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.

Learn more

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).

Learn more

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

• Valery Zhaldak, Head of the Intellectual Property Department of the Ministry of Economic Development and Trade
• Dace Kotzeva, Executive Director of the Association for Legal Content, Latvia
• Mykola Faengold, Commercial Director, Digital & Pay TV, StarLightMedia
• Fedir Grechaninov, Director for Strategic Development, Media Group Ukraine
• Kirill Matvienko, Sales Director, Global Images Ukraine
• Alexey Shuldeshov, General Producer of TV channels, Star Media
• Olena Andrienko, Senior Associate, Publicis Groupe

Kateryna Fedorova, director of “Clear Sky Initiative” Public Union, will moderate the discussion.

They will find answers to 5 ‘why’ 

• why rights holders fight with pirates, and how much money they keep (do not lose)
• why advertisers, banks and other businesses oppose the theft of intellectual property, and what they get from it
• why the Ukrainian government should fight piracy
• why an international community fight with piracy, what does it give to the international economy
• why a user (in Ukraine and abroad) uses illegal content, why it happens and what to do about it.

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.

Learn more

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: 

• Olexandr Bohutskii, President of StarLightMedia, Director of News Division, a board member ofEastOneinvestment and consulting company
• Evgeniy Bondarenko, Director of Media Group Ukraine 
• Maksym Kryvytskyi, Head of Television Business 1+1 media, General Producer of 1+1 channel, Board member of 1+1 media
• Sergey Sozanovsky, founder FILM.UA Group
• TBA, Vice President of Star Media in Ukraine

Panel discussion participants: 

• Andriy Partyka, Director General, Ocean Media
• Valeriy Varenytsia, Commercial Director of Sales House “Pluses”
• Andrey Andruschenko, CEO IPG Mediabrands Ukraine, razom communications
• Anton Zinchenko, CEO Evident Media 
• Yuliya Buchak, Managing Director OMD Media Direction Ukraine
• Alexander Gorokhovsky, CEO Dentsu Aegis Network Ukraine
• Andrei Rybkin, Media Shared Practices Director, Publicis Groupe Ukraine
• Dmytro Dutchyn, Commercial Director Space Media

Panel discussion participants:

• Yaroslav Pakholchuk, COO, Director of Pay TV 1+1 media, board member of 1+1 media
• Fedor Grechaninov, Strategy and Business Development Director Media Group Ukraine
• Yuliia Trybushna, CEO StarLight Digital and PayTV StarLightMedia
• Anton Dziubenko, CEO Volia 
• Aleksandr Rezunov, CEO Sweet.tv company
• Denis Melnikov, Head of New Products Development Department of Kyivstar company
• Sergey Sozanovsky, Co-Founder FILM.UA Group