The sixth edition of Rio Content Market (March 9-11, with a warm-up day on March 8) saw 3,000-plus executives from 32 countries register for the event.
The event aims to continue expanding the international market for multi-platform content produced by Brazil’s TV and digital media industries. The whole package is there: keynote speakers, lectures, panel discussions, content screenings, face-to-face meetings and Rodadas de Negócios (Business Rounds) pitching sessions.
Some 1,180 business meetings were scheduled with more than 1,000 projects being presented; 206 executives spoke at conference panels; 198 key players traveled to Brazil to acquire content.
This year’s buyer list featured top global OTT companies: Amazon Studios, Hulu and Netflix. Philip Matthys, Hulu’s head of business affairs for original series, came to present their business model and commissioning guidelines for original content for the streaming service
Al Arabiya (UAE), First HDTV (Russia), TVP (Poland), Canal 22 (Mexico), ZDF-Arte (France-Germany) and NHK (Japan) also attend RCM to seek co-production partners.
Delegations from 6 countries — Argentina, Canada, France, the UK, South Africa and Germany — exhibited at the RCM 2016.
A total of 18 dramas, documentary and kids’ program projects were selected to form part of the Rio Content Market’s pitching sessions this year. There producers had seven minutes to present a project and another seven for a debate with the panel.
The worldwide trend towards more locally developed content was reinforced by Keshet International (global distribution arm of Israeli media company Keshet Media Group) rolling out their brand new format Elevator Pitch, developed in partnership with a Brazilian producer.
Conference panels convened in seven different rooms to discuss various hot topics of the Brazilian and international TV industries: business regulation, content trends, what buyers look for.
Launched in 2011, just after the approval of Brazil’s Law 12.485, Rio Content Market became witness to a revolution in the Brazilian indie TV production. The 2011 law obliged pay TV operators to air 3.5 hours of local content per week.
After the recent currency devaluation in Brazil and the increase in the production costs, free TV players have begun to take advantage of the state-funding programs, such us Fundo Setorial do Audiovisual and Article 39 of the SeAC Law, through partnerships between independent production companies and pay TV networks.
Manoel Rangel, head of the Brazilian Film Agency was quoted as saying that at this stage “the sector is mature enough for the regulation of the VOD market.”
The Brazilian Film Commission Network (Rebrafic) and PACT (trade association representing the commercial interests of UK independent television, film, digital, children’s and animation media companies) signed a Memorandum of Understanding to promote co-productions of films, TV and other audiovisual projects. The Canadian Media Found (CMF) closed a deal with funding agency SPCine from Sao Paulo to develop five joint projects between Brazilian and Canadian companies.
One trend is clear in Brazil: there has to be more product diversification. As London-based industry publication C21Media observes, “Brazil is already a major exporter of content but [it’s] known for just one genre: drama.”
Curated by Esmeralda Produções and organized by Fagga | GL Events Exhibitions, Rio Content Market is now recognized as one of the largest events for the audiovisual industry in Latin America.
During its previous five editions more than 14,000 industry professionals took part in the event. The trade show has been organized annually by the Brazilian Association of Independent TV Producers (ABPITV). ABPTIV brings together over 580 companies from all of Brazil’s five regions that produce TV and new media content for the domestic and international market.
Find more about Rio Content Market on MarketTime
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