am confident that Lauren and Laura are ideally suited to lead our now streamlined content sales division. ” 

Lauren Marriott said, “As a one-stop-shop for all for all content, our sales division will support crucial priorities across our studio and media networks business. I look forward to this new chapter and helping support VIS’s growth and diversification as we continue to become a key competitor in the global content business.”
 
Laura Burrell said: “In today’s media landscape, there has never been a more important time for ViacomCBS to have a truly global content library. I’m excited to take on this new role and support VIS in delivering hit global formats for every platform worldwide.”  

ABOUT VIACOMCBS INTERNATIONAL STUDIOS (VIS)

Introduced in 2018, ViacomCBS International Studios (VIS) is a division of ViacomCBS Networks International that produces content for ViacomCBS brands and platforms, including Nickelodeon, MTV, Comedy Central, Paramount Channel, Channel 5, Network 10, Telefe and Porta Dos Fundos, as well as for third parties. VIS global sales include original productions, co-productions, formats sold for local adaptations, and sale of ready-made content. The content that VIS produces covers all genres, from soap operas to dramas, short and long-form comedy formats and, feature film productions.

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The promotions come as VIS adds new kids content to its slate. Sharkdog is the studio’s first international series made for Netflix as part of a multi-year output deal signed by Nickelodeon and the SVOD this past November. VIS also inked a first-look deal with Santiago Segura, the director, writer and producer of top-grossing Spanish-language family comedy feature Father There Is Only One, and has acquired the audio-visual rights to Ruth Rocha's hit Brazilian children's book series, Marcelo, Marmelo, Martelo.

From TV LATINA:

ViacomCBS International Studios lanza estructura de ventas unificada

ViacomCBS International Studios (VIS) anunció una nueva área unificada, ViacomCBS International Studios Distribution, que abarcará todos los negocios de ventas del estudio, incluyendo coproducciones, preventa, formatos, ventas de latas y codesarrollos.

Tras esta nueva estructura, la antigua división IPS (International Program Sales) – que anteriormente se enfocaba en las ventas de latas y formatos para branded content de señales fuera de América Latina, incluyendo la biblioteca de Nickelodeon y los formatos de MTV – ahora se combina con el área de ventas de VIS, que hasta entonces se enfocaba únicamente en el negocio del contenido original de VIS.

Con el propósito de liderar ViacomCBS International Studios Distribution, Lauren Marriott fue nombrada VP sénior de ventas y operaciones comerciales y líder de distribución para el Reino Unido; y Laura Burrell, VP de formatos internacionales. Marriott reportará a Pierluigi Gazzolo, presidente de estudios y streaming de VCNI, y a Arran Tindall, director comercial y VP ejecutivo de distribución comercial y de contenido de VCNI. Mientras que Burrell reportará a Kate Laffey, VP de VIS.

Marriott y Burrell colaborarán estrechamente con Laffey para fortalecer la presencia global de VIS. La nueva división desempeñará un rol integral en el apoyo a los negocios más grandes de las señales y estudio de ViacomCBS. La nueva división de ventas garantizará los derechos de distribución de contenido en todas las plataformas y promoverá una estructura de liderazgo centralizada para garantizar procesos oportunos y eficientes para un mejor servicio hacia los clientes de todo el mundo. Los responsables de distribución de cada clúster liderarán a los especialistas en ventas de contenido, quienes también estarán enfocados en las coproducciones y las preventas.

Marriott forma parte de ViacomCBS desde 2008, y en su nuevo rol impulsará una estrategia central para expandir las ventas y distribución de VIS, colaborando estrechamente con ViacomCBS Media Networks en Estados Unidos y las marcas internacionales de VCNI, incluidas Nickelodeon, MTV, Comedy Central y BET. Además de la supervisión de las ventas de latas para el negocio de las marcas tradicionales de ViacomCBS, Marriott gestionará todas las ventas de latas a nivel internacional de los originales de VIS en colaboración con los clústers. Además de gestionar las relaciones con los stakeholders de los estudios y marcas internacionales de la compañía, Marriott supervisará las operaciones comerciales centrales, incluidos los aspectos legales, operativos, financieros, de marketing y de licencias de contenido global.

Burrell, quien se unió a ViacomCBS en 2009, supervisará el crecimiento continuo de las bibliotecas de formatos de VCNI y VIS. Burrell se enfocará en incrementar los ingresos de las ventas de formatos de terceros, coproducciones y preventas, además de apoyar las adaptaciones de formatos de canales locales de VCNI. También supervisará un ampliado portafolio, que ahora incluye todos los títulos de ficción y no ficción, incluidos los de Telefe, Awesomeness TV y Ananey. También será responsable de los acuerdos de formatos de terceras partes estratégicas y de múltiples territorios, mientras supervisa las ventas de todos los territorios del mundo. Asimismo, liderará el desarrollo de estrategias globales para nuevos formatos, con el objetivo de garantizar el éxito y la visibilidad de todas las propiedades. En su nuevo rol, Burrell será la persona clave para todos los negocios relacionados con el formato para VCNI y VIS.

Gazzolo dijo: “A medida que continuamos expandiendo la presencia global de nuestro estudio, nuestra nueva división de ventas de contenido nos permitirá mayor eficiencia y simplificar el intercambio con los clientes, lo que nos permitirá aprovechar al máximo la demanda sin precedentes de contenido de calidad en todo el mundo. ViacomCBS International Studios es fundamental para el ecosistema de contenido en general de ViacomCBS, y estoy seguro de que Lauren y Laura son ideales para liderar nuestra ahora unificada división de ventas de contenido”.

Por su parte, Marriott agregó: “Como una propuesta única para todos los contenidos, nuestra división de ventas apoyará las prioridades de nuestro negocio de señales y del estudio. Estoy ansiosa por este nuevo capítulo y por apoyar el crecimiento y la diversificación de VIS a medida que continuamos convirtiéndonos en un competidor clave en el negocio de contenido global”.

Mientras, Burrell comentó: “Frente al panorama que transitan los medios de comunicación actualmente, nunca ha sido tan importante como hoy que ViacomCBS cuente con una biblioteca de contenido verdaderamente global. Estoy muy entusiasmada de asumir este nuevo rol y apoyar a VIS en la distribución de formatos globales exitosos para todas las plataformas de todo el mundo”.

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ViacomCBS lanzó VIS Distribution y potencia su presencia internacional

Con la designación de Lauren Marriott como SVP de Ventas y Operaciones Comerciales, y Laura Burrell como VP de Formatos Internacionales, la nueva unidad de negocios ViacomCBS International Studios Distribution abarcará todos los negocios de ventas del estudio, incluyendo coproducciones, preventa, formatos, ventas de latas y co-desarrollos.

VIS Distribution, división de ViacomCBS Networks International (VCNI), organizó sus áreas internacionales de co-desarrollos, co-producciones, preventa y ventas de formatos y latas y codesarrollos bajo esta nueva unidad que potenciará aún más su rol de estudio a escala planetaria. En esta nueva estructura, la vieja división International Program Sales (antes enfocada a ventas de latas y formatos para branded content de señales fuera de América Latina, incluyendo Nickelodeon y formatos de MTV) se combina ahora con el área de ventas de VIS, que hasta entonces se enfocaba únicamente en el negocio del contenido original de VIS.

Al frente de VIS Distribution fueron confirmadas Lauren Marriott, SVP de Ventas y Operaciones Comerciales y Líder de Distribución para UK, y Laura Burrell, VP de Formatos Internacionales. Marriott reportará a Pierluigi Gazzolo, presidente de Estudios y Streaming de VCNI, y a Arran Tindall, director Comercial y EVP de Distribución Comercial y de Contenido de VCNI. Mientras que Burrell reportará a Kate Laffey, VP de VIS.

Lauren Marriott y Laura Burrell

Marriott y Burrell fortalecerán con Laffey la presencia global de VIS. La nueva división desempeñará un rol integral en el apoyo a los negocios más grandes de las señales y estudio de ViacomCBS. Y garantizará los derechos de distribución de contenido en todas las plataformas, al tiempo que promoverá una estructura de liderazgo centralizada para garantizar procesos oportunos y eficientes para un mejor servicio hacia los clientes de todo el mundo. Los responsables de distribución de cada clúster liderarán a los especialistas en ventas de contenido, quienes también estarán enfocados en las coproducciones y las preventas.

Marriott buscará expandir las ventas de VIS mancomunadamente con ViacomCBS Media Networks (USA) y las marcas internacionales de VCNI (Nickelodeon, MTV, Comedy Central y BET). Además de la supervisión de las ventas de latas para el negocio de marcas tradicionales, gestionará todas las ventas de latas a nivel internacional de los originales de VIS en colaboración con los clústers. Además de gestionar las relaciones con los stakeholders de los estudios y marcas internacionales de la compañía, la ejecutiva supervisará las operaciones comerciales centrales, incluidos los aspectos legales, operativos, financieros, de marketing y de licencias de contenido global.

Burrell promoverá el crecimiento continuo de los formatos de VCNI y VIS. Buscará incrementar los ingresos de esas ventas a terceros, coproducciones y preventas, además de apoyar las adaptaciones de formatos de canales locales de VCNI. También supervisará un portfolio ampliado, que ahora incluye todos los títulos de ficción y no ficción, incluidos los de Telefe, Awesomeness TV y Ananey. También será responsable de los acuerdos de formatos de terceras partes estratégicas y de múltiples territorios, mientras supervisa las ventas de todos los territorios del mundo. Asimismo, liderará el desarrollo de estrategias globales para nuevos formatos, con el objetivo de garantizar la visibilidad de los IPs.

Gazzolo explicó: 'Mientras expandimos la presencia global del estudio, esta nueva división nos permitirá mayor eficiencia y simplificar el intercambio con los clientes, aprovechando al máximo la demanda sin precedentes de contenido de calidad en todo el mundo. VIS es fundamental para el ecosistema del grupo, y estoy seguro de que ambas son ideales para liderar la división unificada de ventas'.

Marriott comentó: 'Apoyaremos las prioridades de nuestro negocio de señales y del estudio. Estoy ansiosa por este nuevo capítulo y por apoyar el crecimiento y la diversificación de VIS a medida que continuamos convirtiéndonos en un competidor clave en el negocio de contenido global. Burrell completó: 'En el ecosistema actual, nunca ha sido tan importante como hoy que ViacomCBS cuente con una biblioteca de contenido global. Estoy entusiasmada de asumir este nuevo rol y apoyar a VIS en este momento'.

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WorldScreenings: ViacomCBS International Studios Americas

Amid productions being on hold and premieres delayed, the arrival of new players and the changing needs of established clients, ViacomCBS International Studios (VIS) has adapted quickly to the challenges that have emerged. Guillermo Borensztein, VP of content sales and co-productions at VIS Americas, lists three key factors that made this possible: “First, we have the advantage of owning our own content,” he says. “The second factor is the ability to be flexible to accommodate specific customer needs. Finally, rethinking the way we connect to our teams and leverage their expertise.”

In terms of meeting the content needs of the marketplace, Borensztein notes a “sustained and growing demand” for Nickelodeon content, as well as for Telefe family series and premium series from the studio. There is also a growing interest in content for young adults (such as that from AwesomenessTV or Ananey), and in local films in a variety of genres that go directly to the platform as a first window. “We have an advantage because we do not depend on a single catalog,” he says. “In fact, we always say that our catalog is a set of catalogs, which includes local productions in different countries of the region, U.S. productions and content for preschool kids, young adults and the family as a whole. The content is generated by our brands, co-produced with or directly from third parties, and ranges from films and series to documentaries and movies. It’s a unique position to occupy in the market in these times.”

From its scripted slate, Pequeña Victoria (Victoria Small), which takes a look at gender roles in a unique way, was recently nominated for an International Emmy Award for best telenovela. “It is a recognition that goes beyond the success it had with the Telefe audience,” says Borensztein. “It represents our continued commitment to addressing issues of inclusion, as was done previously with 100 Days to Fall in Love on Telefe and other projects from our brands. Our studio has diversity and inclusion embedded in our DNA, and these values are infused into almost all of our projects and, as a result, transmitted to our audience as well.”

With regard to formats, Sres. Papis has been sold and adapted in more than 15 countries, including Chile, Mexico, Peru, Slovakia, Ukraine and the Middle East, among others, “a feat few countries in Latin America have accomplished,” Borensztein says. He also highlights the global success of ADDA. Amar después de Amar, the original version of which was sold to more than 20 countries, while Mexico, Greece, the Middle East, Portugal and Spain opted to adapt the format.

In terms of development and production, VIS is continuing to prioritize the health and safety of its employees by “complying with the protocols defined by the organization, while we move forward with the reactivation of productions throughout the region,” explains Borensztein. “At the moment, we are completing ongoing projects or have started new productions in Mexico (Asesino del Olvido and Backdoor), Spain (Parot), Brazil, Argentina and Colombia. We are also searching for partners and clients for projects we are developing in the next few months and hope to start producing in 2021.”

From a distribution standpoint, he adds, “we are committed to maintaining the level of sales in recent months (mainly in regard to finished programming), closing the last quarter by fulfilling our commercial objectives and expanding our client portfolio.”

Borensztein is optimistic about the prospects that 2021 brings for the company. He says, “What happened this year on a global scale once again demonstrates the power of the entertainment industry—and the content it creates—to entertain, inform and accompany people in their day-to-day lives. Through ViacomCBS International Studios, as well as the different ViacomCBS brands ranging from broadcast and pay-TV to SVOD and AVOD platforms, we seek to engage our audience with the best content and the most flexible entertainment experience. This is reflected in the $13 billion per year our company invests in content. At VIS, our objective is to become the premier studio in Latin America. We remain committed to producing locally more often, partnering with the best players and talent, maximizing the potential of our properties through their entire operating cycle, continuing to be global leaders in the distribution market and diversifying our lines of business. We want to continue being leaders, from Latin America to the world.”

See VIS’s Fall 2020 Showcase here.

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From TV Latina:

TV Latina Screenings: ViacomCBS International Studios Americas

En medio de las producciones que se han pospuesto y el retraso en los estrenos, la llegada de nuevos jugadores y las necesidades cambiantes de clientes establecidos, ViacomCBS International Studios (VIS) se ha adaptado rápidamente a los retos que han surgido. Guillermo Borensztein, VP de ventas de contenido y coproducciones de VIS Americas, destaca tres factores claves que hicieron que esto fuera posible: “Primero, tenemos la ventaja de ser propietarios de nuestro propio contenido”, dice el ejecutivo. “El segundo factor es la habilidad de ser flexible para acomodarnos a las necesidades específicas del cliente. Finalmente, debemos repensar la forma en que nos conectamos con nuestros equipos y aprovechamos su experiencia”.

Con relación a satisfacer las necesidades del mercado, Borensztein señala una “demanda creciente y sostenida” por contenido de Nickelodeon, así como series premium y familiares para Telefe provenientes del estudio. También hay un creciente interés por contenido juvenil (tal como el que proviene de AwesomenessTV o Ananey) y por películas locales en una variedad de géneros que van directamente a la plataforma en primera ventana. “Tenemos una ventaja porque no dependemos de un solo catálogo”, afirma el ejecutivo. “De hecho, siempre decimos que nuestro portafolio es un conjunto de catálogos, que incluye producciones locales en diferentes países de la región, ***Image***producciones de Estados Unidos y contenido preescolar, juvenil y familiar. El contenido es generado por nuestras marcas, coproducido con o directamente provisto por terceros, y va desde películas y series hasta documentales. Es una posición única que ocupamos en el mercado actualmente”.

De su oferta de contenido con guion, la empresa ofrece Pequeña Victoria, que da una mirada a los roles de género desde una perspectiva única y fue nominada recientemente a un International Emmy Award a Mejor telenovela. “Es un reconocimiento que vas más allá del éxito que obtuvo con la audiencia de Telefe”, expresa Borensztein. “Representa nuestro compromiso continuo de abordar temas de inclusión, tal como se hizo previamente con 100 Días para enamorarse en Telefe y otros proyectos de nuestras marcas. El estudio tiene la diversidad e inclusión incorporada a su ADN, y estos valores están incluidos en casi todos los proyectos y como resultado, se transmiten a los espectadores”.

En cuanto a formatos, Sres. Papis ha sido vendido y adaptado en más de 15 países, incluyendo Chile, México, Perú, Eslovaquia, Ucrania y el Medio Oriente, entre otros. “Esto es algo que pocos países en Latinoamérica han logrado”, resalta el ejecutivo. También destaca el éxito global de ADDA. Amar después de amar, versión original que se vendió a más de 20 países, mientras que México, Grecia, Medio Oriente, Portugal y España optaron por adaptar el formato.

En términos de desarrollo y producción, VIS continúa priorizando la salud y bienestar de sus empleados al “cumplir con los protocolos definidos por la organización, mientras seguimos adelante con la reactivación de producciones a través de la región”, explica Borensztein. “En este momento, estamos completando proyectos en curso o hemos iniciado nuevos proyectos en México (Asesino del olvido y Backdoor), España (Parot), Brasil, Argentina y Colombia. Además, estamos buscando socios y clientes para proyectos que estaremos desarrollando en los próximos meses, que esperamos comenzar a producir en 2021”.

Desde el punto de vista de distribución, el ejecutivo agrega: “Estamos comprometidos en mantener los niveles de ventas de meses recientes (principalmente con programación terminada), cerrando el último trimestre al cumplir nuestros objetivos comerciales y expandiendo nuestro portafolio de clientes”.

Borensztein mira con optimismo las oportunidades que el 2021 ofrece para la compañía. “Lo que ocurrió este año en el mundo una vez más demuestra el poder de la industria del entretenimiento y el contenido que crea para entretener, informar y acompañar a las personas en sus vidas cotidianas. A través de ViacomCBS International Studios, así como en las diferentes marcas de ViacomCBS, que van desde televisión abierta y paga hasta plataformas AVOD y SVOD, buscamos atraer a nuestra audiencia con el mejor contenido y la experiencia de entretenimiento más flexible. Esto se refleja en los US$ 13 mil millones que nuestra empresa invierte anualmente en contenido. En VIS, nuestro objetivo es convertirnos en el estudio premier en Latinoamérica. Seguimos comprometidos en producir localmente con mayor frecuencia, asociándonos con los mejores jugadores y talento, maximizando el potencial de nuestras propiedades durante su ciclo operativo, continuando como líderes globales en el mercado de distribución y diversificando nuestras líneas de negocios. Queremos seguir siendo líderes, desde América Latina para el mundo”.

Vea el Showcase del otoño boreal 2020 de VIS aquí.

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VIS’s Laura Burrell Talks Unified Sales Structure

Laura Burrell, VP of international formats at ViacomCBS International Studios (VIS), tells TV Formats about the opportunities the company’s new streamlined structure brings to its format business.

VIS recently unveiled a unified global sales unit that places the company’s international program sales division, which previously focused on tape and format sales for network-branded content outside Latin America, together with VIS’s sales division, which previously focused on the studio’s original content. Within the new structure, Burrell was promoted to VP of international formats, overseeing an increased portfolio that now includes all scripted and non-scripted titles, including those from Telefe, AwesomenessTV and Ananey.

TV FORMATS: What does the new unified sales structure at VIS mean for the overall format business and your remit?
BURRELL: The unified sales structure allows us to create a fully integrated format catalog, a proper one-stop-shop. The format catalog will now be divided into non-scripted and scripted, regardless of the source of the format. Under the old structure, for example, if a client was interested in a VIS Americas scripted title—perhaps from Telefe or anything produced out of Latin America—they would need to speak to a separate sales team. That’s not the case anymore. Whether a format originates from one of our channel brands like MTV or Comedy Central or whether it comes from a production arm like Ananey in Israel or VIS U.K. or was developed by our studio, it’s all going to sit under one roof, under my remit. This represents a great opportunity for us to grow the business. We’ll have better efficiencies, greater flexibility and a broader offering for our global partners and clients.

In terms of the scripted library, the Latin American content is a fantastic library to build from. It’s going to be a priority to build up the scripted library, using that as the basis. VIS Americas is already recognized as one of the leading suppliers of scripted content; they’ve got a fantastic library of translatable telenovelas, super series and comedy-dramas such as 100 Days to Fall in Love and Victoria Small. We’ll be combining that library with fiction titles from our other brands. AwesomenessTV, for example, has some fantastic teen dramas such as Zac & Mia and Light as a Feather. Ananey in Israel is now fully part of the ViacomCBS family, and they have a great track record with shows like Greenhouse Academy. There are also scripted titles from some of our brands like Comedy Central, MTV and Nickelodeon, as well as everything we’re developing in the studio. It’s going to be exciting to combine that all under one roof for the first time.

TV FORMATS: What’s your view on the overall state and health of the format business at present?
BURRELL: No one doubts it has been a tough year. We couldn’t have foreseen the pandemic or what effect it would have. Thinking back to the beginning of the year, when production was halted across the world and ad revenues plunged, it was pretty bleak. But I do think the industry is bouncing back. Non-scripted formats have been quicker on the mark than scripted. It’s great to see big prime-time studio entertainment shows back on our screens, even if they are in a modified form. It’s a classic example of how you don’t miss something until it’s gone. Any production right now comes with inherent risk; we have to accept that. The industry has learned ways to adapt. We have continued licensing our formats throughout this difficult period; the business has kept going. We’ve had to be a bit more flexible with production deadlines and episode counts, but the business has continued, and that’s a really encouraging sign. We’re bouncing back; we’re some way off full health, but it’s a creative industry and creative industries find ways forward.

TV FORMATS: From the VIS slate, what are some of the formats that have come up with innovative production methods to produce amid new health and safety protocols?
BURRELL: We’ve adopted a number of protocols either for our own productions or we support our licensees using them. For example, for our house-based reality shows that are shot on-location, creating a production bubble has been crucial. It’s really worked for us. By doing that, we’ve had local adaptations of Ex on the Beach, Are You the One? and Finding Prince Charming manage to go ahead and record under restrictions. These productions were completed on schedule, despite the restrictions. We’ve also managed to incorporate the use of remote shooting into a number of our formats. Ghosted, an investigative show that looks into stories of ghosting, has been shot almost entirely remotely for its second season. The contributors are recorded on Zoom and Skype or we send them equipment for them to self-shoot. We also did that on a new format, Served! With Jade Thirlwall. It was all shot during lockdown. We gave her housemates a tutorial on how to shoot and sent them equipment, and they shot the whole thing themselves.

For studio shows, we’ve had to reimagine set designs and environments. One of the new titles we’ve been pitching is Guessable, which launched on Comedy Central U.K. in October. It’s a studio-based show, with guessing games and two celebrity teams. What I love about that show is when you look at the set, it’s so well designed it’s not really obvious that it’s shot under COVID-19 conditions with strict social distancing. It’s really well-done; you wouldn’t know you were watching a show that had been shot that way. We’ve adopted all of those measures, and it’s fair to say our channels were really innovative during the pandemic. Balcony Stories made a lot of waves when it aired across our channels. It was a really clever use of user-generated content from around the world. MTV Unplugged at Home was a great way of taking what should be a big studio production and turning it into an intimate moment for artists to connect with their fans. We’ve seen a lot of innovation and changes to protocols.

TV FORMATS: As you look ahead at 2021, what are some of the opportunities you see in the format space?
BURRELL: In the scripted arena, I think we’re going to see increased opportunity for the slate that’s coming out of VIS Americas. Something like Victoria Small, for example, which was recently nominated for an International Emmy, is starting to gain traction with scripted buyers across numerous markets. We have a dark comedy thriller called R, which VIS co-produced with Pantaya in the Hispanic U.S. market and Clara Video in Mexico. There are some strong dramas coming out of that division. We think Asia is going to be a growth market as well on the scripted side. We’re working really hard with our local team there to open up new opportunities.

On the non-scripted side, we’re blessed with a fantastic reality slate already, but what I think we’re going to see next year and beyond is more opportunity for titles that embrace diversity and inclusion—this applies to our scripted titles as well. ViacomCBS Networks International recently announced a “No Diversity, No Commission” policy, which confirms our commitment in this area. There is a sea-change happening already internationally. We sold the gay dating show Finding Prince Charming last year to Germany’s TVNOW. That’s done really well. A second season is already on air. We’ll be announcing a second European territory shortly. That’s one to watch, along with our competitive reality format True Love or True Lies, which has diversity at its heart. That’s also going to be getting a European adaptation next year. The market for those formats that embrace diversity and inclusion is starting to widen, and we’ll see that even more next year.

All opportunity has to be tempered by the reality of coronavirus and its effect on production, which is going to last well into 2021. We have to accept that we’re going to have to live with instances of productions being halted or postponed, schedules rejigged and budgets squeezed. You’ve got to accept that that’s the reality we’re going to be in for some time. There are still reasons to be optimistic. The industry has adapted very quickly already, and being flexible and nimble will be key to navigating that landscape for the coming year. I believe our new structure will enable us to do that efficiently and effectively.

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H/T: World Screen; Additiional source: Kidscreen.

Originally published: Wednesday, October 07, 2020.

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