ATF 2021 - Show Daily Day 2

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THE 2021 OFFICIAL – 2 Dec 2021

AMAZON PRIMEVIDEO

WAVVE

KKBOX COMPANY

DITURN

BBC STUDIOS

Brought to you by


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@ A GLANCE

! RED U T FEA

Featured Screenings Business Matchmaking ATF Animation Pitch 2021 ATF Formats Pitch 2021 ATF Chinese Pitch 2021 SEAScreen Project Market 2021

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Highlights @ ATF 2021

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Buyers

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In Conference With

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Features

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Products

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX).

CONTENTS

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An Event of

Hosted by

EDITORIAL & PRODUCTION TEAM EDITORIAL DIRECTOR Lulu Mendoza WRITERS Marcus Goh Selina Tan Dinesh Pasrasurum DESIGNER Shellen Teh PHOTOGRAPHER Milton Tan VIDEO PRODUCTION Lim Eu-Jin (Reel Production) PROJECT MANAGEMENT GROUP PROJECT DIRECTOR Yeow Hui Leng SENIOR PROJECT MANAGER Joyce Chua PROJECT COORDINATOR Jocelyn Phng BUYERS RELATIONSHIP MANAGER Lim Li Min Samantha Lee EXHIBITORS & PARTICIPANTS SENIOR ACCOUNT MANAGER Phua Meenyi ATF CONFERENCE EXECUTIVE PRODUCER Lulu Mendoza PRODUCER ASSISTANT Khoo Hwee Lee MARKETING MARKETING MANAGER Hairol Salim OPERATIONS SENIOR OPERATIONS EXECUTIVE Karen Liew

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HIGHLIGHTS @ ATF

FEATURED SCREENINGS 2021 Check out this year’s Featured Screenings @ ATF Online+

Medal of the Republic

This is a Chinese anthology drama series, based on the true stories of the first group of recipients of the Medal of the Republic, China’s highest honor for those who have made great contributions to the development of the country. Covering war heroes, prominent scientists and role models, the eight recipients are war veterans, Li Yannian and Zhang Fuqing, nuclear physicist Yu Min, longtime national legislator Shen Jilan, aerospace engineer Sun Jiadong, “Father of the hybrid rice”, Yuan Longping, nuclear submarine designer Huang Xuhua, and China’s first Nobel Laureate in Physiology or Medicine Tu Youyou. Focusing on their most prominent moments, the series is centered on the heroes’ devotion to their careers and continuous efforts to improve the lives of the Chinese people.

Kamaz. Extreme Racing

Screeching sands, overheating engines, life-shattering accidents, and courage – all of it come together in this brand-new sports drama. Based on the real stories from the KAMAZ Master racing team and played by top stars, the series grips viewers from the first scene and won’t let go until the last moments. The lives of the ‘Tsars of Dakar’ are fascinating and dramatic. Add the generation conflict, the first female racer, impossible romances and spectacular stunts – and you have a real showstopper. 02

Stalk

As Lux starts his third year in engineering school, it’s clear that his stalking days are over. He and his Stalker Hunters have joined the student union, with Lux at the helm. Everything seems to be going well for him. However, it’s short-lived: a mysterious stalker by the name of “White Duke” is victimizing the campus. And seems to have a personal grudge against Lux.



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ATF 2021

COFFEE HOUR CONTENT SHOWCASE

hybrid edition

1–3 December 1.30pm–5pm

YOUR DAILY CONTENT TREAT

1 December 1.30pm

TREASURE BOX JAPAN Part 1 2pm

K-FORMAT

6 Unscripted Formats From Creative Hotspot KOREA 2.30pm

3pm

iQIYI CONTENT SHOWCASE

4pm

FRESH CONTENT CHINA

CHINA

Dramas

3.30pm

4.30pm

K-CONTENT SHOWCASE (KCA)

FRESH CONTENT FROM TURKEY

KOREA

The Endless Land of Content

2pm

2.30pm

TAIWAN SHOWS UP Part 1

2 December 1.30pm

TREASURE BOX JAPAN Part 2 04

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K-FORMAT

5 Scripted Formats From Creative Hotspot KOREA

TAIWAN SHOWS UP Part 2


2 December 3pm

FRESH CONTENT

Your next TV hit is from Spain

3.30pm

FRESH CONTENT GWANGJU, KOREA

Animations, Characters, & Drama (GITCT)

4pm

FRESH CONTENT CHINA Animations 4.30pm

FRESH CONTENT

Korea Content Village (RAPA)

3 December 1.30pm

HIDDEN GEMS FROM JAPAN 2pm

K-FORMAT

3 Scripted & 2 Unscripted Formats From Creative Hotspot KOREA 2.30pm

TOKYO DRAMA AWARDS 2021 WINNERS

3pm

FRESH CONTENT

Malaysia Animation 3.30pm

KOREAN ANIMATION SHOWCASE

Seoul Business Agency (SBA)

4pm

FRESH CONTENT CHINA

Documentaries / Variety Shows 4pm

KOREAN ANIMATION SHOWCASE

Geyonggi Content Agency (GCA)

Award-Winning Dramas: Buzz & Trends

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BUYERS W H AT D O B U Y E R S WA N T?

Turkish Viewers Prefer Female Centric Storylines Turkish audiences have a soft spot for female-centric melodramas. That is the first of two criteria that Ceren Ergenekon, Managing Partner, of HECE Medya, will be on the lookout for when curating content for the Turkey market. The second criteria being, top-selling, popular foreign language dramas that can be locally adapted. “Turkish audience loves a sad story with a strong female character in the centre. Family bonds are also very important in our culture [so] a good family side story is always a plus. We are also looking for romantic comedies,” Ceren said. The company is in search of television series, films, and unscripted formats. Where feature films are concerned, every genre is welcomed. South Korean and Japanese drama remakes

Ceren Ergenekon Managing Partner HECE Medya

W H AT D O B U Y E R S WA N T?

Welcoming Uncharted Languages & Territories Companies are keeping an open mind when window shopping for content and the types of projects that they want to get behind. Mansi Shrivastav, Senior VP & Head - Content Acquisitions & Partnerships, of MXP Media India Ltd, welcomes the route of uncharted languages and territories. Crime shows are an evergreen favourite, and foreign language content, which when localised are popular as the viewers relate strongly to well-written characters and themes. “Vicarious genres which offer an escapist entertainment like thriller, sci-fi, unconventional romances, or larger than life fantasies have worked well on our platform. IPs that resonate with young male audiences and can be localised with dubbing do well for us. We would also like to explore additional procedural dramas and look at stories that are appealing to female audiences as well,” Mansi said. MXP Media offers a range of content from web series, TV shows, movies and 06

have been very successful in the Turkish market for the last 10 years, but there is an openness to content from around the world. “Before the pandemic, we were more focused on finding formats for TV but in recent years, series for the streaming platforms [are] getting more and more popular in Turkey. That’s why we are open to more genres and more complex stories,” she remarked. The Turkish format acquisition company has years of experience localising projects for the Turkey market. “We act as an agent for Turkish production companies and channels. Our teams review TV series, feature films, and unscripted formats from all around the world to find a suitable project for the Turkish audience. When we find projects that resonate with us, we take them to our production partners and assist them to license the project,” added Ceren. She admitted that the company was a little bit old school when it came to business models, with production partners preferring to license formats directly.

Zihar Zuhair Head of Business/ Consultant Dhiraagu TV

live streaming in various Indian languages and international languages through its global streaming platform, MX Player. In India, it enjoys one of the largest footprints geographically with a majority of its userbase situated outside the major metros. “We are certainly exploring and discussing coproduction and financing opportunities for a few projects that are large scale and have a global appeal. We are keen on strategic partnerships for a few concepts that are massive in scale and are highly relevant for audiences in Asia and territories beyond as well,” Mansi added. Depending on the size and longevity of the deal, the company is flexible and open to payment terms. “Currently, we have multiple models and structures that have been constructed to ensure optimal practices for business for both MX as well as our partners across the world,” she said.

Mansi Shrivastav Senior VP & Head Content Acquisitions & Partnerships MXP Media India Ltd


BUYERS W H AT D O B U Y E R S WA N T?

Forging Partnerships for Business Expansion

“To buy content is one thing, but to work and cooperate with partners and build a success story is another different thing,” remarked Abit Satya, Programming & Content Development Director, of Transvision. He’s looking to do things differently this year, preferring a collaborative approach than the one-off buy. He aspires to strike it off with partners, who are keen to work together and expand their business.

Transivison is Indonesia’s leading satellite TV network and the company recently partnered with global kids and family entertainment major Toonz Media Group to launch the first bilingual kids’ television channel in Indonesia, offering content in English and Bahasa Indonesia. “Business model is definitely something that can grow us and our partners better, to face the competition. We are open to a more premium partnership model for our media group,” he added. Where content acquisition is concerned, he is casting his net wide in search of movies, series, formats, and any fresh titles. “We are expecting to see the latest production content with fresh ideas, breakthrough concepts and shortest window,” he said.

W H AT D O B U Y E R S WA N T?

Content Nourishment for Young Curious Learners Newly launched Uzbekistan free-to-air children’s TV channel, Aqlvoy has entered into official licensing agreements with Viacom, Sony, Bomanbridge, and CAKE, for content for its channel, which the company will undertake the dubbing into Uzbek language. Vela Fidel, CEO of TV Channel Aqlvoy believes that all children should have access to content that encourages positive curiosity and instils a sense of learning. Vela Fidel CEO TV Channel Aqlvoy

W H AT D O B U Y E R S WA N T?

Acquiring Content for the Maldives

With its beginnings as a telco in the Maldives, Dhiraagu launched its IPTV services, DhiraaguTV in October 2020, and is currently the only digital service provider in the Maldives offering wide-scale residential IPTV via a fixed broadband network. As a result of continued investment in expansion, DhiraaguTV’s digital

“I hope to find new educational cartoons and TV shows that support children’s desire to learn about the

Abit Satya Programming & Content Development Director Transvision

world around them,” she said, and shared her ambitions to use a combination of modern interactive forms and methods of broadcasting, as well as digital and multimedia technologies, to realise her goal. The TV channel’s programming is focussed on education, adventurous and humorous content, with its main content coming from China, Russia, South Korea, and the United States. “I hope to find new formats of education programs with modern and progressive methods for preschool audiences,” she said. “We strive to create national educational content for implementation across various platforms, including mobile applications, video tutorials, and interactive training programs,” she added. Aqlvoy is also open to co-production opportunities, where partners and projects are in tune with the company’s philosophy and programming.

IPTV service reaches up to 77% of national households. Zihar Zuhair, Head of Business/ Consultant, of Dhiraagu TV, participates at ATF with the aim to acquire more content in the drama, crime, and kids’ genres. The preference is for revenue share models, but he is open to a one-off payment for a library of titles. The company’s diverse portfolio is curated for all ages and audiences, and consists of channels from Disney, Sony Sports, Discovery, and STAR. Zihar said that they are looking at extending SVOD services. Zihar Zuhair Head of Business/ Consultant Dhiraagu TV

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BUYERS W H AT D O B U Y E R S WA N T?

Buying Content Gems for the Iberian Market Valentine Lorant, CEO of Artemisa Entertainment, is keen to uncover content gems, or “pearls” as she referred to them, for the Iberian market. Her new venture, Artemisa Entertainment was established with a dual function, which she described as a production outfit that “tell true stories with great talent”,

Valentine Lorant CEO Artemisa

W H AT D O B U Y E R S WA N T?

From Asia, to US & Canada

Synergetic Distribution, a Los Angeles-based distribution company that releases feature films, documentaries, and television series. Anatol Chavez, Director of Acquisitions, of Synergetic, is on the lookout for animations (both feature and series), crime series, sci-fi/

“Currently, I am working on our second quarter of 2022 schedule. Ideally, aligning with content providers who can provide a list of avails for my territory. Generally, we license with MGs with splits after recoupment,” he said.

Shopping for All Content Genres

W H AT D O B U Y E R S WA N T?

Buying Asian & Europe Titles in All Its Languages Language is of no consideration for Nadezda Ivanova, Global Relationship Manager of Time Media Group, a TV network and VOD distributor. She is at ATF to acquire content for 08

She is looking to acquire ready-made content and is open to pre-sales and co-productions. Flexibility and agility are cornerstones of the company’s business, allowing for a bespoke client experience. “After a solid experience launching OTT HBO services and overseeing programming strategies, we know what works, and what doesn’t, in a streaming environment, and how to market it,” she said.

horror, and festival pedigree theatrical titles at ATF. The company picks up rights for the US and Canada territories and will require exclusive rights for new releases.

W H AT D O B U Y E R S WA N T?

Todd Lituchy CEO & Executive Producer New Media Vision

and a distribution arm “to support producers and distributors in the distribution towards OTT in Europe”.

Todd Lituchy, CEO & Executive Producer of New Media Vision, is putting out a calling card for all genres of content. “I have a preference for scripted content and have been successful with procedurals (hospital and police) as well as a wide variety of other projects (family

the company’s TV channels. “We are always looking for the best serials and films for our channels,” she said. Nadezda is shopping for multiple channels, the first of which is a children’s channel where fantasy, magic, and positive and kind stories are the order of the day. Then there is the Dorama channel that requires Asian drama serials and, finally, European films and series for new unspecified channels. “For TV rights the financing model is the same – flat fee, while for VOD, there are two models – flat fee or revenue sharing,” she said.

Anatol Chavez Director of Acquisitions Synergetic

comedies, young adult, romantic comedies, etc),” said Todd. At ATF, Todd hopes to uncover and partner with creatives and companies from around the world on some great TV formats. He founded the London based company in 2009 to help international media companies with format scouting, product distribution, and expansion of their international channel portfolios. “I usually start with a shopping agreement, but I am open to other business models,” he added.


The Weight of Reaches unusual

VideoAge

HEIGHTS

Serving the international TV industry in good and in challenging times with print Issues, PDF editions, weekly online features, and daily e-newsletters. www.VideoAge.org www.VideoAgeDaily.com


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IN CONFERENCE WITH WAVVE

INTERNATIONAL PLAYERS IN A GLOBAL MARKET:

A help or a hindrance to local streaming markets? Does the entry of international streaming platforms hinder the growth of local streaming platforms? Lee Tae-hyun, Chief Executive Officer of Korean streaming platform Wavve, doesn’t think so. When there are more players in an industry, like Korea, the industry itself grows – so does the amount of capital invested in it. In turn, it leads to more content, and better-quality content as well. Therefore, it is better to have a competitive landscape with multiple players. Lee spoke at a session moderated by Hwang Jin Woo, Founder of Something Special. He observed that the core business of the streaming industry revolves around subscriptions – and hence, to only compete locally would curtail opportunities for the future. So, they are looking at global expansion. He shared that Wavve’s strategy is to build a library with original content that is edgier and highly differentiated, in addition to acquired content. Lee noted that scripted content tends to work better in international markets, as non-scripted content usually requires understanding of cultural contexts and language nuances. So while shows like Running Man have been a runaway hit in Southeast Asian markets, not all variety shows will see the same level of success.

He gave the examples of King of Mask Singer as content which has performed well, in addition to the drama Good Doctor, which has seen an American adaptation in the form of The Good Doctor. “Now, the Korean format is getting more attention than the Israeli format,” observed Lee. However, IP issues can be challenging to navigate, especially when partnerships are involved. “It can be a bit problematic for the platform to completely own the IP,” said Lee. “The important thing to note is how far to expand with the IP, and how to proceed with partnerships.” Undoubtedly, the Korean Wave (Hallyu) has been a factor in driving the popularity of Korean content. How long does Lee think it will last? “There was a time before even the Korean Wave, when Japanese animation and Japanese storylines did very well,” he opined, and when Hong Kong content was king. But rather than seeing it in terms of how long the Korean Wave will last, Lee feels that Korean content is very relatable, as Korean history has gone through many different periods that mimic world history. Therefore, with such universal stories, it is unlikely that the Korean Wave will fade away so soon.

NOW, THE KOREAN FORMAT IS GETTING MORE ATTENTION THAN THE ISRAELI FORMAT.

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The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 11


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IN CONFERENCE WITH KKBOX COMPANY

CONTENT CREATION – IT’S MORE THAN JUST STORYTELLING Content creation has changed in this new era. Building a piece of content is no longer just about storytelling – it’s about inviting audiences to participate and be part of the story. Whether it’s through social interaction or O2O integration, experience is the new content, said Terence Leong, Chief Content Officer of KK Company. And technology is the key to that. KK Company is the new name for the KKBOX Group of companies. It reflects the wider selection of services that the company provides, as it goes beyond the music streaming service that KKBOX is known for.

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are through building infrastructure, data tools, and other AI-enabled tools with KKFarm, their incubator arm that cultivates aspiring artists through venture capital farming. The music labels they’ve invested in now collectively form the fourth largest market share in Taiwan. Other investments include television competitions, shows, and dramas. They’ve also invested in short form videos, such as Triller, a US-based short video social platform, even as they continue to observe that space. Leong believes that short video content will evolve in a multi-dimensional way.

Leong observed that one obstacle facing content creators today is the lack of access to emerging technologies, which may be too expensive or difficult to use. What he hopes to do is to let content creators utilize these technologies to build verticals in Web3, by providing AI solutions to content businesses so they can reach their audiences directly.

He also revealed that they were looking at investing or partnering with companies to experiment on different projects. Although they may not be successful about 60% of the time, the learning experience is valuable. “Most disruptive innovations happen when we target an underserved segment of the market,” Leong opined. “Wild investments do not always have wild budgets.”

To do that, he looked at creators as if they were entrepreneurs, and these brands they are creating as tech start-ups. “If creators become entrepreneurs, they’re more likely to shape culture,” he explained. “So, what do we need to empower creators?” Some meaningful ways to do that

So, what is in store for 2022? Leong said that as KK Company, they would be introducing and re-introducing themselves to markets that may not have known them. They aim to become the go-to company for storytellers who want to reach their audiences.

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MOST DISRUPTIVE INNOVATIONS HAPPEN WHEN WE TARGET AN UNDERSERVED SEGMENT OF THE MARKET.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX).


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IN CONFERENCE WITH ZEE ENTERTAINMENT

INSIGHTS FROM THE PANDEMIC With global titan Netflix having set its sights on India, how does Indian media conglomerate Zee Entertainment intend to hold its ground? Ashok Namboodiri, Chief Business Officer of International Business explained that “This is no more a game of content travelling and being able to win all across.” “It’s a function of how you make strategic choices in terms of where to play and your right to win.” Namboodiri spoke at a session moderated by Amanda Turnbull, Strategic Advisor of Digital Transformation. He shared that Zee’s strategy against Netflix boiled down to answering three questions: what you’re good at, where are you likely to succeed, and how to make it work. This was in line with the learnings he had garnered about content from the pandemic. Namboodiri shared that they had learnt to stick with the core genres that Zee is good at, to explore adjacencies in terms of audience, content, and storytelling, and to look at stories that have worked for inspiration. Beyond that, the pandemic has taught them to look at longer horizons. From a 6-month to a 1-year time frame, Zee now looks at a 3-to-4-year horizon when it comes to planning content. “And this is going to be true and stay relevant for broadcasters around the world,” Namboodiri

commented. He also noted that there would be stiffer competition and APAC markets continue to be fragmented. One key observation was that the preference for long-form series was now shifting to that of limited series. Namboodiri also noted that there was more regionalisation of OTT players, both in India and in international markets. So what are audiences watching? For APAC markets like Myanmar and Indonesia, there has been positive reception to long-form dramas, even up to today. Markets like Singapore and Malaysia have a tendency to be more experimental, even when it comes to films, and Namboodiri finds that the content is evolving at an accelerating rate. Historical and Asian fantasy dramas continue to remain relevant in Japan and Korea. Sports dramas and horror comedies are increasingly popular amongst Indian and South Asian viewers. But one thing is for sure – thanks to the pandemic, the number of television viewing hours has increased. The challenge, then is to deal with these multiple strands of content preferences, as well as dealing with the increased demand for content. In response, Zee has experimented with content to do with sports and sports personalities for their Indian and South Asian markets, and it seems to be paying off.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 14

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IT’S A FUNCTION OF HOW YOU MAKE STRATEGIC CHOICES IN TERMS OF WHERE TO PLAY AND YOUR RIGHT TO WIN. 15


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IN CONFERENCE WITH BESTV+

COMBINING CONTENT & SERVICES FOR THE DIGITAL AGE In today’s digital era, consumers are spoilt for choice when it comes to content, channels, and platforms. How does one succeed amidst such a competitive landscape? Wang Xinyi, Chief Content Officer of OPG BesTV+ Streaming Media, shared his views on the topic. BesTV+ is a Shanghai-based streaming platform launched by Shanghai Media Group and Oriental Pearl Group. It aims to consolidate all of the media offerings across different platforms by both companies in one place. Wang noted that Internet audiences are no longer satisfied with passively consuming content anymore, and that they wanted interactivity. With that in mind, BesTV+ plans combine content with services, such as giving audiences to shop online unobtrusively while viewing content, to provide directions for eateries featured in food shows, and to let audiences quickly buy products featured in entertainment programmes. This would extend audiences’ stay on the app, while also increasing the number of purchases made. Wang also revealed that they were studying whether multiplatform content would be beneficial, such as in the case of Flash Café, a show set in an actual café. It aims to create an integrated experience across television, radio, offline platforms and online platforms.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 16



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IN CONFERENCE WITH MNC MEDIA

LOCAL CONTENT CONTINUES TO REIGN IN INDONESIA Despite Korean content’s good following in the country, data has shown that local content still has the most following in the country, stated Valencia Herliani Tanoesoedibjo, Director of Digital Business at MNC Media. She said that this trend would continue for the next few years. She gave the example of local drama Ikatan Cinta, which had an audience share of 45%, while K-dramas have an audience share in the single digits, even on OTT platforms. Tanoesoedibjo shared this in a session moderated by journalist Archicco Guilianno. “We believe local content is king.” Tanoesoedibjo went on to explain that 90% of MNC’s programme are produced in-house. Only Indonesian content can reach up to 800,000 views per day, she observed. So Korean content is still considered a niche market.

But content is not the be-all and end-all. “Content is king, but distribution and platforms is the kingdom,” said Tanoesoedibjo. So even though good content will always attract audiences, consumers today demand easy access and convenience. Therefore, multiplatform is the way to go for distribution. Platforms should aim to provide a value add that other channels cannot provide, to create stickiness. Other strategies for recurring traffic include continuous improvement on user experience, technologies, recommendations, and pushing for exclusive content. The higher the price charged, the more value add the consumers will expect, especially in a country where the GDP per capita is around USD$4,000.

CONTENT IS KING, BUT DISTRIBUTION AND PLATFORMS IS THE KINGDOM. 18

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The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 19


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IN CONFERENCE WITH SAFE MEDIA DOT REPUBLIC MEDIA MBC K7 MEDIA

THE DECLINE OF WESTERN CONTENT IN THE MIDDLE EAST People are moving away from American movies and television shows in the Middle East, and American content is no longer needed to drive ratings, observed Syed Ali, Head of Acquisitions, MBC. Ali shared his perspectives at a session with other Middle Eastern buyers – Adham Nasrallah, Content Manager, Safe Media (Off-Shore) S.A.L. and Rabia Asif, Director Strategy & Business Planning, Dot Republic Media. The session was moderated by Victoria De Kedrel, APAC Consultant, K7 Media. The past two years of the pandemic has also impacted viewing habits on SVOD platforms. There’s been a huge increase in the demand for preschool content and family movies, since families are now stuck at home. However, there hasn’t been much change on the linear channels, noted Ali. Interestingly, Saudi Arabia is a huge consumer of anime, so they are now cultivating relationships with anime producers, since Funimation and Crunchyroll have the monopoly on anime content in the region, said Ali. Korean content has done well, Ali observed. It was a sentiment shared by Adham, who observed that this was a result of the Korean’s long-term sales strategies and investments paying dividend.

When it comes to the different types of content, Adham pointed out that Indian content is a mainstay, given that it has been present since the 80s and that there is a huge Indian diaspora in the region. Filipino content is not as popular. Turkish content is now seeing its day in the sun, having capitalised on their opportunity to enter the market. Rabia’s perspective was that the region responded well to dramas, romances, and romantic comedies, and Dot Republic Media is now looking for more Turkish and Korean content. She said that millennials are looking for more Arabic content. On that note, Ali said that MBC is now producing Arabic content. It can be challenging to cater to a market made up of 22 Arabic-speaking countries. There are very strict regulations on kids’ content due to religious reasons, which prohibits holiday seasons like Christmas and Halloween, romances, and pigs in such shows, said Ali. Religion and politics are also taboo topics for linear channels. But the SVOD platforms have more freedom. In fact, SVOD audiences might even complain about censorship, since they might have seen the same content in another language on another platform, said Rabia. The landscape has changed more in the past five years, said Adham. With fewer opportunities available, it is harder to stand out for everyone. There must be options available for everyone. Hence, to succeed, one must “diversify or die”, advised Adham.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX).

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(From the top) Victoria De Kedrel APAC Consultant K7 Media Adham Nasrallah Content Manager, Safe Media (Off-Shore) S.A.L. Rabia Asif Director Strategy & Business Planning Dot Republic Media Syed Ali Head of Acquisitions MBC

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AMAZON PRIME VIDEO PREPARES TO ENTER SOUTHEAST ASIA There has never been a better time to be both a content creator and content consumer. With the proliferation of distribution windows such as direct-to-consumer distribution, simultaneous launches of shows, and the dissolution of language barriers, the time is ripe for content creators. And that’s no more potent than in Asia Pacific, declared Erika North, Director, Local Originals APAC, Amazon Prime Video. Erika announced that Amazon Prime Video would be expanding into the Southeast Asian market in a session moderated by Ben Grubbs, Founder, Next 10 Ventures. “What is it that you haven’t had an opportunity to make? What is it that Amazon can do to help provide the resources, distribution, and infrastructure to amplify those local stories?” said Erika in an open call for creative partners and pitches. So, what sort of content are they looking for? Erika cited the examples of Australia’s “Lost Flowers of Alice Hart” (starring

Sigourney Weaver) and Japan’s “Homestay” (starring Nagao Kento) as upcoming content on their slate. Both shows are based on books. Erika has observed that the deeper, more grounded, and more authentic a story is, the greater the propensity it has to travel. Thus, while they’re open to the whole content spectrum, from licensed IP to originals, they’re not thinking of hundreds of shows or hundreds of hours of shows. She concluded the session by observing how the pandemic has brought a greater need for audiences to find emotional connection and cohesion, and how this has been reflected in their SVOD consumption patterns. Audiences were very individualistic when they first engaged SVOD platforms, but now they’re gravitating towards a more collective experience. Shows such as “Masked Singer” drives coviewing experiences that allow families to rally around, and there is an appetite for more of such stories.

WHAT IS IT THAT YOU HAVEN’T HAD AN OPPORTUNITY TO MAKE? WHAT IS IT THAT AMAZON CAN DO TO HELP PROVIDE THE RESOURCES, DISTRIBUTION, AND INFRASTRUCTURE TO AMPLIFY THOSE LOCAL STORIES?

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IN CONFERENCE WITH AMAZON PRIME VIDEO

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 23


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IN CONFERENCE WITH BBC STUDIOS

HEALTHY DEMAND FOR LOCAL ADAPTATIONS IN APAC MARKETS Demand in APAC markets are similar to the rest of the world, like in Latin America, the US, and Europe. Detective dramas, romantic dramas, and comedies are part of a scripted market that is very healthy, observed Matt Forde, Managing Director of International Production & Formats of BBC Studios. Forde shared his observations in a session moderated by Clare Thompson, Non-Exec Director of K7 Media. Premium dramas work well in APAC market, but there is slightly less demand for movies. He gave examples of adaptations of BBC shows in local markets. In Korea, there have been local adaptations of The World of the Married, Life on Mars, and Mistresses, while India has seen adaptations of Luther and The Office. Adaptations of Doctor Foster have also done well. BBC has a deep and broad catalogue of formattable titles that can be adapted to different regions, so they’re working with UK creators to recreate and reimagine their content in a way that is relevant for audiences in APAC. In addition, Forde stated that they’re working to create local originals “that have the BBC DNA but are local voices and local stories.” By listening to what audiences want and the cultural differences between countries, Forde aims to create adaptations that “retain the original kernel of the story but speaks to audiences locally”. Having offices that are driven by local leadership is key to that. He cited the example of Mumbai office, which is comprised entirely of talent that has been drawn from all around India. It is also true of the other international offices like Australia and America. However, he observed that there has been a drain on talent. To combat that issue, Forde said there was a need to invest in new voices and new people, and train them to grow the industry.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 26

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BBC IS LOOKING TO CREATE LOCAL ORIGINALS ‘THAT HAVE THE BBC DNA, BUT ARE LOCAL VOICES AND LOCAL STORIES’.

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IN CONFERENCE WITH K7 MEDIA

GAME SHOWS – STILL THE MOST POPULAR UNSCRIPTED FORMATS AROUND When it comes to unscripted formats, game shows still rule the roost. Michelle Lin, Asia Pacific Manager, K7 Media, introduced winning unscripted shows organised along four themes – game shows, dating reality shows, alternate realities, and green programming. The game shows on parade spanned the gamut in terms of creativity. The six of them were: “Splatter” (TV Asahi) sees contestants dressing up entirely in white to run a gauntlet – without getting their white outfits stained by coloured paints and other obstacles; “Light Away!” (YTV) has contestants dodging spotlights to, ironically, be in the spotlight as the winner; “Money Mansion” (Fuji TV) revolves around speed challenges in which the prize money decreases every second before the eyes of the contestants; “The Spin” (FujiTV) has contestants spun around until they’re dizzy, before they embark on challenges; “Sorry Mama” (MBC) sees celebrity contestants trying to distinguish their mother’s cooking from other dishes; and “DNA Singer” (Format East) has audiences and judges guessing which celebrity a mystery singer is related to. Dating reality shows showcased tended to blend survival elements with romance elements. The four shows included: “Wild Cave” (tvN), which sees celebrity couples living together in the wild without the use of modern comforts or mobile phones; “The Couples’ Gambit” (ViuTV), which sees if couples who have marital difficulties can resolve their differences through certain activities; “Extreme Love XL” (Discovery), which is a survival dating show; and “Shuffle Island” (Abema TV), which sees contestants living on two separate islands, one female and one male, and having one inhabitant from each island swapping places every day.

A new breed of reality shows revolving around alternate or virtual realities have also sprung up. They were: “Game of Blood” (MBC), inspired by the worlds of “Squid Game” and “Parasite”, which sees contestants trying to outlast each other through psychological warfare; “New World” (Netflix), inspired by the worlds of “The Good Place” and “Free Guy”, which has celebrities entering a paradise with virtual currencies as they aim to leave the utopia with the most money; “It’s A Virtual World But I Want To Become A Star” (TVING), which has celebrities digitally altering their appearances in a virtual world, as they attempt to guess each other’s’ identities, while keeping their own a secret; “Blue Chip Stars” (Format East), which has celebrities being listed as blue chip stocks, whose value is based on audience voting; “2060” (Jiangsu TV), which features a virtual city with 26 animated characters in it; and “Social Currency” (Netflix), which sees eight of India’s top social media influencers trying to survive without their mobile phones. Finally, Michelle introduced several new formats revolving around the theme of “green programming.” They were: “Celebrity Trash Monsters” (Channel 4 [UK]), which has celebrities wearing their household trash in a specially designed suit for 2 weeks; “Being Harmless From Today” (KBS2), which follows three actresses trying to live a carbonfree life in an unfamiliar location, all while completing environmentally friendly tasks; “The Law of Coexistence” (SBS), which teaches the audience about the native ecosystem and invading species of the Korean peninsula; and “We Cycle” (History Channel [SK]), which follows five celebrities as they cycle through Korea and practise a zero waste lifestyle.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 28

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IN CONFERENCE WITH ATF FORMATS PITCH 2021

QUIRKY IDEAS, HEART-WARMING POTENTIALS New Judge at this year’s ATF Formats Pitch, May-Yi Lee, Lead of Development & Production – Unscripted, India, Southeast Asia & Korea (INSEAK) at WarnerMedia, noted that how difficult it can be coming up with a new and fresh format. “This year, there were quite a few gameshow ideas that were meticulously thought out. There was also, I thought, a nice mix of dating shows and cooking competition shows,” said May-yi, who had an overview as a shortlist judge. May-yi, being from a factual background, says she naturally gravitates to concepts that have a unique (assets) and utilize interesting people, here at the pitch appreciating that many of the concepts had cross-generational appeal. Hwang Jin-woo, Founder & President, and Executive Producer of Something Special, who returns as a regular judge, observed that compared to last year, this year was far more difficult (to make a judgement) because there were

brilliant new concepts that diversify gimmicks. “…most of all, there was a lot of new ideas with multiple genres included in, and I think that is a very new kind of approach,” Jin remarked. “When I judge the new ideas, the two things that I consider the most is the originality and the potential to become a productable show in the local area,” added Jin, a formats veteran. Another new Judge at this year’s pitch, Joe Suteestarpon, CEO of Mediaplex International, was surprised at the number of submissions the ATF Formats Pitch, where “a lot of them brought a lot of fresh ideas, and I can see a lot of them put a lot of hard work into their ideas and drafting of the deck. “I think it would be very interesting, some of them, especially some of the variety shows from various countries like Japan and some of the Southeast Asian countries,” Joe elaborated, stating that it was not an easy task for the judges to see which one stood out the most.


(Anti-clockwise) Carlotta Rossi Spencer Head of Format Acquisitions Banijay Group Hwang Jin Woo Founder & President Executive Producer Something Special Justin Deimen Director, President – Production 108 Media

Joe Suteestarpon Founder Mediaplex Group

Wonwoo, Park CEO and Chief Creator dIturn

May-Yi Lee Lead of Development & Production – Unscripted, India, Southeast Asia & Korea (INSEAK) WarnerMedia

Yang Zhifan Head of Unscripted Content R&D Tencent Video

Wonwoo, Park CEO and Chief Creator dIturn

For 2022, WarnerMedia May-yi stated that the industry will likely see covid friendly productions, more self-contain location and sets, smaller film crews, content that’s more locally produced, and not require too much international travel. This, in addition to more co-viewing, family-oriented content. Other judges at this year’s pitch included Carlotta Rossi Spencer, Head of Format Acquisitions at Banijay Group; Justin Deimen, President of Production & Acquisition at 108 Media; Yang Zhifan, Head of Unscripted Content R&D at Tencent Video; and Wonwoo Park, CEO & Chief Creator of DITURN. This year’s winner of the ATF Formats Pitch 2021 is Japan’s Akihisa Okamoto of TV Asahi Productions Co. Ltd – Project: The Dice of Life,

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IN CONFERENCE WITH DITURN

“MASKED SINGER” CREATOR PONDERS ON IP RIGHTS & FUNDING “I think it’s the idea of hidden identities, which was the most important aspect of ‘King of Mask Singer’,” said creator Wonwoo Park. “King of Mask Singer” is the programme that kicked off the “Masked Singer” franchise, which sees celebrities performing in masks to hide their identities, as audiences vote for their favourite singer. Park, who is the CEO & Chief Creator of DITURN, spoke to Kim Sang Im, Lecturer at Chugye University in a session where he shared about IP rights and funding. He spoke about Korean markets, which often saw an equitable distribution of IP rights for drama content. However, there isn’t such equity when it comes to IP ownership of non-drama content like documentaries and educational shows. “90% of entertainers do not receive their IP rights,” he said. But there is an effort to be fairer about IP ownership. The Korea Creative Content Agency has been financing development costs for new formats, and also allows creators to have full ownership of IP rights. Other organisations provide copyright training and registration of ideas to improve the situation.

On the funding front, many Silicon Valley investors are now looking towards Korean content, especially with the success of shows like “Squid Game”. The issue then becomes one of how the IP ownership should be divided. He cited an example where there was a 6:4 split in IP rights (favouring Park) in a recent deal with UK. “I thought it better to share it with them,” he said, to spread the responsibility among both parties. And it paid off. “After that, they worked harder.” Park also observed that many creators have been entrenched in the Korean broadcasting system, and so coming up with ideas for formats may be difficult. He himself has been in the industry for 25 years. So, many new ideas for formats come from younger Koreans. What does Park think of the future? “I think there will be more formats with more (sensational) elements next year,” he opined. With increasing choices available to consumers, content with more violence and stimulation has increased. But the formats which have the most of such elements would be reality television. He gave the example of “Love Island” as such a format.

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IN CONFERENCE WITH GLANCE-MÉDIAMÉTRIE

2021 SEES MORE SCRIPTED CONTENT BEING PRODUCED IN ASIA 2021 has seen over 1,700 shows being launched across ten territories: China, India, Indonesia, Japan, Malaysian, Singapore, South Korea, and Vietnam. 60% of those shows are scripted series in the 2020-2021 period, which is an increase of 3% from 2019—2020 period. The total number of scripted series has increased by 11% in 2020-2021 period, which is an improvement over the 1% decrease from the 2018—2019 period to the 2019—2020 period. A large majority of this content comes from China and Japan. These insights were shared by Avril Blondelot, Head of Content Insight, Glance-Médiamétrie, as she revealed a selection of hits and pilots over the past year. The shows were organised along five themes – COVID-19-inspired, horror, science-fiction, anti-establishment, and romance. The health crisis has inspired several dramas such as: Singapore’s “My Lockdown Wedding” (Red Dot Moving Pictures), a comedy drama about organising a wedding during a pandemic; Japan’s “The Men of Wada Family” (TV Asahi), which revolves around a man, retrenched because of the pandemic, who is forced to live with his stepfather and grandfather; and South Korea’s “100% ERA” (Waave), which revolves around the romance of high school students 24 years in the future, as they compare their experiences of love to that during the pandemic. The production of horror series has increased dramatically in China and South Korea, followed closely by Indonesia and Japan. Interesting offerings include: South Korea’s “Happiness” (Studio Dragon), which sees people from all classes trying to survive in a building where diseases run rampant; Singapore and Malaysia’s “Misteri Jam 12” (Mediacorp and Ria 987), an anthology horror series based on spooky stories contributed by radio listeners; and Malaysia’s “Ghaib” (Orangetree Production), which sees a group of students being followed home by the spirit of a woman they have summoned. Science-fiction content in Asia is not as chronologically linear as that in the West, sometimes being cyclical in nature. Shows include: China’s “The Three Body Problem” (Tencent), a show about an alien civilisation’s arrival on Earth, which is based on the novel of the same name; China’s “11 Left” (Toutiao), where a man meets his lookalike in a world where Earth’s population now lives on a single island due to pollution; and

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India’s “Kudi Yedamaithe” (Pawan Kumar Studios and People Media Factory), which revolves around a police officer and a boy who have premonitions. 2021 has also seen thrillers about anti-establishment characters who don’t follow the unwritten rules for behaviour, in content like: South Korea’s “The Devil Judge” (Studio Dragon and Studio & New), where a judge turns cases into a game show for public broadcast; Japan’s “Avalanche” (Kansai TV), which features a mysterious group which uses extreme methods to change Japan; the Philippines’ “On The Job” (Star Cinema, Reality MM Studios, and Globe Studios), set in a world where a corrupt prison system releases inmates to perform assassinations for powerful crime syndicates; and Vietnam’s “Mat Na Guong” (VFC), which focuses on a writer who discovers a murder case that’s linked to the family. Of course, romantic dramas remain a staple during this pandemic, with shows like: Thailand’s “Close Friend” (Viu Original), a series inspired by the love depicted in six songs and the artists behind them; the Philippines’ “Betcin” (Rein Entertainment Philippines), which focuses on a social media celebrity couple made up of two gay women, who are going through a rough patch; Indonesia’s “Facetrix” (Screenplay), which sees a young, timid student who finds that she can make people fall in love with her, changing her life completely; and India’s “Chutzpah” (Maddock Outsider Production), which is about five eccentric characters and their experiences with love through online platforms. Avril also spoke about iQIYI, which has invested heavily in Southeast Asia. Even though Korean content is subjected to an offshore embargo in mainland China, half of their content comes from there as they need non-Chinese content to compete on the international front. Two notable shows are: China and South Korea’s “My Roommate is Gumiho” (iQIYI, Studio Dragon, and JTBC), which is about the romance between a human and a fictional creature known as a gumiho; and Singapore and Malaysia’s “The Ferryman” (iQIYI, G.H.Y. Culture & Media), which takes place in a world where souls must complete their unfinished business before they are able to pass on successfully. Besides iQIYI, Tencent’s WeTV has also invested heavily in Southeast Asia. 64% of their non-Chinese commissioned content comes from Indonesia.

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The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 37


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IN CONFERENCE WITH THE INK FACTORY

WHAT ARE INDIAN COMMISSIONERS LOOKING FOR? The OTT market in India is a gold rush, with over 40 players in the market at the moment. However, it’s still a young market, as series commissioning is very nascent in India. Before the arrival of the OTT players about 5 years ago, there wasn’t an appetite for high-end drama – the focus was on the theatrical market. So, this represents a huge opportunity for filmmakers, shared Tessa Inkelaar, Executive Producer of The Ink Factory. Inkelaar explained that Ink Factory is a UK- and US-based studio that has produced shows like, “The Night Manager” and, “The Little Drummer Girl”, both adaptations of espionage novels by author John le Carré. Ink Factory has access to the whole library of le Carré’s work, she revealed in a session moderated by Chaitanya Chinchlikar, Vice President & Business Head of Whistling Woods International. Inkelaar observed that the Asian market is huge – but each territory has its own benefits and issues. There has been a huge rise in commissioning in countries like India, China, Korea, and to a smaller extent Japan. Korea has taken more time to encourage their filmmakers to go to platforms like Netflix because of their healthy and profitable domestic broadcast and film industry, which is more profitable. None

of the international players are in China, but there are opportunities to create local content. Indian commissioners have been looking at many remakes of formats, with a focus on local audiences first and international audiences second. With the huge Indian diaspora, the potential for such content is immense, said Inkelaar. “We see all of our projects as adaptations rather than format remakes,” she elaborated. “Everything we do is rooted in the experience.” That comes from Ink Factory’s approach towards international content, which is to ensure that they have a local consulting partner and A-list actors attached to such projects. She has noticed that the Indian platforms are very focused on Hindi content, which then gets dubbed into different languages for the different regions in India. “We go where the storytelling wants to go.” Looking ahead, Ink Factory has a three-pronged approach to their content slate. They’ll be looking at bringing their le Carré stories to Asia, telling original stories with an eye towards espionage and intelligent thrillers, and getting Holy Grail projects through IPs, such as, “White Tiger” and, “The Jungle Prince of Delhi”.

WE GO WHERE THE STORYTELLING WANTS TO GO.

The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX).

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IN CONFERENCE K-DRAMAS IN 2022: MORE WEBTOON & WEBDRAMA ADAPTATIONS Fans of K-dramas can look forward to more adaptations of webtoons and web dramas, as the slate of Korean content for 2022 was unveiled by Sooyeon Im, Journalist at Cine21. Leading the pack in webtoon and webdrama adaptations is, “The Youngest of Sunyang”, the most anticipated drama of 2022. It revolves around a risk manager who gets a second shot at life after being murdered.

The Youngest of Sunyang Director: Jun Dae-Yoon

Big Mouse

Director: Oh Chung-Hwan

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(Working Title)

Other dramas that have origins in other media include: “Through The Darkness”, about a criminal profiler who investigates serial killers; “Tomorrow”, about a supernatural team who convinces potential suicide victims to carry on with their lives; “The Office Blind Date”, a romantic drama between two C-suite executives from different companies; “Again My Life”, which features a prosecutor who gets a second shot at life after being murdered by gangsters; and “The King of Pigs”, a thriller about a rash of serial killings that have to do with cases of school violence 20 years ago.

Our Blues

(Working Title)

Director: Kim Kyu-Tae

Thirty, Nine

(Working Title)

Director: Kim Sang-Ho


Through the Darkness

(Working Title)

Director: Park Bo-Ram

Tomorrow

(Working Title)

Director: Kim Tae-Yoon, Sung Chi-Wook

Ghost Doctor

(Working Title)

Director: Bu Sung-Chul

Military Prosecutor Doberman (Working Title)

Director: Jin Chang-Gyu

Tracer

(Working Title)

Director: Lee Seung-Young

The Office Blind Date

(Working Title)

Director: Park Seon-Ho

Again My Life

(Working Title)

Director: Han Chul-Soo

Ghost

(Working Title)

Director: Jang Kun-Jae 43


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IN CONFERENCE

The King of Pigs

(Working Title)

Director: Kim Dae-Jin

The Speed Going to You 493km (Working Title)

Director: Jo Woong

Other shows coming in 2022 include: idol drama “Our Blues” (working title); “Big Mouse”, about a lawyer who becomes a swindler; “Thirty, Nine”, a series about three childhood friends who are now women about to turn 40; “Tracer”, which features the latest member of the National Tax Service’s Team 5; “Ghost Doctor”, a fantasy drama that sees two doctors being forced to share the same body; “Mysterious Prosecutor Doberman”, a drama about two military prosecutors who have very different motivations; “Ghost”, which revolves around an archaeologist investigating a mysterious curse afflicting people; “Mysterious Prosecutor Doberman”, a drama about two military prosecutors who have very different motivations; “The Speed Going

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The Mansion

(Working Title)

Director: Yoon Hong-Seung

To You 493km”, a sports drama about badminton players; and “The Mansion”, in which a woman searches for her missing sister. Sooyeon also shared five key trends in the K-drama industry. Apart from the rise of “super IPs” like those seen in drama adaptations from other media, there has also been more creatives from the film industry working in K-dramas. The proliferation of Korean OTTs has also spurred the creation of more K-content, with players like Wavve investing 1 trillion won (836 million USD) and CJ ENM investing 5 trillion won (4 billion USD) by 2025. There are also plans to make more shared universes, akin to the Marvel Cinematic Universe, as well as the use of rising stars to boost the popularity of dramas.



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IN CONFERENCE WITH DR PEI-SZE CHOW

(University of Amsterdam)

YI-LING TEO (SAAVA)

HOW WILL AI AFFECT OUR DECISION MAKING IN THE FUTURE? Artificial intelligence (AI) and machine learning are the two biggest buzzwords in the industry today. It can be a valuable tool for media executives when it comes to predicting the latest hits, as such AI companies offer an accurate system that gives a concrete analysis of screenplays, as well as their potential viability. It removes the human, subjective element from such assessments, explained Dr Pei-Sze Chow, Assistant Professor of Media & Culture, University of Amsterdam, in a session about the implications and issues of using AI to greenlight screenplays. AI is “stampeding its way into the cultural industry,” said Dr Pei-Sze in the discussion, which was moderated by Yi-Ling Teo, Director, Southeast Asian Audio-Visual Association. In the course of her research on the topic, Dr Pei-Sze has spoken to the Chief Technology Officers of US-based Cinelytic and Belgium-based ScriptBook, companies that use AI to determine how films will fare at the box office. Of note, Warner Bros Pictures had signed a deal with Cinelytic in early 2020, marking the first time that a big studio has announced such a partnership. Understandably, there is a lot of apprehension around the topic, since “creating film art is a pretty sacred, human endeavour,” observed Dr Pei-Sze. Such companies have positioned such tools as “AI support”, assuring customers that the human always have a last word. The CTOs have emphasised that they are impartial and don’t

come from a media background. Instead, they are data scientists building highly technical systems, at a distance from the media industry. Still, Dr Pei-Sze noted, there will always be biases about issues about gender and ethnicity because humans are not perfect. So, one key issue with the use of AI is bias and what the algorithms are learning – is it truly objective? After all, an algorithm is only as good as the data fed into it. Dr Pei-Sze gave the example of Hollywood, which has traditionally been very white, very heteronormative, and very formulaic. “The fear is that the algorithm gives more of the same, and anything that does not conform will be classified as flops at the back office,” she commented. The question, then is where does creativity, diversity, and novelty come into the equation? “The next hit can’t be a replicate of what has been successful before,” Dr Pei-Sze mused. If we become depend on an algorithm to tell us what content to create, then we lose the human wisdom and experience of what makes a good movie or series. “This cultural repository of knowledge, it doesn’t get handed down,” she observed. Because many NDAs are signed regarding the use of such tools, we might not know which content has been developed with AI. Therefore, we will not see the results of the usage of such tools until years later.

CREATING FILM ART IS A PRETTY SACRED, HUMAN ENDEAVOUR. The thoughts, views and content expressed and presented by the speakers, moderators and participants are solely their own and do not represent that of the organiser (ATF and RX). 46

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EXCLUSIVE FEATURE

GOOD CONTENT & BRILLIANT PEOPLE SURVIVE & PROSPER “Do you want to change the world?” asked Jimmy Kim to an inquisitive young lady who had the opportunity to speak with the recently retired, prominent industry veteran. She wasn’t sure, no one believed in her. His response to her was fittingly simple: “It’s easy. Change it”. Jimmy believes there are two camps of people – those who are content with the way things are, and those who do not drag their feet. There is no ambiguity as to which camp Jimmy belongs to. Jimmy has had a distinguished, admirable career in media and entertainment, having worked with major companies, such as Technicolor, Bloomberg Television, CNBC Asia Pacific, Samsung Electronics, MNC and Globecast. His last rodeo was as Managing Director of Genflix before he decided to bid annyeong to the corporate cycle. “People think this is an era of OTTs and other forms of products from digital geniuses. But there were heydays of newspapers, free-to-airs, cables, DTH, DVBT, DVH, satellite devices, IPTV etc,” he reminded us, recalling the days when executives would visit cable or relay operators in Taiwan, Philippines, and Korea, and thought to themselves that cable was there to stay. “I am not saying the past was glorious. I say, current seemingly unpredicted challenges were there all those times. Platforms always evolve to the next form as technology does, and many stakeholders and now individuals support that trend to find new forms of revenue generation. So, no reason to panic. Good content and brilliant businesspeople find ways to survive and prosper.” Reflecting on the trajectory of Korean content, he said the huge injection of capital into the media industry enabled opportunities for Korean producers and executives to chase after better returns of their

Jimmy Kim Managing Director Genflix

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investments. Having the authoritarian government withdraw in the late 80s boosted the creative industries, including improving local perceptions of working in it. And it helps that Koreans loosely wear a streak of rebellion on their sleeves, which is channelled into the work we are seeing. Jimmy hopes for more from Indochina. He points to Vietnam that has a huge human resource “with very good work ethics”, while Cambodia has suffered from the junta regime and has a wealth of stories, as well as Myanmar’s rich historical and cultural heritage that needs to be shared. The man remains humble about his greatest contributions when asked. “I believe I showed that anyone who has passion and love for our industry can be a flag bearer of organisation and people. Along the way, true friendship, and rapport we developed were precious. “In retrospect, I learned and gained more than I gave from my dear Asian media and entertainment industry.” Jimmy now spends his days in his peaceful home on Jeju Island and does not hesitate to offer advice when asked from those whose paths cross his way. He added, “Isn’t it great we live in a world where physical meetings are not necessary anymore? “But frankly, I miss those days when we hung around Cannes beaches, Bali resorts, Hong Kong island ferries, and Legaspi city volcano in the Philippines.” Indeed, Jimmy – we, too, are looking forward to rekindling those days.


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FEATURE

Romain Decroix Licensing Manager for Audiovisual & Music in Asia IMPS The Smurfs

SEEING BLUE IN ASIA Audiences today have a buffet of content and access options, from paid to free streaming services, to choose from. “We know that today’s kids do not have necessarily the same watching habits than we did in the past, and that the “ondemand” format is more and more popular compared to linear broadcasting, which leads to a permanent need of adaptation,” said Romain Decroix, Licensing Manager for Audiovisual & Music in Asia, of IMPS The Smurfs. “We live in a wonderful and exciting time where changes arise every day at a speed we are always surprised of,” he

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acknowledged, and noted also shifts in the way the industry transacts. “The fact that there are more and more trade shows focused on Asia and that technology allows us now to have digital meetings as well, makes that we are less in need for agents or distributors to sell our content into Asia. New models like FAST (free adsupported streaming TV) rights are a good example of the changes we must deal with,” he added. Romain has high expectations for the company’ first season of the new 3D CGI series of the Smurfs, which was released recently on Nickelodeon

(PayTV) worldwide. The free-to-air rights are available from March 2022 in Asia. “Our ambition is to conclude as many deals as possible with the best Asian free-to-air channels in order to spread this new touch of blue around the world,” he quipped. He believes that the new Smurfs TV series has got all the components of what defines today’s trend – high speed, actionadventure comedy with snappy dialogues, and physical humour. The biggest new element of the series, as he puts it, is the creation of a new Smurf village with Smurf girls that “was necessary to meet the demand for a more gender balanced series”.


FEATURE

SEEKING NEW COLLABORATIONS WITH VOD PLATFORMS Travel, discovery, and blue-chip wildlife titles have been trending over the last months, and interest from buyers in Asia is still strong, said Bertrand Lossignol, Senior Sales & Acquisitions Manager, of Terranoa. The Parisbased independent distribution company is offering a diverse slate of new films and series in science, discovery and travel, wildlife, and environmental issues genres, at ATF.

An example is ‘After Chaos’, which traced the rebuilding and engineering of four cities – London, Berlin, Le Havre, and Warsaw – after World War II, through a combination of archival images, footage and CGI. “The documentaries that we distribute are for the most part also dedicated to the Asian market. As Terranoa is dealing with some of the most active VOD-OTT players in other territories, I’m here to start new collaborations with the Asian big names and VOD-OTT platforms,” he said, and acknowledged that, as an independent distributor, it was challenging to gain access to some of the bigger players. Bertrand Lossignol Senior Sales & Acquisitions Manager Terranoa

From Bertrand’s experience, buyers asking for all-rights was becoming a regular occurrence, but their reduced budgets made it difficult to accommodate such requests. “The current demand, in particular from new buyers of VOD rights, leads to new exchanges and ways of assigning rights, but sometimes the proposed revenue-shares are models that are not profitable for us on certain programs. We are currently learning a lot about users and different models, and we are open to finding new business opportunities but there must be common and shared interests,” he said. Bertrand is keen to meet with Asian buyers and continue the friendly relationships with his counterparts. “It’s a chance to meet with so many people, from different parts of the world and with so many different cultures, I’m so grateful to have that chance to exchange in that way. In my opinion, the main difficulty [is] still in the geographical distances, especially in these days, where it’s quite difficult when we don’t know each other well yet, to keep a regular link and start new collaborations. The markets and meetings in person are missing terribly.” As he navigates ATF, Bertrand will be glad to learn that he’s not alone in the sentiment.

FOREIGN CONTENT FIND HOME IN ASIA AS BUYERS WARM UP As companies and individuals exchange notes at ATF and catch up on developments in the market, one observation is becoming apparent – buyers from Asia are warming up to an assortment of content, as a result of evolving viewers’ behaviour and interests. “Asian buyers have always been very clear about their content needs and being price conscious, two things that have not changed at all. However, we can see that there is a slight opening to also consider non-English speaking content, which had in the past difficulties to find a home,” said Gilda Demirtas, SVP International Sales, of Dynamic Television. This rings opportunities for the company’s showcase that consists of sci-fi shows and

Gilda Demirtas SVP International Sales Dynamic Television

high-end European crime drama series. There is the worldwide known IP, ‘Day of the Dead’ inspired by George A. Romero’s masterpiece, which revolves around the intense story of six strangers trying to survive the first 24 hours of an undead invasion. ‘Harry Wild’ is a fun procedural murder mystery series starring the Golden Globe nominee Jane Seymour, and lastly the new season of the live-action kids’ series, ‘Almost Never’ with a diverse cast, which is CBBC’s #1 kids’ series and recently been picked up by Disney channel US. “Our goal is to find new clients who look for high-end shows that make a difference in their program and re-connect with our existing clients. We are known to collaborate with our clients on price benefits and rights to ensure a successful and long-lasting relationship,” Gilda remarked. “Furthermore, we look forward to learning more about the recent market development in APAC”. 53


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COURTING THE PRICE CONSCIOUS ASIAN BUYER With over a year into the pandemic, most of us would be familiar with conducting meetings digitally, having countless hours of virtual catchups under our belts. While this means that forging new connections and attending events are no longer limited to in-person activities, the delivery and experience of virtual meetings may not always produce the desired effect. “The most significant change and challenges have been our inability to meet clients face-to-face over the past 18 months. This has largely taken away the impact of narrating a story and getting an instant reaction from them,” said Jimmy George, Vice President, Sales & Acquisitions of GoQuest Media Ventures. The impact of the pandemic is visibly felt from buyers. “Asian buyers continue to be price conscious, but it’s understandable in the current circumstances. We’re also noticing how some Asian buyers are acquiring all-rights (TV and digital) in particular markets, decreasing the scope for monetisation,” he said. As more and more streaming platforms emerge, Jimmy recognised that the demand for global content is set to grow with platforms already doubling down on original content compared to ready content. “We have also been flexible on the license term front, especially in the streaming space. We understand that these platforms are new and are in the investment mode and need just that bit more from the content they are acquiring. Our eyes, for now, are set on APAC, Latin America and Europe, where we hope to make an impact with our unique approach and selection of titles,” Jimmy added. He is looking forward to reconnecting with partners and clients in the region, presenting a variety of international dramas that have been added to GoQuest Media’s catalogue, and discussing the biggest content trends emerging from APAC. Jimmy is fired up and excited about the titles being presented at ATF, which includes that crime thriller series, ‘Rats’ that highlights the meth trade in Europe and told from the perspective of three different families, and the espionage thriller, ‘Civil Servant’ that offers a peek into the world of the Serbian intelligence agency. “They’re pathbreakers from both plot and character perspectives, highly entertaining and critically acclaimed. The popularity of foreign language drama with wider audiences today is really exciting, and we look forward to the opportunities of showcasing our content in the region,” he said.

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Jimmy George Vice President, Sales & Acquisitions GoQuest Media Ventures


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THE FUTURE IS MADE OF STRONG & ECO-FRIENDLY IP Qualitative, meaningful, innovative – are the words used by Eva Palfray to describe the quintessence of the content carried by her company. “We like promoting daring programs that have audacity and singularity in common, whether that be regarding their graphism or their storytelling. Our sales successes and continuous feedback on the programmes we distribute lead us to believe that broadcasters are indeed looking for this kind of content,” said Eva, Sales Executive, Asian and MENA region, of MIAM! Animation. ‘Edmond & Lucy’, the company’s first in-house CGI pre-school intellectual property, and ‘The MiniWhats’ a kids’ comedy, are two of the many titles presented at ATF. “Both series aim to generate children’s sense of wonder – the first one for nature and the other one for imagination. After these two peculiar years, we have observed that human contact and manual work were important to keep smiling. With these series. we want to offset the prevailing anxious atmosphere by offering animated programs that bring positive energies,” Eva elaborated. She added that ‘Edmund & Lucy’ was the first industrial format series produced in real-time CGI (Unity Software) and the technology allowed its creators to develop additional content easily “while reducing our environmental impact as much as possible”. The company’s ambition is to keep developing strong and eco-friendly intellectual property. “We strongly believe it could echo in Asia through its positive storytelling and different approach of ecology as well as its technical innovation with real time CGI. The sense of wonder created by the series could also be extended through branded products as well as additional content like apps, games and more, allowed by this real-time technology,” she said. Eva is mindful of the diversity of cultures in Asia, which she explained made it challenging to broadly categorise or describe the Asian buyer. “We wish to keep building strong relationships in regions where our programs are already well broadcasted such as China, Hong Kong, Japan, and Taiwan. We also want to continue developing new relationships with broadcasters in South Korea, Southeast Asia and SAARC countries,” she said.

Eva Palfray Sales Executive, Asian and MENA region MIAM! Animation

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ASIA SHOWS PROMISE FOR TURKISH DRAMAS Asia is embracing foreign language content and the differences in language and culture, which once were regarded as viewership hurdles, are now favourably viewed upon by buyers as consumers seek out diverse and inclusive programmes. “I’m very happy that some of the East Asian countries decided to give a chance to the Turkish dramas on their TV and digital platforms,” shared Gamze Utma Besler, Sales Executive (Asia), of Kanal D International. “Asia is a very wide continent and the consumer habits are different in every territory within the region. Malaysia, Brunei, Bangladesh, Indonesia [are] our main focus as we have been working actively for many years. Our anticipation is to increase our sales in other countries in Asia, especially with countries such as Thailand, the Philippines, Singapore and Japan, as we clearly see the growing interest and love for Turkish dramas in these territories,” she added. ‘Three Sisters’ a family-oriented drama adapted from a 2018 bestseller novel by acclaimed author İclal Aydın, is the company’s newest title and scheduled for release in January 2022. The shifts in increased consumption of content towards titles with compact or lesser episodes have meant that some dramas fare better over others. “Turkish series have many episodes, approximately around 100-200 generally. I can say that the romantic comedies in our catalogue with less episode numbers are trending today in the region for various reasons. First and foremost, it is due to the fact that the region is still getting acquainted with Turkish dramas and the commitment is growing over time”, she elaborated.

Gamze Utma Besler Sales Executive (Asia) Kanal D International

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ATF is an important market for Gamze as the platform provides access to Asian companies and clients and offers a pulse on the regions’ various markets. “Because of the pandemic, the past two years has had a great impact on the way we communicate with our business partners. Whether on-site or online, it is important for us to be present at ATF. I expect to meet various clients that I’ve not met before and further develop existing relationships,” she said.


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QUEER DIVERSITY REIGNS The flagship of OTT is diversity and, as a genre, queer fiction has gained enormous popularity on streaming platforms as the content covers the gamut of the queer spectrum. A sub-genre, “BL” dramas are trending, according to Yoshimitsu Naohara, International Business Manager, of Mainichi Broadcasting System, Inc. To the uninitiated, BL stands for Boys’ love, and centre around gay love stories. BL has its origins in manga and novels, before expanding to anime, television dramas, video games, and other media. The company’s first Japanese BL drama series ‘My Beautiful Man’ premiered on its TV network in November this year and is on offer at ATF. Yoshimitsu is also looking forward to forging new partnerships and friendships. He observed that most buyers today ask for YouTube and other OTT rights besides conventional TV and/or VOD rights. In addition, he said, “the average license fee in South East Asian countries is increasing, and Asian buyers do not bargain as much as they did before.”

Yoshimitsu Naohara International Sales Coordinator Mainichi Broadcasting System, Inc.

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Reiko Kaneko Sales Manager Hiroshima Television Corporation

TUGGING HEARTSTRINGS WITH A MESSAGE ABOUT PEACE Japanese dramas and anime have enjoyed global fan followings and continue to do so, but as Hallyu mania sweeps hysteria across the world with the recent success of ‘Squid Game’, the competition for eyeballs is heating up. “As the quality of content in other Asian countries, including South Korea, has improved, I feel Asian buyers have become more selective about Japanese content than before,” said Reiko Kaneko, Sales Manager, of Hiroshima Television Corporation. She added that her main clients are distributors who acquire for inflight entertainment, with a preference for light-hearted entertainment programs. Hiroshima Television, affiliated with Nippon TV Network, is a terrestrial TV station located in Hiroshima, a core city of the Chugoku region in Japan. The company’s featured content is a documentary titled, ‘Artist of Divine Beasts; Miwa Komatsu and Tears of the World’ that brings together famous and globally recognised Japanese artists as they gather to pray for peace. Reiko hoped that the feel-good program would tug at the heartstrings of buyers. “We haven’t had a chance to do business with Southeast Asian buyers so far, so I would like to meet many Southeast Asian buyers in order to expand our sales channels,” she said, of her expectation at ATF this year.

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BUYERS WANT NOTHING LESS THAN 4K European network Arte have been producing more and more programs in 4K, which is now “almost mandatory, to have a competitive offer in Asia,” said Isabelle Monteil, Sales Manager, of Arte Distribution. It may then seem obvious that the company’s bestsellers for the year are its Discovery Programs in 4K. “Asian buyers are now definitely more demanding and also more challenging! We can also feel the growing competition of the Asian content with unprecedented budgets and a growing influence on the European Audiovisual Market,” she said candidly, in a written response. Isabelle is excited to introduce the company’s line-up of new documentaries. “I’m looking forward to strengthening our collaboration with long-time partners, and also to meeting

Isabelle Monteil Sales Manager Arte Distribution

new clients. Arte, as the European leading channel in documentaries, is working with major production companies in France and Europe and we’re confident we can offer a unique know-how in terms of storytelling and diversity in the content. Arte is also at the forefront of digital strategy and develops different formats of programs that can reach a great variety of audience, on all possible screens, platforms, and social media,” she said. As co-producer of almost all the programs they distribute, Arte also has the capacity to work closely with buyers who enter at early stages of production, and to work on tailormade versions with more appeal to their audiences.

ONE-STOP SHOP TO ASIA’S BUYERS Emmanuelle Persson, International Sales Executive, of Institut National de l’Audiovisuel (INA), is looking forward to the Asia TV Forum & Market (ATF) as she is keen to connect with buyers from Asia. The event facilitates access as it gathers buyers, who otherwise are scattered in the region. “It is sometimes difficult to make new contacts with Asian buyers. We know that many sellers are trying to work with them, so they can’t answer or meet everyone which is really frustrating for us. That is why [the] ATF market is a real opportunity to meet them and I’m looking forward to speaking with them,” she said. She observed the differing economic models as new players, from individual and niche publishers to Hollywood heavyweights, enter the OTT market. This poses choices for consumers to access content on their own terms based on their disposable income.

At ATF, INA will present new documentaries that provide an insightful exploration of the rich history, construction, dynasties, and marvel of French castles. Emmanuelle is keen to promote the company’s historical and social documentaries, their bestselling genres. “I hope I will meet new TV or VOD buyers and that I will have the opportunity to introduce our catalogue to new contacts,” she added. INA is one of the largest audio-visual repositories in the world, housing all French radio and television audio-visual archives.

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Isil Turksen Sales Director (Asia & Baltics) Global Agency

AIMING TO HIT THE HIGH NOTES Television distributor Global Agency returns to ATF with a brand-new musical competition format that sees four celebrity singers on a jury panel performing alongside 12 contestants to uncover their star quality. The catch: the identity of each contestant is hidden inside cabinets in a dazzling studio, and they have to sing a chosen song briefly before being selected to perform with the celebrity. “Our latest singing format game show ‘Blind Duets’ is our hottest format, we believe it will be in the spotlight in SEA territory since buyers are always on the lookout for shiny floor entertainment formats,” said Isil Turksen, Sales Director (Asia & Baltics), of Global Agency. Southeast Asia is among the company’s target regions as the demand for its format and drama series rank highly. “I would say Asian buyers are always very innovative and search for the latest trends and highlights before all others. This still remains their most exciting and pioneering quality which we aim to respond to,” she added. “Today it is impossible to strictly work on a single rights, the ever expanding digital world brings new terms and requirements that may at times pose a challenge. It is always important to adapt to these changes and shift the approach to a wider angle,” said Isil, explaining that Global Agency offers flexible terms and payment models to clients to achieve a win-win deal that also help clients tide through the pandemic.

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INNOVATING FORMATS WITH GAMING, INTERACTIVITY “We never stop searching for fresh ideas and, as one of the largest media companies in Russia, we can finance and execute even the most daring initiatives and we are not afraid to go big,” declared Timur Wenstein, General Producer of NTV. Burgeoning audience demand for content is the most obvious trend he has noticed, and it has led to NTV’s most prominent change in restructuring their narratives and making their dramas even more fast-paced. Another challenge is the constant innovation in formats and shapes for new series and shows. Timur added, “Gen Z is all about gaming and interactive components, so we are adapting to this trend and offer[ing] our viewers fantastic new projects in which they can participate and decide what happens next”. NTV’s new line-up of programs starts from ‘Show Mask Go on!’, a unique project combining top stars from major primetime shows and featuring interactive components, to ‘SuperYou! 60+’, a socially engaging show that features talented elderly people from disadvantaged backgrounds who want to develop and demonstrate their talents. Sports drama series ‘KAMAZ. The Extreme Racing’ focusses on dramatic stories from a real racing team, while ‘Anna’ is a documentary about the worldfamous opera diva Anna Netrebko. One of the best NTV action dramas, ‘Hitman’s Curse, a yet-to-be aired title about a former detective seeking revenge for the death of his partner and wrongful imprisonment, is making its premiere at ATF. “This year is special – we have experienced a great surge in demand for NTV original series and formats. We see a strong preference for vertical storylines and powerful main characters who overcome any obstacle in their way. Compared to European colleagues, acquisition executives from Asia don’t emphasize female lead as a strong advantage but always want a balance”, Timur elaborated. He qualified that every country has its unique demands. “We noticed that buyers from China pay more attention to our documentaries and top IMDb-rated series …, while their colleagues from India want more pure action or crimedy-style series,” he said. With the company’s diverse catalogue on hand, Timur is set to rise to the occasion and deliver on the client’s request.

Timur Wenstein General Producer NTV

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Marie-Laure Roche Sales Director Superights

POSITIVE, LIGHT-HEARTED ANIMATIONS SOUGHT AFTER Paris-based Superights, the distribution arm of France’s Superprod Group, has signed a distribution agreement with Tencent for the non-dialogue slapstick comedy, ‘The Adventures of Little Penguin’. The partnership trails after a deal in October this year at MipJunior, with ViacomCBS Networks International for Nickelodeon International to roll out “Anna & Friends” across the world outside North America. “Due to the difficult past two years, what we feel is trending are the programmes that promote kindness and friendship through comedy-based programs, like our beautiful programme ‘Anna & Friends’,” said Marie-Laure Roche, Sales Director, of Superights. ‘Anna & Friends’ revolves around six-year-old Anna, who lives daily adventures with friends including impatient Froga the frog, thoughtful Ron the cat, overly-confident Bubu the dog and the naive Christopher the orange worm. The company has an edutainment programme, ‘Croco Doc’ is aimed at a preschool audience that teaches children about diseases and reduces the fear associated with visiting doctors/medical environments. Superights’ most recent sales activity has focused on Asia, as well as several territories across Europe. “Superights is a unique distributor that works more like a boutique distributor, we distribute our IPs, but we also carefully select our third-party titles where we feel we can offer high quality, gender-neutral comedy, kindness and friendship values to the audiences. We are still looking for partners for the rest of our catalogue,” said Marie-Laure.

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Jennifer Oppenheimer Sales Manager (Distribution) WildBrain

IN PURSUIT OF THE PLATFORM AGNOSTIC VIEWER In today’s saturated marketplace, consumers have access to a mammoth of content choices from varied sources and devices. Jennifer Oppenheimer, Sales Manager (Distribution), of WildBrain said “having programming that has well-known characters and brand recognition that draws new subscribers is important”. She added that, as a supplier, having a broad and deep roster of shows is key. “The main issue we’re hearing from many buyers is that young audiences are platform agnostic, so finding the right content that matches our clients’ needs is important, sometimes more so than exclusivity of that content,” said Jennifer. And she is banking on the company’s versatile portfolio, which ranges from preschool to teen to content for the entire family. There are a few series in the kids’ demographic at ATF this year, including the second season of animated series ‘The Brilliant World of Tom Gates’, the quirky slapstick comedy ‘Tata & Kuma’ created by Korean producers 5Bricks, the fourth season of the underwater action adventure ‘The Deep’, and a new shorts series ‘Caillou’s New Adventures’. Headquartered in Canada, WildBrain has seen a significant shift away from Pay TV across the region. Jennifer explained that working closely with its programming team that manages WildBrain’s four channels across Canada provides a unique window into the challenges facing linear partners, and they are able to share the insights to help partners adapt to the new environment. She noted the developments across Asia-Pacific, too, with the expansion of many global streamers entering the market. In response, WildBrain is open to bespoke programming solutions to meet the client’s content requests and is also keen to establish partnerships in new and emerging markets across the region.

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HOME RUN WITH LOCAL ADAPTATIONS Phil Hardman, Senior VP & General Manager, Asia, of BBC Studios, has seen an increasing demand for high quality content in scripted, unscripted and kids’ content, and a shift to digital service across Asia and globally. “We have continued to produce and respond to audiences’ demand for high quality and strong storytelling. “Like all producers and distributors, we have battled with Covid restrictions to keep productions on track, and we have been lucky to have a deep catalogue that has served our audiences,” he said. “With the emergence of regional OTT platforms and entrance of the global players in many markets across the region, we are seeing a boom in demand for high quality content and local content relevant to the Asian audience – particularly in scripted. This is driving up production budgets, but also production costs and we are working closely with partners to support the changes to their business through developing framework deals that allow us to bring in existing content from our catalogue and UK pipeline alongside new co-produced or commissions content that meets the needs of the local audiences” he said. In terms of Asian content, Phil pointed to the increasing demand for gripping multi-layered drama formats. BBC Studios IP have performed incredibly well, with countries like India, Korea and The Philippines having adapted local versions of ‘Doctor Foster’ and the Korean version, ‘The World of The Married’, was South Korea’s highest-rated drama in cable TV history. “We will see even more Asian content based on BBC Studios IP in the coming months with the Korean adaptation of ‘Criminal Justice’ and Indian adaption of ‘Luther’,” Phil revealed.

Phil Hardman Senior VP & General Manager, Asia BBC Studios

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“We are producing more content that focusses on sustainability and the environment. We draw attention to the pressing issues of climate change and shine light on how we can help change the world for the better through our creative storytelling.” Other titles with a green theme include the recent ‘A Perfect Planet’, and the three-part documentary ‘Greta Thunberg: A Year to Change the World’. Also on show at ATF are the latest entertainment titles of ‘Doctor Who’ and ‘Top Gear’, and universally recognised kids’ content of ‘Hey Duggee’ and ‘Bluey’.


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MOVING CONSUMERS WITH TRAVEL PROGRAM For those who are yearning to journey aboard but still can’t’ quite yet, for a variety of reasons that include the pandemic, can turn to the next best option – travel programmes. Offering more than just an escape, these titles present an insight into the destination’s people and culture, transporting viewers to lesser-known locales. “Northern Kyushu, like other countries in the world, is losing its vitality due to the effects of Covid-19. People cannot enjoy freedom. That’s why we energise people through TV screens. In a situation where we cannot travel freely, we at FBS-TV give people a simulated experience of travel,” said Akihiko Tsutsui, Deputy Manager – Programming Bureau, of Fukuoka Broadcasting System Corporation (FBS-TV). The company is showcasing, ‘Super Subjective Journey’, a program that started production

in July last year, and spotlights various places of interest in Kyushu where viewers and prospective travellers can enjoy nature, cultural and gastronomy experiences. Akihiko believes the rules of television programming are outdated, thanks to advancing technology and the rise of digital streamers. Consumers today have multiple ways to access information, which makes engaging them a challenge. But he feels that they would be naturally drawn to compelling and high-quality content. “So, we make the most of our experiences. Equipment, shooting and editing techniques are second to none. Show what people want to see and it will move their emotions,” he said, and added that their newest travel offering will strike the right notes with viewers. For those of us able to take a trip and undecided where to go, travel shows may just be the thing to stimulate in-demand travel destinations.

Akihiko Tsutsui Deputy Manager – Programming Bureau Fukuoka Broadcasting System Corporation (FBS-TV)

“GREEN” TITLES ARE TRENDING Consumers today are demonstrating an interest in matters related to our planet and are more socially aware of how their actions contribute to or minimise the effects of climate change.

Victoria Pace International Sales Only Distrib

According to Victoria Pace, International Sales of Only Distrib, “green is trending today”. And by “green”, she means titles that explore environmental issues and/or themes of sustainability. The series ‘Green Heroes’, on offer at ATF, profiles individuals, from farmers to architects, who are committed to a greener future and helping to safekeep the planet through their efforts. With today’s audiences showing an openness for and expressing

diversity in the types of content they watch. Victoria is optimistic that ‘Green Heroes’ will resonate with many viewers. At ATF, Victoria is keen to establish new partnerships and connections. She stressed that Asia remained an important market. The company has an extensive line-up of content, from lifestyle, nature, science, food, and travel. “We’re acquiring around 20 hours of new content each quarter,” she added, suggesting a diverse catalogue to satisfy every buyer’ needs.

HITTING THE MARK WITH THE RIGHT CONTENT US-based APL Film’s President of Global Sales, Brian Sweet, is headed to ATF with a slew of new films and wants to meet with new partners and buyers from around the world that are attending ATF. He noted that consumer viewing habits are changing, and everyone is out to court and build lasting relationships with the discriminating viewer.

“Asian buyers are the same as buyers from other parts of the world – always looking for the right content that will work in their region,” said Brian. His company is a sales and distribution company, acquiring high quality feature films, television programming and documentaries for worldwide distribution. Brian Sweet President of Global Sales APL Film 73


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Cécilia Rossignol Executive VP, International Sales & Development Gaumont

IT’S A BUYER’S MARKET The market and the TV industry are evolving too fast for a buyer to commit to the long term. In response, Gaumont offers content that is adapted to consumers viewing habits, which benefit buyers with the ability to be agile with their content programming. “Smaller packages several times a year, thus answering buyer’s needs in the short term rather than selling by the bucketful and not seeing him [the buyer] again for two years. There is no longer any supremacy of one region over another. You can’t have a pushy policy and impose yourself. Quality content is everywhere,” remarked Cécilia Rossignol, Executive VP, International Sales & Development, of Gaumont. Buyers want polished content “with a local anchor that will reassure their viewers and they ask for recognisable faces, or ideas, or subjects, that makes sense to their audience,” she added, and mentioned that Asian buyers have the same shopping tendencies as those in other regions. She has noticed several developments in the market. The most prominent is the emergence of AVOD platforms as well as growing requests for all-inclusive rights. “The systematization of the request for VOD rights along with the major linear rights. TV channels wish to have extended rights in order to allow their viewers to catch up later [with] the program,” she said. “[There] is a strong appeal for IPs, max of eight eps for series, and feel-good content. We hope to give visibility to our wide range of great stories and strengthen the bonds of trust we already have with our buying partners and create new ones, [and] better understand the needs of the Asian market that matters to us.”

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OPEN INVITATION TO CO-PRODUCE WITH TAIWAN Taiwan Creative Content Agency (TAICCA)’s CEO Izero Lee believes that Taiwan’s diverse cultures and history allows the island to cultivate creations that not only perform well in major exhibitions overseas, but also attract international investors and international OTT platforms to co-produce original contents with Taiwan. “Taiwan’s content industry continues to produce excellent works despite the challenges of the global pandemic. Taiwan is culturally inclusive and historically diverse. Our stories cover all kinds of topics, and creators enjoy full creative freedom, and in

Izero Lee CEO Taiwan Creative Content Agency (TAICCA)

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Taiwan, we are eager to share our stories, which we hope will connect with viewers worldwide,” he said. Taiwan agencies, including TAICCA, are supporting and encouraging foreign production enterprises to produce or co-produce with Taiwan. An example is TAICCA’s Taiwan’s International Co-funding Program, and several joint ventures with private companies. Compared with other markets in Asia, Taiwan is welcoming to various kinds of projects from LGBTQ+ rights, social concerns, to political issues, added Izero.

TAICCA has set up a virtual Taiwan Pavilion at this year’s ATF, leading a delegation of around 70 companies, and presenting 145 titles and project proposals. Additionally, TAICCA will be presenting the Taiwan Film and TV Content Online Showcase on the ATF digital platform across two consecutive days from December 2—3. Featuring a lineup of 10 of the latest films and television shows from Taiwan, the showcase highlights the creativity, market potential and competitive advantages of the content to deliver a refreshing experience to both international buyers and platforms.


Taiwan Shows Up Part 1

FEATURE View our latest series & film showcase today! LIVE

December 2 Thu. 2:30pm–3:00pm Final Exam

Full Lineup at 2021 ATF

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Available on ATF Online+

Taiwan Cinema Catalogue

2049

Listen Before You Sing

Girls Win

Rollin’ on with Taiwan Cinema & Vision

Show On: an Influencer's Rise to Her Hot Hot Fame

Check more latest titles at Taiwan Virtual Pavilion! Presented by

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FIRST OF ITS KIND FEMALELED PERIOD SERIES TO BE FILMED IN TURKEY ATV, the Turkish television network owned by Kalyon Group, is promoting a new historical period drama, ‘Destan’ that weaves an heroine’s coming-of-age epic story from Central Asia. Other Turkish titles of similar genre, ‘The Ottoman’ and ‘Hercai’ have performed well with audiences beyond its home ground. Müge Akar, Content Sales Deputy Manager, of ATV, is feeling optimistic about penetrating new markets with this fresh period drama that will be filmed for the first time in Turkey. What also differentiates ‘Destan’ from the other titles is that it is told through the perspective of a female protagonist, who overcomes hardships in her youth to emerge a formidable warrior. “Recently, the interest of Asian buyers is historical Turkish drama rather than any other genres. Indonesia, Pakistan, and Bangladesh have shown an increased interest in our titles. With the historical theme that receives the most interest from Asian viewers, we hope to license our newest title to the targeted territories in Asia,” she added. Other titles in the company’s line-up include ongoing series, ‘For My Family’ and ‘Wounded Heart’. The former is set around four orphaned siblings who are surviving to get by, while the latter involves a complicated yet heartwarming love drama. Müge’s wish is for trade markets to be back in full swing by next year as they grant direct access to the region’s clientele. “Southeast Asia is [the] centre of attraction, we have good connections with Indonesia and apart from this territory, Pakistan, Bangladesh and Malaysia are always on our radar,” she said. She added that digital rights is a topic raised and discussed in every agreement and meeting. “As the digital OTT Platforms are rising globally, we’re aiming to change our strategy and try to be open to the new opportunities they present,” she said.

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Müge Akar Content Sales Deputy Manager ATV



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PRODUCTS KIDS (AGES 7 AND UP) - ANIMATION

BUTTERFLY ACADEMY

DRAMA - HISTORICAL PERIOD DRAMA

LIFE IS BEAUTIFUL

Welcome to the Butterfly Academy! A place where young Monarchs learn to become the best butterflies they can be, to gain knowledge in preparation for their great migration! Meet Patrick, an overoptimistic, disabled Monarch; Marty, a goofy caterpillar; and Jennifer, probably the only butterfly in the world that is afraid of heights and LILLY her best friend.

“Life is Beautiful” is an epic Taiwanese drama spanning 60 years of time and space. The story depicts how three unique women meet in Qi-Jin Kaohsiung in Southern Taiwan. These women live together and share life stories and experiences with each other. With strong female camaraderie, they overcome every hurdle and discover the meaning of family again. They as the symbol represent “Home is Where Mom is.”

COMPANY: PINK PARROT MEDIA

COMPANY: TAIWAN TELEVISION ENTERPRISE, LTD.

KIDS (AGES 7 AND UP) - ANIMATION

MINIAMBRA After hatching from an abandoned egg, Miniambra, a perceptive and curious girl, travels through alienating and magical worlds, meeting mysterious creatures whilst searching for her family. COMPANY: KARU-KARU

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PRODUCTS WE’VE GOT ENTERTAINMENT COVERED. November 8, 2021 12:01am PT

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PRODUCTS ANIMATION, PRE-SCHOOL

GIUSEPPE Giuseppe is a hedgehog whose only dream is to see the snow. He gets excited whenever winter comes along, but is also terrified by the winter ghost that is rumoured to come out of the mountains to catch the little hedgehogs who don’t want to hibernate. Together with the help from other forest friends, he devises a way to fulfil his dream. COMPANY: SUPERIGHTS

FACTUAL

MUSIC’S SUPERPOWERS Through an international scientific and neurological investigation, this film unveils the mystery of music’s multiple powers in the evolution of mankind and its impact on our neurons. From enabling learning, to navigating our roles in the world, the documentary peers into how music orchestrates the human brain even before birth, and the decisive role it plays in our development. COMPANY: CLPB RIGHTS

ANIMATION, PRE-SCHOOL

BABY GENIE AND ME A boy’s life is transformed when a genie emerges from a book and mistakes him as a young Aladdin. Armed with the genie’s magic, the new friends encounter and solve the problems of growing up in the modern world, while tackling complicated dangers that are released from the mystical book. The fantasy adventure series (52x11’) is targeted at children 4 to 8 years and due in 2022. COMPANY: I M GENIE DIGITAL PVT LTD

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PRODUCTS ANIMATION, CHILDREN

NABI’S ADVENTURE Nabi the alley cat befriends two children and develops a tight-knitted bond with them. In his newfound home, he takes it upon himself to care for the kids and ensures no harm befalls them. The series (26x11’) sees the heroic feline guardian helping the children to overcome and solve their daily problems, while finding the time to go off on missions with his animal friends from the streets.

ANIMATION, CHILDREN

BARBIE IT TAKES TWO The upcoming series (26x22’) follow Barbie Brooklyn and Barbie Malibu as they travel to the city of New York to attend a year of performing arts school. Focussed on their growing friendship, the episodes follow the pair as they set out to record a musical demo, taking on odd jobs to fund their dreams while they explore what the Big Apple has to offer. COMPANY: MATTEL

COMPANY: PIXTREND INC.

FACTUAL

CASTLES IN THE SKY The documentary embarks on a historic adventure of high-risk battles and construction challenges of fortifications on the mountain tops of the Catalan country, where immense medieval fortresses built at the top of the mountains of the Franco-Spanish border, constituted a major military defence system during the Cathar wars. Today in ruins but still spectacular, Peyrepertuse, Quéribus and Puilaurens represent a unique heritage. COMPANY: INA - INSTITUT NATIONAL DE L’AUDIOVISUEL

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D A eY v Ti W O p r e w

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PRODUCTS DOCS & FACTUAL - ARTS, MUSIC & CULTURE

HOLLYWOOD ON SET “Hollywood On Set” goes behind-the-scenes on three major motion pictures in production, giving you the skinny on who made the movie, and how! Each episode boasts a timeless quality, featuring action footage and exclusive interviews with actors, filmmakers, and the crew. COMPANY: PRIME ENTERTAINMENT GROUP

DOCS & FACTUAL - LIFESTYLE

NOODLES RHAPSODY Focusing on the most common ingredients that people come into contact with every day, season 1 - ‘Noodles Rhapsody’ carefully selects 12 kinds of noodles with different characteristics from 12 cities. Through the variety of noodles, this infotainment title showcases the diverse food culture across different regions in China. The 12 regions’ noodles are represented by Peking noodles, Hangzhou Pian Er Chuan, Wuhan dry noodles, Fujian Satay noodles, Guangzhou Wonton noodles, Shaanxi biangbiang noodles, Shanxi sliced noodles, and more. COMPANY: HANGZHOU 1905 CULTURE MEDIA CO., LTD.

KIDS (AGES 7 AND UP) - ANIMATION

PLEASANT GOAT AND BIG BIG WOLF-ULTIMATE BATTLE: THE NEXT GENERATION Chasing after the mystery men possessing the energy stone, Weslie and Wolffy are transported to 15 years later unexpectedly. In order to return to Green Green grassland and reshape the history, Weslie and Wolffy must lead the goats that come from the future to collect fragmented energy stones. On the other hand, the villain, Doctor T aims to control the entire world and dispatches his robots for fragmented stones looting. Can the goats defeat their enemies this time? COMPANY: CREATIVE POWER ENTERTAINING CO. LIMITED

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PRODUCTS

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PRODUCTS OTHERS - JAPANESE ANIME

HEAVEN OFFICIAL’S BLESSING Xie Lian, the crown prince of Xian Le Kingdom, successfully ascends to Heaven at a young age. However, he is soon banished back to the mortal realm due to a string of unfortunate accidents. He then runs into Hua Cheng, the King of Darkness who later becomes Xie’s loyal follower. An extraordinary adventure starts as they unveil the naked truth of the gods in Heaven. COMPANY: BILIBILI INC.

TEENS (AGES 13 AND UP) - ANIMATION

REAL CYBER GIRLFRIEND The beginning of the story depicts the competition between two Multi Channel Network companies. Peter is addicted to the game “Real Cyber Girlfriend” and has been ignoring his actual girlfriend, Angel. One day, after a party, a drunken Peter quarrels with Angel while playing the game and both accidentally fall down the stairs. Angel’s soul leaves her body and enters the game. She begins searching for Peter, but he is nowhere to be found… COMPANY: SINCERITY CULTURAL CREATIVE LTD.

TEENS (AGES 13 AND UP) - ANIMATION

TALES DOWN BELOW An animated comedy series featuring reimagined Asian folklore Best buds, Zack and Sam, are two undead skeletons who embark on fantastical, unpredictable adventures in the world of Down Below and other realms of folklore to discover their purpose in life. COMPANY: SPACEBOY STUDIOS SDN BHD

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PRODUCTS

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PRODUCTS FACTUAL

MAGELLAN’S EXTRAORDINARY ODYSSEY This series, in the form of a four-part ‘docu-epic’, draws on the explanations of historians, philosophers, and great sailors, a collection of period archives, charts, and texts signed by Magellan and his contemporaries, but also spectacular aerial images filmed in the different locations that Magellan and his crew travelled through on their long voyage. Historical sequences punctuate the narrative and are recreated using modern and realistic drawings inspired by Portuguese azulejos.

ANIMATION, PRE-SCHOOL

HELLO MR. SUNGLASS In this informative and educational series, kids learn about objects through the familiar game of hide-and-seek. Joining the adventures of pink bunny Eaya, glutton puppy Coco, shy baby eagle Looka, and a shapeshifting Mr. Sunglasses, viewers go on different expeditions that present situations that allow them to explore and become familiar with their five senses. COMPANY: CAMPFIRE ANIWORKS CO. LTD.

COMPANY: CLPB RIGHTS

FACTUAL

NATURAL DISASTERS: MEGA REGULATORS Natural disasters never come alone and when they strike, it comes with major catastrophes. For the first time, researchers decode the mechanics of our climate and establish links between a cyclone and an earthquake. As they discover how these phenomena interact on a global scale, they uncover the secrets of a suffering natural world which recreates itself as it gets destroyed. COMPANY: TERRANOA

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PRODUCTS ANIMATION, PRE-SCHOOL

AHNIMOWS SCHOOL FOR MAGICAL CREATURES An uplifting animation about a group of amazing creatures who go on incredible adventures, training to become the new myths and legends of mankind. Together, they are always learning new skills, having fun, and overcoming challenges with the greatest magic of all - the power of friendship. COMPANY: ANIMUZ

KIDS (AGES 7 AND UP) - ANIMATION

BUBBLY A story of Bubbly and his characterful friends growing as individuals and as a group through lively adventures, spread over 52 entertaining episodes. COMPANY: ENPIX PLUS

KIDS (AGES 7 AND UP) - ANIMATION

CORGI A ROYAL FAMILY A quirky, adorable animation that follows the adventures of Rex, the Queen’s favourite corgi. He returns to Buckingham Palace... but this time he’s not alone! Wanda, his lady love from the pound, has moved in with him and it is no surprise to find him at the head of a large family several months later. Eleanor, Lucy, and Jude are now part of the clan! COMPANY: STUDIO REDFROG

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PRODUCTS DRAMA - FEATURE FILM

THE GREAT GAME The North Machinery is on the brink of bankruptcy as a result of poor management. Sun Heping urgently leads The North Machinery to join the Hanzhong Group, helmed by an old classmate Yang Liu. After several years of development, The North Machinery is reborn. Fighting to become a heavyweight of the automobile industry, he actively seeks to acquire the Red Star Company controlled by his old classmate Liu Biding, but finds his path obstructed by Yang Liu.

PRE-SCHOOL - ANIMATION

EMMY & GOOROO Emmy & GooRoo is a 2D animated comedy featuring a brave little hero, a 5-year-old girl who is the only human little girl in the whole Magic Forest. Emmy loves exploring the fantastical world she lives in with her best friend GooRoo, a big, furry and huggable creature who takes care of her when they go out to play. The flowers, creatures and animals are all very real but behave in a way we’d only see in Emmy’s world. COMPANY: SHANGHAI LEFT POCKET ANIMATION

COMPANY: SHANGHAI YOUHUG MEDIA CO.,LTD

FORMATS/ NON-SCRIPTED ENTERTAINMENT REALITY SHOW/SCRIPTED REALITY

GANGNAM INSIDER’S PICKS <SEASON 3> The world’s eyes are on Gangnam! Gangnam Insiders returns for a third season, guiding seasoned tourists to the hottest spots in Gangnam for shopping, lifestyle, history, and culture. Explore the famous district and get the latest updates on trends, know-hows, and tips on how to make the most out of its different zones and centres. COMPANY: GANGNAM DISTRICT OFFICE

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PRODUCTS TEENS (AGES 13 AND UP) - ANIMATION

POISON APPLE Snow White, a doomsday weapon operating ASI, is kidnapped by a rebel assassin and ends up touring with a drama troupe of 7. By a twist of fate, she uncovers her own consciousness and agency along the journey. COMPANY: DOTTODOT LTD.

DRAMA - ROMANCE

SONG OF THE MOON Liu Shao, a reincarnation of the Wang Shu goddess, triggers her destiny by following the guidelines of the Lunar Divinity. The Lunar Divinity disguises as Lu Li, searching for the relic to save his clan and protect Liu Shao. Unfortunately, the hallowed blood of Liu Shao possesses a magical power that always places her in peril. As the guardian angel of Liu Shao, Lu Li sacrifices himself to save her. Ultimately, with their efforts, the devil is defeated and peace returns. COMPANY: IQIYI, INC.

ANIMATION, TEENS

ISHA & THE AMULET A self-conscious and timid teenager, 15-year-old Indian American, Nandini has a lot going on in her life, from navigating high school, to juggling social media and a potential crush. Her life becomes more complicated when she is chosen by the mythical Amulet of Shakti to be the guardian of its secrets and protect the world from unconceivable threats, while taking her on a thrilling rollercoaster of sci-fi adventures. COMPANY: I M GENIE DIGITAL PVT LTD

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PRODUCTS ANIMATION, PRE-SCHOOL

MERAKLI HAFIYE (CURIOUS DETECTIVE) Smart, unconventional, and confident Ali possesses a strong interest in books. When he comes across a secondhand bookstore in the historical peninsula of Istanbul, he cannot resist entering it and eventually strikes up a friendship with the store’s owner Baba Arif. They bond over their common passion for books and, through stories, are transported on thrilling and entertaining adventures filled with mystery, suspense and fun. COMPANY: OUTLINE ANIMATION STUDIOS

ANIMATION, CHILDREN

MY LITTLE CHEF There is something delicious brewing in the kitchen and it’s all coming from young Norma’s imagination. The lovable animation features the junior chef wannabe as she whips up imaginary dishes while transporting viewers on a delicious culinary trip. COMPANY: GOLD FRAME

ANIMATION, CHILDREN

NICHOLAS’ FANTASTIC SUMMER Told from the perspective of a young boy, this collection of charming stories follows Nicholas and his family to an idyllic beach town, where he spends his summer days building sandcastles and frolicking in the sun with his friend, Mary Jane. Together, they explore the beach, go off on treasure hunts, and dream up all sorts of adventures with other friends. COMPANY: MEDIATOON DISTRIBUTION

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PRODUCTS KIDS (AGES 7 AND UP) - ANIMATION

MYSTERY MUSEUM A blend of world history, science, arts and adventure, Mystery Museum follows the journey of two brave, determined kids who travel back in time to meet great historic scientists, engineers, artists and inventors from Einstein to Vivaldi - and help to defend their creations from being claimed by their unscrupulous time traveling uncle! COMPANY: SPARKY ANIMATION

DRAMA - MINISERIES

TABLOID Tabloid is a 50-minute mini-series adapted from the best-selling novel, Tabloid, published by MirrorFiction. Senior entertainment journalist Liu Chih-chun learned that her colleague Lin Pei-ting, a junior journalist, dies at a decadent party. In order to win over the competition within and outside the weekly magazine, Liu Chih-chun has to find out the mystery that lies beneath Lin’s death. COMPANY: MIRRORFICTION INC.

FORMATS/ NON-SCRIPTED ENTERTAINMENT REALITY SHOW/SCRIPTED REALITY

DANCING DIAMOND 52 “Dancing Diamond 52” is an original reality television talent competition in which 52 female trainees, divided into four groups according to their style, take on various challenges to compete for a spot in a new idol girl group. COMPANY: WILDFIRE ENTERTAINMENT CO. LTD.

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PRODUCTS ANIMATION, CHILDREN

FRIENDZSPACE The series is about three best friends, Alice, Leo and Kim who may seem like regular human kids, but behind their normal facade they are risk-taking deep space friend makers! Each episode follows the three kids as they jet into space in their unpredictable star cruiser to uncover planets, befriend alien kids and learn about new planetary cultures and perspectives. COMPANY: STUDIO 100 MEDIA GMBH

FACTUAL

HOKKAIDO, AGRICULTURAL PARADISE Highlighting the many wondrous farm produce such as rice, melon, watermelon, asparagus, potato, wheat, etc, every episode of the series introduces various agricultural products, and dishes from Hokkaido, which is the largest agricultural area in Japan. From visiting farms, sampling food, and watching farmers in the thick of the harvesting and production process, the series shines a light on the livelihood of farmers and their symbiotic relationship with the land. COMPANY: HOKKAIDO BROADCASTING CO., LTD

FACTUAL

IT’S REAL KOREA From quaint towns and towering cities with picturesque views, to the people who make up the living heartbeat of the nation, the travel program traverses through the land of the morning calm and visits famous spots in Korea. COMPANY: OBS W.

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PRODUCTS DRAMA

THE SUNDAY RUNOFF In a small regional city, Tsutomu Tanimura works as a private secretary in the office of Shohei Kawashima, who has been elected to the House of Representatives. One day, however, Kawashima falls ill and around the same time, the House of Representatives is dissolved. Kawashima’s daughter, Yumi, is chosen to take over Kawashima’s position. Owing to her father’s political influence, Yumi is expected to be elected but the rise to top is not without resistance.

ANIMATION, CHILDREN

DUDA & DADA: THE SECRET OF HOOHOO ISLAND Duda and Dada set off on an extraordinary adventure to the secret HooHoo Island to find Duda’s mother. On the way there, they are ambushed by a dragon and the two friends become separated. With time ticking away fast, they must journey on and quickly reunite to locate a wilting magical flower, which will grant them passage into the island. COMPANY:EYESCREAM STUDIO

COMPANY:TBS GLOWDIA, INC.

DRAMA

SON OF A CRITCH Based on the award-winning, best-selling memoir Son of a Critch: A Childish Newfoundland Memoir, the comedy series (13x30’) features preteen Mark as he comes of age in St. John’s, Newfoundland in the 80s. Each episode offers a heartfelt peek into the life of a boy much older inside than his 11 years – using comedy and self-deprecation to win friends and connect with people in his limited world. COMPANY: LIONSGATE

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PRODUCTS DRAMA - ROMANCE

WIN THE FUTURE

DRAMA - HISTORICAL PERIOD DRAMA

THE TRUST

A successful sales director is transferred to the company’s headquarters in Beijing together with his wife and trustworthy subordinate. There, he is surrounded by pressures forced upon him by his new boss. He is given an impossible sales target and must win a big order from his competitor. Ironically, their sales leader was his first love. Romance in the office ensues while two major companies fight for their position in the Chinese market.

In order to consolidate imperial power, emperor Xiao Jinyun chose Xu Yu, the eldest daughter of the Military General Xu to be the Queen. In one dispute, the emperor’s and empress’ bodies are switched as a result of a curse. In the process of playing their new identities, they begin to understand each other. The couple then works together to solve a series of potential conspiracies and open their hearts to the other along the way.

COMPANY: CHINA INTERNATIONAL TV CORPORATION

COMPANY: CHINA HUACE FILM&TV CO., LTD

PRE-SCHOOL - ANIMATED FEATURE FILM

STAR WISH Left-behind children are a social problem across the world. Most of them have a small wish: to be reunited with their loving families, which constitutes the theme of the story -- the guardian wish. A group of little teenagers growing up in Guilin’s beautiful mountains and rivers have completed their self-growth and realized their dreams. COMPANY: GUANGXI LINJIE DIGITAL TECHNOLOGY CO., LTD.

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PRODUCTS CHILDREN, PRE-SCHOOL

SEABELIEVERS Whether in the sea or on shore, the positive SeaBelievers characters with their distinct seaweed hair, seashell nose, sea-coloured eyes and webbed hands and feet, problemsolve and take action around key environmental issues. Portraying real-life issues affecting the ocean, each episode sees the SeaBelivers go off on eco adventures, solving obstacles with their unique magical abilities, and entertaining viewers through songs and dances. COMPANY: STUDIO 100 MEDIA GMBH

ANIMATION, TEENS

TECHNOROID Set in 2095, global warming and climate change has contributed to extreme flooding in Tokyo, and human activity has been limited as a result. In the entertainment arena of Babel, both humans and androids gather with the dream of striking it rich, as they battle head on and compete in live techno-performance battle where they out sing and out dance one another. COMPANY: TV TOKYO CORPORATION.

ANIMATION, PRE-SCHOOL

THE ADVENTURES OF LITTLE PENGUIN Full of action, humour, and teaching positive and environmental messages, the bite-sized series (52x5’) follows the exciting adventures of Oscar, the young penguin as he sets off to explore the world and meets surprising characters along the way, and learns a lot about himself, others, and the importance of respecting differences. He quickly discovers that it’s not the destination that matters, but rather the people you meet along the journey. COMPANY: SUPERIGHTS

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PRODUCTS DRAMA

UNCONDITIONAL LOVE The passion for the arts runs deep within Arika, having come from a family of artists. So it comes as no surprise when he is attracted to Gatta, who is just as passionate about dance. But no love story is without adversity as the couple have to deal with Arika’s mother who opposes their relationship. As Arika peels back the layers, he realises that his mother’s resentment for dancers, stem from incidents from her past. COMPANY: PT MNC STUDIOS INTERNATIONAL TBK

FACTUAL

BEHIND AI Technology is a driving force of evolution in our society, and everything seems possible today thanks to AI. But how successful will it be? It The documentary ponders the impact of AI that has computer programmers worried. It offers a microscopic look at the scientific foundations of “deep learning” and “intelligent algorithms” in order to better understand how, more and more often, machines make our decisions. COMPANY: CLPB RIGHTS

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PERIOD DRAMA

8 SUSPECTS Set in 1944 at the end of the Japanese colonial rule, this crime investigative and period web series revolves around a Korean lawyer, Chan Geun, who embarks on an investigation of eight individuals suspected of the murder of a Korean lawyer. COMPANY: KINEMAFACTORY


PRODUCTS ANIMATION, CHILDREN

WAKFU SEASON 4 The newest season of ‘Wakfu’ continues with Yugo, a 12-year-old Eliatrope with special powers, and his friends having defeated the Oropo. The Brotherhood of the Tofu now find themselves at the gates of Inglorium, the kingdom of the gods. However, with the floating lands completely devastated, the Brotherhood can’t afford to stay around to see what the Twelve Gods have in store for them. COMPANY: PLANET ANKAMA

ANIMATION, PRE-SCHOOL

ZOOBOX Kerala, the enthusiastic and curious baby kangaroo, wakes up to discover a new adventure beginning in the wondrous place she lives in – a giant ship. On the search for her lost parents, a whole new world filled with excitement and diverse species awaits Kerala and her friends. COMPANY: MEDIATOON DISTRIBUTION

ANIMATION, PRE-SCHOOL

MUTLU OYUNCAK DÜKKANI (HAPPY TOY STORE) The toys at the Happy Toys Store are contented with their life, with everyday filled with fun. The exception is an adventure addict KIPIR who becomes bored of the routine. His restlessness makes him question the ongoings of the world beyond the toy store, which eventually leads him to leave his comfort zone and venture into a whole new unfamiliar world, where adventure awaits him. COMPANY: OUTLINE ANIMATION STUDIOS

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PRODUCTS DRAMA - ACTION/ADVENTURE

REUNION: THE SOUND OF PROVIDENCE This series centres on Wu Xie, an antique shop owner who comes from a family of tomb raiders. As he continues the family trade with his team of tomb raiders, he discovers the secret of the tomb as well as the answers to the tragedies of his family’s past. COMPANY: NP ENTERTAINMENT

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DRAMA - SERIES

SHOW ON: AN INFLUENCER’S RISE TO HER HOT HOT FAME After Red gets dumped by her boyfriend and loses her job, she becomes a prolific Instagram influencer when her revenge-on-ex posts accidentally go viral and attract hundreds of thousands of followers. COMPANY: EACH OTHER FILMS


PRODUCTS DRAMA

THE UNPREDICTABLE DETECTIVE When a mysterious private detective and a young lawyer band together to solve small everyday cases, they gradually uncover a huge conspiracy without realising the consequences of their prying. The stakes are high in this investigative web series as the crime solving pair find themselves in unanticipated twists and turns, and race to figure out what’s real and what’s not.

DRAMA

SWIMMING WITH SHARKS A contemporary update of George Huang’s 1994 film that both celebrates and skewers the Hollywood studio system, the series (6x30’) follows a young female assistant who is at the centre of a studio filled with manipulators, schemers and intrigue. Little do they know she is poised to outwit them all and serve them a taste of their own medicine. COMPANY: LIONSGATE

COMPANY: KINEMAFACTORY

DRAMA

WELCOME TO FLATCH A documentary crew sets out to explore the lives of residents in a small American mid-western town of Flatch, which is made up of many eccentric personalities. Their focus is the daily lives of cousins Shrub and Kelly Mallet as they pursue their dreams, confront challenges, and fight each other for frozen pizza. The pair don’t have much but each other to count on when it matters most. COMPANY: LIONSGATE

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