Pio Rocks!

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Pro­duced By: Plan­eta Ju­nior [R7.D19], Rai Com, DQ En­ter­tain­ment, Gruppo Al­cuni Based On: “Pul­cino Pio” vi­ral video For­mat: 52 x 11 Tar­get Au­di­ence: Kids 6-8 Type of An­i­ma­tion: 3D CG Synopsis: Pio is a rockin’ chick — lit­er­ally. This com­edy se­ries fol­lows Pio and his friends’ ad­ven­tures at their school, High Note, where ev­ery class is about mu­sic. With a song in their hearts, they ex­pe­ri­ence the ups and downs of friend­ship, grow­ing up, achiev­ing goals and ac­cep­tance. Sell­ing Points: In­spired by the nov­elty song phe­nom­e­non that in­spired mul­ti­ple trans­la­tions and achieved more than 775 mil­lion YouTube views, Pio is primed to be a much cuter “Crazy Frog.” The project is lead cre­atively by head

Synopsis: This orig­i­nal an­i­mated com­edy takes a very, very close look at the mi­cro­scopic world of amoe­bas. This hid­den realm of sin­gle cell or­gan­isms is just as cut­throat com­pet­i­tive as our mul­ti­cel­lu­lar world, and the show’s heroic glob must do what he can to sur­vive every­day amoeba life — not to men­tion school. Sell­ing Points: Based on the New York Times best-sell­ing graphic nov­els by Jen­nifer Holm and Eis­ner Award-win­ning cre­ator Matthew Holm (more than 1 mil­lion copies of the six books sold so far), the show is ex­ec­u­tive pro­duced by Cot­ton­wood founder David Michel ( Get Blake, To­tally Spies!), with John Derevlany ( LEGO: Le­gends of Chima, Johnny Test) act­ing as showrun­ner. De­liv­ery is ex­pected for 2017. Broad­cast­ers: Gulli (Canada) www.fe­dent.com Type of An­i­ma­tion: CG Synopsis: On the sprawl­ing, pre­his­toric con­ti­nent of Pangea, a group of young di­nosaurs hap­pen upon a mys­te­ri­ous blue lava flow that im­bues them each with su­per pow­ers, am­pli­fy­ing their di­nosaur traits. Whether res­cu­ing their fel­low di­nos or zap­ping in­com­ing as­ter­oids, the Su­per­saurus 7 are an in­domitable force — when they use their pow­ers cor­rectly. The com­edy and ac­tion in­crease when they face the rise of the mam­mals, lead by a despotic ger­bil. Sell­ing Points: “Chris and Henry have cre­ated an orig­i­nal con­cept in a muchloved genre that we haven’t yet seen in kids’ en­ter­tain­ment – di­nosaurs as su­per­heroes — two themes that kids ev­ery­where have al­ways loved,” said Ali­son Warner, Tech­ni­color’s VP of IP Sales, Ac­qui­si­tions & Co-Pro­duc­tions. “We be­lieve that view­ers will iden­tify with our char­ac­ters, who are in ef­fect just kids learn­ing to han­dle their new skills, while tak­ing on some of the strangest and stu­pid­est foes ever seen in a pre­his­toric world.” Co-cre­ator Chris Hay­ward is co-cre­ator of the BBC web se­ries Mis­ery Bear and writer of the BAFTAnom­i­nated CBBC se­ries FIT; while Henry Coate is a di­rec­tor, de­signer and il­lus­tra­tor. tech­ni­color.com fans af­ter sev­eral sea­sons of the orig­i­nal se­ries. It’s only nat­u­ral that a new in­car­na­tion will fol­low. The “un­der­cover fairy” an­gle opens up a world of com­edy and ac­tion po­ten­tial, ex­pand­ing on the mag­i­cal-girly Winx fan­base. The show was pre­viewed at Li­cens­ing Expo and will be court­ing li­censees at BLE. www.rwb.it [

ith a string of suc­cesses rang­ing from Zou to Zorro: The Chron­i­cles, Paris-based Cy­ber Group Stu­dios is on the verge of reach­ing a new level of suc­cess. Founder and CEO Pierre Siss­mann says the com­pany will have seven shows in pro­duc­tion by the end of the year, in­clud­ing the com­pany’s first car­toon com­edy se­ries, Tak­ing Down Taffy, a co-pro­duc­tion with Turner for Boomerang.

“That’s a very im­por­tant step for us, ar­tis­ti­cally speak­ing,” says Siss­mann, of adding the genre to the com­pany’s spec­trum of suc­cess­ful shows in the preschool, CGI, 2D and 3D mar­kets. “It’s a big car­toon se­ries — 78 episodes of 7 min­utes — stretch and squash style, fan­tas­tic an­i­ma­tion, and it has taken us some time to get to that level. I’m very happy to go into car­toon com­edy be­cause my goal is to try to reach as many artis­tic ex­pres­sions as pos­si­ble so that we are able to tell sto­ries in any type of shape or form.”

Ad­di­tion­ally, Siss­mann says he’s ex­cited for Gi­gan­tosaurus, which Cy­ber Group is do­ing for Dis­ney Ju­nior world­wide; Gil­bert and Al­lie, a co-pro­duc­tion with Ire­land’s Brown Bag; and a Tom Sawyer se­ries that just started the writ­ing process. “It’s a lot about ecol­ogy and na­ture,” he says. “It’s a big re­spon­si­bil­ity to adapt and try to cre­ate a new Tom Sawyer, like it was a big re­spon­si­bil­ity to cre­ate some­thing like Zorro.”

Cy­ber Group’s TV slate is filled with projects, in­clud­ing a sec­ond sea­son of Mini Nin­jas, a co-pro­duc­tion with TF1 Pro­duc­tions; the third sea­son of Zou; Mirette In­ves­ti­gates is still in pro­duc­tion; and a Latin Amer­i­can in­flu­ence can be found in Menino and the Chil­dren of the World from Ale Abreu, Oscar-win­ning di­rec­tor of Boy and the World, and co-pro­duced with Di­dier Brun­ner’s Fo­li­vari.

Ad­di­tional se­ries in de­vel­op­ment in­clude a Brazil­ian themed show with plenty of mu­sic and mar­tial arts, and a sci-fi sports se­ries fea­tur­ing the ever-pop­u­lar drones. And, at last month’s Car­toon Fo­rum, Cy­ber Group pre­sented En­chanted Sis­ters, a co-pro­duc­tion with the Jim Hen­son Co., as well as Menino.

On top of that, Siss­mann says he ex­pects to an­nounce a cou­ple of fea­ture film de­vel­op­ments: one that will be a France-United States co-pro­duc­tion with plenty of big-movie tal­ent signed on; and a French-style movie. Siss­mann, who pre­vi­ously ran the Walt Dis­ney An­i­ma­tion Stu­dio in Europe, says he’s been “cau­tious” about get­ting Cy­ber Group into the fea­tures mar­ket, but be­lieves that the time is now right.

“When you do fea­ture an­i­ma­tion, you have some pa­ram­e­ters you can­not for­get,” says Siss­mann. “You are more free in do­ing fea­ture an­i­ma­tion than in TV se­ries, be­cause when you do TV, it’s B2B; when you do a fea­ture film, your client is the fi­nal con­sumer, the per­son who goes to the theaters.”

The com­pany it­self has had to grow and adapt to han­dle all this work. Siss­mann says the com­pany has split into dis­tinct pro­duc­tion and dis­tri­bu­tion com­pa­nies, with the lat­ter free to take on third-party projects.

And Jan. 1 will see the open­ing of Cy­ber Group Stu­dios North Amer­ica, based in Los An­ge­les and al­ready hir­ing top tal­ent.

“Hope­fully, we are go­ing to start a new growth pe­riod for the com­pany based out of the U.S.,” says Siss­mann, adding that he’s also work­ing on open­ing up a divi­sion in China.

“We’re get­ting into things I re­ally like, which is more de­vel­op­ment, more prod­uct, more cre­ations,” says Siss­mann. “I re­ally look for­ward to on one side Cy­ber Group Stu­dios hav­ing life in the U.S., and on the other side, en­ter­ing the world of fea­ture an­i­ma­tion.” [

IMondo TV picks up an­other promis­ing prop­erty from Korea to bring to MIPCOM in CJ E&Ms ac­tion se­ries

tal­ian pro­duc­tion and dis­tri­bu­tion com­pany Mondo TV is once again look­ing east­ward for its next big hit as it rolls into MIPCOM. The com­pany has part­nered with South Korea-based con­tent and mar­ket­ing com­pany CJ E&M to dis­trib­ute and li­cense in a num­ber of ter­ri­to­ries the new an­i­mated ac­tion ad­ven­ture show Ro­bot Trains.

Two years in plan­ning and pro­duc­tion, Ro­bot Trains is al­ready a suc­cess in Korea. It was launched on seven dif­fer­ent chan­nels in­clud­ing a ter­res­trial one and a lead­ing pay TV chan­nel, Tooni­verse. The se­ries drew a strong au­di­ence that pro­pelled the show to the No. 1 spot on SBS.

It also has spawned a healthy se­lec­tion of mer­chan­dise based on the show.

Mondo is do­ing well with YooHoo & Friends, a se­ries the com­pany is co-pro­duc­ing with an­other Korean com­pany, Aurora World Corp.

Mondo TV will dis­trib­ute Ro­bot Trains in Turkey, the Mid­dle East and Africa, Por­tu­gal, Spain, Italy and Is­rael. The show is ex­pected to en­joy strong li­cens­ing sup­port, es­pe­cially in toys but also in games, ap­parel, home ware and pub­lish­ing.

“We are thrilled to be work­ing along­side one of the most in­no­va­tive con­tent com­pa­nies in Asia on this ex­cit­ing show, which we are sure will en­joy a very pos­i­tive re­sponse,” says Mat­teo Cor­radi, Mondo TV CEO. “Ro­bot Trains brings to­gether ac­tion, hu­mor, lov­able char­ac­ters and fan­tas­tic de­signs in a show with enor­mous ap­peal to its tar­get au­di­ence.”

“We are very ex­cited about work­ing with Mondo TV on Ro­bot Trains,” says Dongsik Shin, SVP An­i­ma­tion, CJ E&M. “With the suc- cess of the se­ries in the do­mes­tic mar­ket, we hope it ex­pands for broader au­di­ences”.

Aimed at kids ages 3-6, Ro­bot Trains is set in Train World, where trains live in vil­lages con­nected by tun­nels. A brave young train named Kay an­swers the call to pro­tect Train World when a rene­gade train named Duke closes the tun­nels and en­dan­gers the vil­lage. With phe­nom­ena such as er­ratic weather and vi­ral out­breaks threat­en­ing Train World, Kay and his friends — Alf, Duck, Sally and more — work to­gether to re­store their home to its orig­i­nal state.

Based in Rome, Mondo TV owns one of the largest an­i­ma­tion li­braries in the world, con­sist­ing of more than 2,000 episodes of tele­vi­sion se­ries shown all over the world to­gether with more than 75 an­i­mated movies for video and the­atri­cal re­lease. [

Geron­imo Stil­ton hasn’t been gone so long that you might have missed the ever-present, knowl­edge-lov­ing jour­nal­ist mouse, but he’s back af­ter a few years’ pro­duc­tion hia­tus with a third sea­son of ad­ven­tures via At­lantyca En­ter­tain­ment.

Though the sec­ond sea­son’s first run ended four years ago, a third sea­son was al­ways part of the plan for the show, says Ca­te­rina Vac­chi, who heads At­lantyca pro­duc­tion. “The Geron­imo Stil­ton brand con­tin­ues to grow ev­ery year through pub­lish­ing, and the an­i­ma­tion se­ries has played a cru­cial role in the evo­lu­tion of the fran­chise’s global suc­cess,” she says. “Our pro­duc­tion sched­ule, which was crit­i­cal to our plan, was for us to de­liver 78 new episodes, part of a tar­geted mar­ket­ing strat­egy to en­sure new and con­tin­ued broad­casts, which also sup­ports an ex­ten­sive li­cens­ing pro­gram.”

The show’s vo­cal fans — as well as con­tin­ued rat­ings suc­cess around the world — also played a role in con­tin­u­ing the se­ries.

At­lantyca is co-pro­duc­ing the new sea­son, dubbed Geron­imo Stil­ton: New Ad­ven­tures, with France’s Su­per­prod and the par­tic­i­pa­tion of Rai Fic­tion and France Tele­vi­sions. Vac­chi says At­lantyca’s sales divi­sion se­cured key pre­sales with broad­cast part­ners such as ARD and KiKa in Ger­many, RTVE and TV3 in Spain, Min­i­max in Eastern Europe, and Nick­leodeon in Geron­imo Stil­ton: New Ad­ven­tures Bel­gium and the Nether­lands.

View­ers will no­tice the show has a slightly up­dated look and feel. Su­per­vis­ing di­rec­tor Nic­colo Sac­chi, who worked on the pre­vi­ous sea­sons, says the new sea­son raises the sto­ry­telling stakes for Geron­imo and his friends. “We’ve in­cluded big­ger, nas­tier vil­lains up against Geron­imo’s fun­nier team, cre­at­ing more laughs with hi­lar­i­ous char­ac­ters in­volved in sil­lier pranks with some great awk­ward mo­ments,” says Sac-

Geron­imo Stil­ton have been sold in more than 100 coun­tries, Vac­chi says. The show re­cently came to North Amer­ica through At­lantyca’s part­ner­ship with Ama­zon Prime, and At­lantyca is head­ing to MIPCOM to meet with other po­ten­tial broad­cast­ers.

It also could open the door to ex­pand­ing Geron­imo’s world in other ways.

“Geron­imo has proven to be an ev­er­green prop­erty and we know the kids are watch­ing and re-watch­ing the ad­ven­tures of our su­per-smart mouse and his fam­ily and friends,” says Vac­chi. [

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