ATF 2021 - Show Daily Day 3 by Asia TV Forum & Market (ATF)

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ATF 2021 hybrid edition

THE 2021 OFFICIAL – 3 Dec 2021

Brought to you by ITV STUDIOS

A LEGACY OF CONNECTING ASIAN STORIES TO THE WORLD

TAIWAN+

As Asia’s flagship media industry event, the Singapore Media Festival (SMF) provides an invaluable platform for producers and filmmakers across countries and genres to connect, collaborate and create some of the most notable stories to emerge from the region. Here’s a look at some standout films that arose from such connections!

Outstanding content, enabled by connections made at SMF VENGEANCE IS MINE, ALL OTHERS PAY CASH

TVING

Winner of the Golden Leopard at the Locarno Film Festival 2021

A co-production between Indonesian director Edwin and Singaporean producers Lai Weijie, Natalie Balakrishnan and Nathaniel P. Gunawan, this action-packed romcom is an endearing love letter to 1980s Southeast Asian action films.

YUNI

Winner of the Platform Prize at Toronto International Film Festival 2021

Winner of Jury Grand Prize and Best Performance by an Actress at the Asia Pacific Screen Awards 2021

A riveting coming-of-age film seen through the lens of an adolescent girl. Co-produced by Singapore-based Fran Borgia and directed by Indonesia’s Kamila Andini.

Produced by Singaporean Jeremy Chua and directed by Abdullah Mohammad Saad, this tense Bangladeshi film received a standing ovation at its premiere at the Cannes Film Festival.

What connections will you make this year? Participating Events

MIGO

REHANA MARYAM NOOR

www.imda.gov.sg/sgmediafest Hosted 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

In Conference With

Gallery

Features

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

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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HIGHLIGHTS @ ATF

K-FORMAT @ CREATIVE HOTSPOT KOREA 6 Unscripted Formats MBC presents…

SBS presents…

FormatEast presents…

Created by the 2002 World cup legends, this 6-team tournament (6-team variety show?) involves girls who are serious about football. Witness the renaissance of women’s football! Genre: Football Competition Episodes: June 16th, 2021 ~

A family member of a celebrity performs on stage in front of judges. Judges have only one hint to figure out which celebrity family the voice belongs to. Discover your star as a member of the family. Genre: Music + Talent Show Episodes: 2 Eps X 60 Min (Pilot)

THE MASKED TALENT

SHOOTING STARS

CJ ENM presents…

JTBC Studios presents…

Here, singles came to find love,but they came with their exes to find love together,while keeping their past relationship a secret.Some hope to reunite with their exes,some are ready to find new love Genre: Dating Reality Episodes: 15Eps X 120 Min

Assuming the roles of murder suspects, with one of them playing the real criminal, cast members investigate the crime scene to find the murderer in a mysterious murder case. Genre: Detective, Rpg Episodes: 12 Eps X 90 Min

Competing in tournaments, celebrity challengers must cook up a dish in 30 minutes to rise to the throne of “cook king.” Genre: Cooking, Competition Episodes: 12 Eps X 90 Min

Who will be THE NEXT MASKED TALENT? Nothing but the Voice matters! Now it’s the time for Non-Celebrities. Ordinary, yet gifted contestants, boast their voices in The Masked Talent show! Genre: Music/ Audition Show Episodes: 2 Eps X 95 Min

EXCHANGE

CRIME SCENE

DNA SINGER

COOK KING

HIGHLIGHTS @ ATF

5 Scripted Formats KBS Media presents…

SBS Contents Hub presents…

DALI & COCKY PRINCE

ONE THE WOMAN

An art-romance depicting a story of Dali, a sophisticated woman with a strong will of keeping her father’s art museum, but left powerless, and Muhak, a street-smart and money-oriented CEO who unexpectedly falls in love with Dali. Genre: Romantic Comedy Episodes: 16Eps X 70 Min

A corrupt prosecutor loses her memory and switches liveswith the modest daughter-inlaw of a rich family, who happens to look like her. Follow her eventful, heart-jolting journey to bring her memories back! Genre: Rom-Com, Action Episodes: 16 Eps X 70 Min MBC presents…

SHE WAS PRETTY

As a young girl, Hye-jin was a lovely girl without any problems. However, her teen years brought an abruptly change in looks and fortune, and now, she lives with her friend rent-free, working part-time at a store. One day, her first love, Sung-joon, asked to meet her. But as Sung-joon has grown into a handsome man, she quickly hatches a plan to have her pretty friend meet him in her place instead. After luckily landing a full-time job, Hye-jin is surprised to find Sung-joon as her boss, treating her with disdain. Genre: Romantic Comedy Episodes: 16 EpsX 70 Min

JTBC Studios presents…

SHE WOULD NEVER KNOW

While helping a senior co-worker get back at her two-timing boyfriend, a dashing rookie employee is determined to turn his crush into a two-sided love. Genre: Romance Episodes: 16 Eps X 70 Min

Yoon&Company presents…

BUBBLE UP

A coming-of-age story of a 19-year-old girl who chooses to go to work rather than to college. Genre: Web-Drama Episodes: 10 Eps X 12 Min

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HIGHLIGHTS @ ATF

K-FORMAT @ CREATIVE HOTSPOT KOREA 3 Scripted & 2 Unscripted Formats MBC presents…

CJ ENM presents…

THE VEIL

This is a story about a man, who was once a top agent of the NIS, confronting a huge monster behind the organization as he searched for the existence of an internal traitor who dropped him into the abyss by seriously tainting his reputation. To face the deep darkness within, he must erase his memory. Genre: Blockbuster Spy Action Episodes: 14 EpsX 70 Min

MINE

SBS Contents Hub presents…

PENTHOUSE

Engaged in a gold-clad life of secrets and lies, two women in a conglomerate family seek to topple all that stands in their way of finding true values and breaking the social prejudice. Genre: Drama, Mystery, Housewife Episodes: 16 Eps X 60Min

“Penthouse” tells the story of women who strive to achieve their goals. In the cold ‘high society’, each tries to become the “queen” in the 100th-floor penthouse in Gangnam, the pinnacle of success. They have no choice but to become villains to protect themselves and their children. The “Queen” of the 100th floor penthouse vs. the “Prima Donna” with the desire to have it all vs. the “Woman” thriving to enter the world of the upper class . This is a war between these women. A war of real estate and education happening at the penthouse. Genre: Telenovelas/Soap, Crime Investigation Episodes: Season 1 (21 Eps X 70 Min), Season 2 (13 Eps X 70 Min), Season 3 (14 Eps X 70 Min)

Something Special presents…

DITURN presents…

10 contestants locked up in a mysterious mansioncompete to win the big prize money. By collecting DYING MESSAGES and hints, they should figure out the DEATH RULESto avoid being… DEAD and stay ALIVE till the end. Genre: Mystery Gameshow Episodes: 2 Eps X 60 Min (Pilot)

A dance competition in dance boxes.Two dancers become a team.They perform freestyle dance anddesign new choreography. Genre: Dance Competition Show Episodes: 2 Eps X 50 Min (Pilot)

STILL ALIVE

DANCING IN THE BOX

HIGHLIGHTS @ ATF

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SPOTLIGHT CHINA

ATF 2021 takes a look at great dramas from China.

WEAVING A TALE OF LOVE

Native Title: 风起霓裳 Based on the novel of the same name by Lan Yunshu, “Weaving a Tale of Love” is a 2021 historical romance drama directed by Chan Ka Lam and He Zhen Hua. Genres: Historical, Romance, Costume & Period

LOVE IN SHANGHAI

Native Title: 两个人的世界 The story revolves around two university classmates who travelled far from home to Shanghai to pursue their dreams. Renting a place together, Dong Yang and Li Wen Jia eventually warm up to each other. Later after they affirm their feelings, they decide to get married. They suffered many setbacks in their careers including being framed at work and faced many struggles to build a life together. Genres: Romance, Life, Drama, Melodrama

THE INVESTIGATOR

Native Title: 商业调查师 A story about risk management follows a team of investigators who work together to eliminate fraud. Xia Dong who works as an investigator for a global company that specializes in risk management has always considered professional ethics to be his life’s mission. In order to complete a job that was assigned to him and to uncover the truth behind an incident that got him framed while studying abroad, Xia Dong transfers from US headquarters to the Shanghai branch. In his new office, he encounters Jian Yan, his junior at school who now works as an investigator. Genres: Friendship, Mystery, Crime

YOUTH SHOULD BE EARLY

Native Title: 青春须早为 With graduation looming, university student Cheng Xin is convinced her graduation ceremony would be the perfect time to propose to her boyfriend, Zheng Qian. Mustering up the courage to do just that, Cheng Xin proposes but in an unexpected move, Zheng Qian rejects her. Feeling that he hasn’t made any real accomplishments in his life or career, Zheng Qian doesn’t think the time is right to even consider marriage. Understanding where Zheng Qian is coming from, Cheng Xin offers to help him get a job at her family’s company, but Zheng Qian’s pride refuses to allow him to accept. Genres: Romance, Youth, Drama

DREAM GARDEN

Native Title: 沉睡花园 When it comes to matters of the heart, Xiao Xiao believes she is something of an expert. The blogger behind a popular social media account which addresses all sorts of relationship issues, Xiao Xiao has no shortage of experience when it comes to love. However, all of her experiences online can’t prepare her for her first encounter with Lin Shen, a professional psychological counselor, who sees the world in an entirely different way. Genres: Thriller, Psychological, Romance, Drama

GO GO SQUID 2: DT. APPLEDOG’S TIME

Native Title: 我的时代，你的时代 Through his hard work and talent, Wu Bai has become the youngest star player in the national robot wars competition. He forms a team and enters the final round of the competition, sharing the stage with Ai Qing - the person who has introduced him to his passion. Both are determined to promote the popularization and application of technological robots with the younger generation group through the robot competition, hoping to accelerate the country’s rejuvenation of science and technology. Genres: Friendship, Comedy, Romance, Youth

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SPOTLIGHT CHINA

ATF 2021 top Chinese documentary picks.

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. Genre: Docs & Factual - Lifestyle Company: Hangzhou 1905 Culture Media Co., Ltd.

COVID-19: LIFE AND DEATH ON THE FRONTLINE

Co-produced by Jiangsu Broadcasting Corporation and Lion TV, the documentary “COVID-19: Life and Death on The Frontline” brings audiences to the heart of China’s fight against the COVID-19 epidemic. Telling the story of how medics stepped forward to lend help to Hubei and serve on the frontline, this documentary records the truth, raw emotions and the moments of life and death during the medical crisis. Genre: Docs & Factual - Current Affairs Company: Jiangsu Broadcasting Corporation

FOOTPRINTS IN THE SNOW

An ancient rock painting 10,000 years ago depicts the skiing scene of the ancestors. A 10-year-old snowboarder started from a ski slope in the desert. In Xinjiang, younger and younger ski enthusiasts set off again following the original skiing footprints of mankind. On the ice and snow pastures in Inner Mongolia, East and West, ancient, and modern, meet unexpectedly. Children of the youth ice hockey team, 8-year-old girls practicing figure skating on holidays, company employees who go skiing on weekends, ski doctors who volunteer to join the Winter Olympics medical team, the Winter Olympics arena is waiting for the arrival of athletes, but the fun of ice and snow belongs to everyone. With the Beijing Winter Olympics approaching, many smart technology elements have also penetrated the ice and snow life of ordinary people in advance. Genre: Documentary/ Humanity/ Sports Company: Future TV Co., Ltd

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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 12

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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IN CONFERENCE WITH TVING

TVING’S STRATEGY – EXCLUSIVE KOREAN CONTENT Why exactly is Korean content so popular? A large part of is how it connects with audiences through realistic characters and stories. Korean content tends to focus on the individual or family and revolves around the personal struggle of the protagonists – making them easily relatable to audiences, opined Hye Jung Hwang, Chief Content Officer, TVING.

In fact, their global expansion plans will begin with Japan and Taiwan. Hye Jung said that they can show that K-content is of sufficient quality to compete on the global stage. After launching more global content, it would be a natural progression to collaborate with partners in Japan, Taiwan, and the rest of Asia.

Hye Jung spoke about Korean content in a session moderated by Jimmy Kim, Advisor. She explained that TVING is unique in Korea, being the only OTT player jointly created by content studios CJ E&M and JTBC, and now also supported by Naver. They have launched 25 original shows over the past year, and recently announced that they would invest 400 billion won (335 million USD) by 2023. Since TVING is also in the pre-IPO phase, Hye Jung believes these investments will make them poised to enter the global market.

TVING exclusives will be a key strategy moving forward. Hye Jung said that their priority was to create more exclusive TVING original content. In addition, they planned to acquire more exclusive content by fully utilising the CJ E&M and JTBC libraries, as well as making global music festivals like MAMA and KCON, and sports programme available. She gave the example of dance survival programme “Street Woman Fighter”, which is currently a TVING exclusive.

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).

With all this in mind, Hye Jung predicts that there will be 40 to 50 TVING originals coming up in 2022.

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IN CONFERENCE WITH WETV

WHERE WILL OTT PLAYERS HAVE THEIR NEXT BIG SHOWDOWN? Southeast Asia will be the next big battlefield for OTT players. Many new players have entered the OTT arena in 2021, stated Kaichen Li, Head of WeTV & iFlix, Tencent. He observed that new entrants to the market have come in three tiers – global, regional, and local. He acknowledged that the uncertainty of COVID-19 has presented some challenges to WeTV’s strategy in a session moderated by Elinor Greenhouse, IP Strategist. For example, shows that were meant to be telecast in June or July have only started production now. When it comes to content, Kaichen observed that free-to-air platforms are always interested in acquiring period dramas. Such content is usually well-received by younger audiences. Kaichen also shared the three phrases of his content strategy. In the first phase, he intends to bring the best Chinese IPs to overseas audiences, localise them, and make

sure that they are available for viewing at the same time as Chinese audiences. In the second phase, they partner with primary content providers in territories like Malaysia, Thailand, Philippines, and Indonesia, to bring mainstream local content to WeTV. For the third phase, the aim is to create a slate of WeTV original content to differentiate it from free-to-air platforms. So, what are Kaichen’s plans for the future? He noted that popular Chinese content, be they period dramas or contemporary dramas, tended to be of the romance or romcom genres. To increase viewership, more diverse genres would be needed. “Hopefully, the whole industry could be more rational when it comes to decisions in pricing and in content production,” Kaichen said. He also believes that the OTT players should be more disciplined when it comes to such decisions, especially since many of them are still losing money.

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).

HOPEFULLY, THE WHOLE INDUSTRY COULD BE MORE RATIONAL WHEN IT COMES TO DECISIONS IN PRICING AND IN CONTENT PRODUCTION.

LESSONS LEARNT FROM LAUNCHING A NEW OTT SERVICE There’s a new OTT player in town – Taiwan+. The free English-language streaming service launched on 31 August of this year and focuses on content related to Taiwan. The CEO of Taiwan+, Joanne Tsai, discussed her experiences in leading the birth and growth of the platform. “It’s a very new service, and we haven’t done something like this before because it’s all in English. So, we need a lot of international talent,” she shared. Tsai went on to talk about how the content is aimed at telling stories about Taiwan from different perspectives, particularly the international perspective. Tsai was previously at Fox Network Group Asia, where she served as the EVP & MD. One of her inspirations for the direction for Taiwan+ is a Fox documentary called, “Taiwan to the World. “We have a similar purpose. We want to bring Taiwan stories to the world, get Taiwan to be watched, to be heard, to be seen,” she said. At this stage, financial support for the nascent OTT service is important. The government has backed Taiwan+ with NT$775 million (US$28 million) in funding. Tsai also leveraged on her experience of launching FOX+ to step into the OTT service. She observed that “OTT is a product for young people with a lot of creativity.” The Taiwan+ team is made up of many young people from diverse backgrounds, who were attracted to the prospect of working for a new platform. In terms of strategy, full episodes are available on the main Taiwan+ website and app, with repackaged short form versions of the content available across their various social media platforms to cater to audiences on the go. Taiwan+ is also looking at creating some Taiwan+ originals. For now, their priority is to get in touch with international players for long form productions. They are also looking at short form documentaries, specifically for their social media platforms. Taiwan+’s target audience is the international, Englishspeaking, 24 to 59 age group. Content that is not in English will be dubbed with English subtitles, such as the docudrama, “Seqalu: Formosa 1867”. “The challenge is to get the right people,” said Tsai. “Taiwan is not famous for English productions yet.” So, there is a lot of experimentation now, especially since the OTT market is a rather competitive one. Tsai’s plans for Taiwan+ in 2022 is to cultivate the culture of the Taiwan+ team, as well as to focus on content strategies. She also intends to open overseas offices in key markets like the US and Singapore.

IN CONFERENCE WITH TAIWAN+

… WE HAVEN’T DONE SOMETHING LIKE THIS BEFORE BECAUSE IT’S ALL IN ENGLISH. SO, WE NEED A LOT OF INTERNATIONAL TALENT.

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).

IN CONFERENCE WITH UNIFRANCE

ASIA – A DYNAMIC MARKET THAT CANNOT BE MISSED UniFrance, the publicly funded film promotion arm of France, absorbed TV France International on June 23 on this year. With this merger comes a stronger, more consolidated effort to promote cinema talents through a bigger presence in film festivals all over the world, shared Hervé Michel, the Vice-President of UniFrance. Speaking at the Leader’s Summit, Michel candidly revealed that UniFrance had received €300 million by the French government to broaden the international reach and profile of French media. How does that translate to its presence in Asia? In addition to the current Beijing office, UniFrance will be reopening its Tokyo office for Japanese markets. It has already had two showcases in China this year, one for animation and one for dramas (fiction). The organisation has also launched several

film festivals – such as vOilah! in Singapore and FeDe in South Korea – in collaboration with the respective countries’ French embassies. “Asia is an incredibly dynamic continent, and we cannot miss it,” said Michel. He emphasised that sales are important, as it had grown by 13% in Asia in 2020, with sales in the Southeast Asia region having grown by 39%. He hopes to forge more partnerships with more countries in Asia, such as the Philippines. UniFrance currently has partnerships with India, Vietnam, India, and South China. Michel acknowledged that the diversity of cultures in Asia was fascinating when sharing his perspectives. He cited the dynamism of the people, adaptability to different situations, and inquisitiveness as some of the region’s strengths. However, political situations and differences in culture and language were some of the challenges that Asia presented.

ASIA IS AN INCREDIBLY DYNAMIC CONTINENT, AND WE CANNOT MISS IT.

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).

KIDS’ CONTENT AND DOMESTIC THEATRICALS REMAIN POPULAR. AND FOR IMPORTED CONTENT, K-CONTENT STILL REIGNS SUPREME

IN CONFERENCE WITH MIGO

MIGO’S AMBITION: TO BE A DIGITAL 7-11 Everybody knows that Indonesia is the fourth most populous country in the world. Coupled with a large mobile-first population, it is a ripe market for content distributors. And from a GDP per capita and socioeconomic development perspective, it occupies that sweet spot for Migo, reflected Barret Comiskey, the company’s Founder and CEO. He also noted that the regional investor sentiment is that they’re looking at Indonesia, after China and India. Migo is a data distribution platform for content that has set its sights on Indonesia. Comiskey clarified that they’re not an OTT player – but rather, they’re a distributor, akin to an MVPD (Multichannel Video Programming Distributor), with direct consumer relationships and their own distributor infrastructure. “Our goal is to be a digital 7-11,” stated Comiskey, “with transformative digital experiences across education, entertainment, e-books, music.” As an offline content delivery platform, his strategy was to integrate the company into the fabric of the everyday lives of consumers. In Indonesia, Migo has set up Migo Download Stations at corner stores where consumers can download content. Once downloaded, this content can be viewed at their own leisure. “From a product point of view, we’re running an iTunes play.” Comiskey went on to give the example of the Kindle and Netflix as single category players in the content market, while iTunes provides many genres of content such as music, movies, e-books, and others.

Migo plans to provide a broad content catalogue across diverse categories for its audiences. To achieve that, they’ve partnered with MNC (Media Nusantara Citra) to provide content in Indonesia. Migo aims to reach a 100 million consumers by the end of 2022. Do consumption trends differ in Indonesia? “It’s totally what you’d expect,” said Comiskey. “You’re dealing with a free-toair audience.” Free-to-air content is already in the zeitgeist, so such content is evergreen. Kids’ content and domestic theatricals remain popular. And for imported content, K-content still reigns supreme. Comiskey also spoke on the thorny issue of piracy and shared his rights-holder centric perspective. To protect the IP of the content on Migo, end-to-end offline DRM has been built. These measures have passed the scrutiny of the studios. But another factor on his side is that while pirating a film may be free, the telco and Internet charges to do so can be hefty in Indonesia. In comparison, Migo provides higher quality content at a lower price with its distribution model. The road ahead for Migo looks bright, as they look for alternatives to bring the cinema to the neighbourhood, in a population where only 10% go to movie theatres (preCOVID). Other objectives for 2022 include re-opening the Philippines’ market, which was Migo’s pilot market.

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IN CONFERENCE WITH ITV STUDIOS

TIME FOR THE WEST TO UNDERSTAND THAT GOOD IDEAS CAN COME FROM ASIA “Years ago, there was this perception that Asian formats wouldn’t fit the cultures of Europe and the US,” recounted Arjan Pomper, Chief Operating Officer of ITV Studios. “Today, we have to just acknowledge – everyone acknowledges – that good IP can come from everywhere.”

“There’s big demand for big content,” Arjan stated. “If a good idea is ready to travel, it will travel well today.” For ITV, they’re looking at local partnerships where they get to acquire Asian content as well as sharing their own catalogue with different markets.

“It’s time for the west to understand that good ideas can come from Asia as well.”

Arjan predicted that more and more good ideas would be coming from Asia in the coming years. He hoped that successes like, “The Masked Singer” would embolden Asian companies to have more confidence in reaching out to international partners about new IP and formats. “This is the moment for Asian companies to step up,” he urged.

Pomper shared his views in a session moderated by Lisette van Diepen, Content Consultant. However, he noted that the localisation of such content in the various markets would be the key to success. The other two lessons that Western companies could learn from Asia was the distillation and curation of content, as well as the new shape and form of content, such as the rise of 10-minuters. Speaking more about Asia, he went on to explain that the focus now was on how to import content from Asia to Europe and the US. Traditionally, it has been difficult for Western companies to get a foothold in Asian countries, but there’s a big appetite for Asian content now. It has led to Asian formats becoming huge international successes.

However, he did note that the younger generation in Europe and the US didn’t have the appetite for unscripted long-form content. On a global distribution note, Arjan observed that we are at the forefront of the big bang for AVODs – with even Netflix trying to find a way to distribute using advertising model. This would effectively make them almost like a normal linear-based advertising broadcaster. “I’m really looking forward to that moment,” he said.

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IF A GOOD IDEA IS READY TO TRAVEL, IT WILL TRAVEL WELL TODAY.

EVOLVING WITH THE TIMES AND AUDIENCE DEMAND With 17 film releases coming out over the next 12 months, Sony Pictures is poised to capture the Indian theatrical market. The pandemic has exacerbated certain consumer habits, forcing them to watch content at home. Therefore, figuring what sort of content drives audiences to theatres and what makes them stay at home will clue content creators as to what consumers want. Sony Pictures Entertainment Films India’s Managing Director, Vivek Krishnani shared his observations about audiences in a session moderated by Chaitanya Chinchlikar, Vice President & Business Head of Whistling Woods International. When it comes to the length of content, audiences have been pre-conditioned that theatrical content will last about 2 hours, whereas an episode of a web series will last from 30 minutes to an hour. Anything longer than that will cause attention spans and the appeal of the content to fall, Krishnani noted. However, South Asian films are traditionally screened with an intermission, so the run times can be longer for them. In that case, should films with a longer run time take a cue from web series, and be split into two parts? “It’s very challenging in the cinema to have Part 1 and Part 2,” stated Krishnani. “Baahubali” is one such successful example (“Baahubali: The Beginning” came out in 2015, while the second part “Baahubali 2: The Conclusion” was released in 2017). However, such cases are few and far between. To attract audiences to cinemas, content must be extremely appealing in order to reward consumers for the time and money spent coming to theatres. Krishnani predicts that there will be a surge of film content that involve lots of VFX, or 3D-films and IMAX films – larger-than-life content that will draw audiences to the cinema. Genres like drama and simple romcoms have slowly faded away in film. Fortunately, they have consumer preferences on their side. “Cinema-going in India is a religion”, Krishani said. In India, eating and going to cinema are the two favourite pastimes of the population. With that said, there is also an increase in the amount of dubbed content, which now contributes close to 40% of Sony Pictures’ revenues. Krishani revealed that Hollywood content now makes up 13% of the Indian film industry, compared to 5% in 2008. That has led to an evolution of how content is dubbed. It used to be a direct transliteration. However, content is now dubbed and adapted in a more localised fashion, which gives characters Indian backgrounds and names, as well as more colloquial dialogue specific to the language in which it has been dubbed. “For people to connect to content, the easiest way is to speak to them in their language,” said Krishani. 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).

IN CONFERENCE WITH SONY PICTURES ENTERTAINMENT FILMS INDIA

CINEMA-GOING IN INDIA IS A RELIGION

PRE-SCHOOL CONTENT IS KING Thanks to COVID-19, there has been an increase in the consumption of kids’ content, observed Nicolas Eglau, Managing Director EMEA & APAC of Moonbug Entertainment in a session moderated by Maria Rua Aguete, Senior Director, Media & Entertainment of Omdia. The London-based media company recently launched a channel in the Philippines with CIGNAL TV. For them, Philippines is their largest market in terms of reach. A linear channel has huge value for preschool audiences, as young families often follow a routine schedule throughout the day – a schedule that a linear channel can be part of. They have a huge fanbase in the Philippines, Eglau revealed, with shows like CoComelon, Blippi, and Little Baby Bum being established, household names. While many studios in the Philippines have launched apps and removed their channels, removing channels is not Moonbug’s strategy. Instead, they want to partner with platforms, Eglau shared. “We are platform agnostic.” There are no plans to develop a Moonbug app. And producing more content is in the pipeline for them. “I think there’s never enough content,” stated Eglau. He elaborated by illustrating that 20 years ago, there were only linear channels, with demand for only 24 hours day of content. But the streaming platforms of today can hold unlimited content. To prepare for increasing demand, they are producing new episodes of existing shows, creating spinoffs of existing shows, and looking to acquire new IPs. Owning the IP for them is a key element of their strategy, as it gives them flexibility in working with their partners. He gave animated comedy Arpo as an example. They acquired the Korean animated comedy in 2019. After increasing the number of episodes and partnering with Amazon, the show is now distributed on 25 platforms worldwide. Eglau also commented on technological disruptions by citing Coupang, an e-commerce platform in Korea that is sometimes known as the “Amazon of South Korea”. It launched Coupang Play, a streaming service, and approached Moonbug for content. They responded by curating a selection of titles for Coupang Play, which will attract new customers and drive retention to the platform. “In a way, technology meets content here, and we can really help a new platform to compete with their local and global competitors,” explained Eglau. 2022 is a year of opportunity, and Eglau predicts that there will be continuous demand for good pre-school content, as it drives retention on both streaming platforms and linear channels. He believes IP successes will come from diverse regions, and competition between local and international players of SVOD and AVOD will heat up.

IN CONFERENCE WITH MOONBUG ENTERTAINMENT

IN A WAY, TECHNOLOGY MEETS CONTENT HERE, AND WE CAN REALLY HELP A NEW PLATFORM TO COMPETE WITH THEIR LOCAL AND GLOBAL COMPETITORS

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 ATF ANIMATION PITCH 2021

GLOBALLY READY, STILL PROUDLY ASIAN Impressed with the variety in the submissions at this year’s ATF Animation Pitch, new judge Pinto Borian, Acquisitions for Vidio, EMTEK’s OTT offering, noted that “interestingly, some participants come from countries who don’t usually produce animation. For me, it proved that the growth of animators is getting bigger and bigger every year.” Pinto elaborated that there were a few titles that stood out for him, like Future Bros and Gugug! In Durian Farm. “There are elements that I can qualify as fresh, entertaining and have a great prospect as something profitable for both. Not to mention, the merchandise opportunities. For me, merchandising opportunities is quite important for animation content.” Another spanking new judge, Carlene Tan, Director of Original Production & Development, Kids – APAC at WarnerMedia observed that 2021 had submissions that were really interesting. “There were so many different projects that were varied in its approach, design and style. Some of

the premiers were really fun. I was really encouraged by the (submissions)… I expect there will be a lot of interesting shows coming up from our region in the next few years.” “I think there are more submissions with potential for commercial development than the previous years. And every year at the ATF Animation Pitch, I can see lots of projects trying to tell an original story about the Asian culture, but most of them are too ‘Asian’ and are not easily accepted by the international market,” remarked returning judge, Chen Manman, COO & Creative of WeKids. “This year, however, I see numbers of projects that have a good international appeal while showing their own culture, which is impressive.” Manman expounded with the example of ‘Future Bros’, a finalist project about a teenager travelling back in time and having a story with his younger self. “They seem to have different personalities and life goals, resulting in lots of conflict.”

(Anti-clockwise) Brenda Bisner Chief Content Officer A Parent Media Co Inc./ Kidoodle.TV Pinto Borian Acquisitions Vidio Carlene Tan Director of Original Production & Development, Kids – APAC WarnerMedia

“It is somewhat similar to the Doraemon movie, but the difference is it’s not about one trying to help another… but about acceptance of others and ourselves. I think it’s a very clever and interesting theme. “As well, I’d like to mention ‘Gannu’ as well (another submission this year, submitted by Dancing Atoms (US) & The Monk Studios (Thailand)). The story is inspired from the iconic Indian deity, Ganesha, that I am not familiar with. But the character design is super cute, and the story is interesting. I like that,” Manman noted. In closing, Pinto commented that anime has been highly popular in 2021, even though they are targeted for a specific age group. “Next year, I think anime will continue to be popular, simply because people are still following stories, as well as the legacy of some big anime titles.” This year’s winner of the ATF Animation Pitch 2021 is Singapore’s Michele Schofield of One Animation Pte Ltd: Future Bros.

Dr Hendy Lim Director of Content Business Indonesia Entertainment Group (IEG) Gourav Rakshit Chief Operating Officer Viacom18 Digital Ventures Manman Chen COO & Creative WEKIDS Catie Asip Assistant Director of Content PBS KIDS

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IN CONFERENCE WITH POTOCOL DIRECTOR

(Last Shadow at First Light)

(L–R) Nicole Midori Woodford Director Last Shadow at First Light Jeremy Chua Founder Potocol Ben Slater Writer & Researcher

CO-PRODUCTION PROS OUTWEIGH CONS, EVEN IN PANDEMIC

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).

Co-productions still remain the most popular way to finance a film for independent filmmakers and there is greater interest by Southeast Asian producers to co-produce with regional and European counterparts, said Jeremy Chua, Producer at Potocol. He spoke to ATF with filmmaker Nicole Midori Woodford as they paired up for her maiden feature film ‘Last Shadow at First Light’ (formerly titled ‘You are There’), whose female protagonist’s recurring visions about her long-lost mother leads her to Japan to find answers. The Singapore-Japan co-production recently wrapped up principal photography in Singapore and is expected to be completed by next year. The pair are currently waiting for visa outcomes to travel to Japan for the remainder of the production. The project was originally scheduled to commence filming in May 2020 when the Covid pandemic struck. With global border lockdowns and stay-home measures, the production timeline took a beating, including the project’s financing when some equity partners that had committed to the project, pulled out and redirected their financing towards Covid-relief measures. As discussions turned virtual, planning slowed down as communication gaps and language differences were amplified. Jeremy described the experience as “a dramatic rollercoaster”. But it meant that the team had to swiftly find workarounds, such as liaising with a single bilingual partner instead of multiple parties. In this case, Japanese producer Taro Imai, became the conduit to other Japanese parties for production planning and casting schedules. They also had to renegotiate contracts and delivery terms. Nicole, too, had to shift gears by rewriting the script to reduce the number of outdoor scenes and tailor it to her lead actress who is now 17-years old, two years later. Reflecting on the moment, she said it has worked out for the better as she was able to weave nuances that has tightened the script. The unplanned 18 months spent workshopping acting and language lessons with her lead actress over Zoom, has strengthened their relationship, which paid off on set in Singapore. For both Jeremy and Nicole, the pros outweigh the cons – even in a pandemic. The merits of a multi-partnered project include gaining access to grants and tax-incentives available in the partnering countries, thus lessening the burden on the producer to secure all the financing from the home country. There is also more liberty for independent filmmakers to create their vision and not be constrained by studios or equity holders who otherwise may exert control over the project. In addition, a multi-level collaboration often gives rise to a product that is more international and universal when involved parties lend their creative insight and expertise. “It allows directors to think about storytelling from a multi-faceted, multi-talent, and multigeographical approach. It has allowed for more creativity to thrive,” said Jeremy. On a personal note, Nicole considers herself a more mature filmmaker arising from the pandemic. “There is a certain understanding that if something doesn’t go our way, we have to learn to adapt to it, rather than feel defeated,” she said. But she drew the line when Jeremy asked if she would consider directing remotely and virtually.

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IN CONFERENCE WITH GLANCE-MÉDIAMÉTRIE TAPE CONSULTANCY

KOREAN CONTENT: THE SECRET TO STUNNING SUCCESS Out of over 350 South Korean series being launched internationally, 75% has been acquired content, while 25% have been adapted South Korean shows. 80% of them are dramas, which generally travel best, shared Avril Blondelot, Head of Content Insight, Glance-Médiamétrie.

Days”, a dating show which puts two pairs of couples with marital troubles on an island; “Game of Blood”, which sees contestants using psychological warfare as they compete for prize money, as they survive in a building which divides the winners and losers by class.

By way of comparison, 31 countries have adapted “The Masked Singer” format since 2015, making it the most adapted format in the world, while 16 countries have adapted “I Can See Your Voice” in 2016.

When it comes to dramas, Avril’s picks are: “The Witch’s Diner”, a supernatural drama where desperate people seek out a witch at a diner, in order to fulfil their wishes by sacrificing their souls; “Now We Are Breaking Up”, a love story revolving around a photographer; and thriller “Times”, which sees two reporters living five years apart, communicating through phone calls to prevent the assassination of the Korean president.

Overall, the amount of Korean content has increased by 6.5 times over the past five years, across platforms like Netflix, iQIYI, Viu, WeTV, and AppleTV+. Projected growth continues to be healthy, with Disney+ commissioning a third of all Korean content in the 2021—2022 period. Avril shared that the top country for acquiring Korean content is Japan, where channels like TV Tokyo and Wowow have dedicated morning and prime time slots for South Korean dramas. Coming in second is Singapore, where half of all acquired content is Korean, and channels like Channel U have prime time slots for K-dramas. Vietnam takes third place, Malaysia fourth, and United Arab Emirates fifth. So, what is some Korean content that we should keep an eye on? Avril shared her picks, which included, “Voice King”, Sing Again/Singer Gain”, “Wild Idol”, “Girls Planet 999”, “The Masked Talent”, and “The Song We Loved, New Singer” – all singing competitions that speak to South Korea’s strong K-pop culture. Other shows to keep a lookout for include: “AI vs Human”, which has audiences guessing if songs are sung by human singers or their AI clones; “Good People”, a reality show which sees fresh law graduates entering law firms; “Change

But what exactly makes Korean content resonate so well? Paul Youngbluth, Consultant, Tape Consultancy, shared his analysis of “Squid Game” and “The Masked Singer”, and why they are so popular. For “Squid Game”, factors for its success include the main character’s character arc and moral ascension, the prison-like setting which audiences love as they get to see characters put under emotional pressure, games that are easy to understand, and the resonance in the idea that the global economic order is unfair. When it comes “The Masked Singer”, key elements for its popularity include the fact that the judges do not require certain skills, as they are there to offer a sounding board and to engage audiences. The costumes provide strong visual appeal, the demographic appeal is broad, the elimination structure is simple, and there is a good balance of energy and reflection for the audience. The social media element also plays a part in it.

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).

(L–R) Avril Blondelot, Head of Content Insight, Glance-Médiamétrie Paul Youngbluth, Consultant, Tape Consultancy

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IN CONFERENCE WITH 108 MEDIA BENETONE FILMS REVOLUTION MEDIA TANAKHIR FILMS SAAVA

LOCAL CONTENT IS KEY FOR ASEAN PRODUCERS As markets open up, there has been a shortage of cast and crew for production in Southeast Asian countries like Malaysia, Thailand, and Indonesia, shared producers at the ASEAN Producers Roundtable, moderated by Justin Deimen, Executive Director of the Southeast Asian Audio-Visual Association. Joining him in the discussion were Zainir Aminullah, Executive Producer of Revolution Media, Micah Tadena, Philippine Country Manager of 108 Media, Mandy Marahimin, Producer at Tanakhir Films, and Rachvin Narula, Co-founder & Chief Executive Officer of Benetone Films. The past two years have been brutal, and the Malaysian and Indonesian governments have stepped up to provide support to producers in terms of funds and grants, noted Aminullah and Marahimin. Marahimin also noticed that it has not been easy to find brand sponsorship in Indonesia, while Tadena observed that she was seeing a lot of financing coming from brands in the Philippines, as opposed to networks and producers in the past. More producers in the Philippines are reliant on OTT licensing to recoup their budgets and were open to partnering with brands and AVOD.

Tadena did note that Philippines audiences are more open to AVOD in Southeast Asia, as they are willing to see 4 to 5 ads in a 20-minute piece of content, as opposed to Singaporean audiences who are willing to see only 1 ad in 20-minute piece of content. On the theatrical front, weak audience turnouts in Indonesian cinemas have also led many producers to release to OTT platforms as such as Netflix and Disney, said Marahimin. But Aminullah has been seeing more audiences in Malaysian theatres. Nevertheless, it is important that big Malaysian studios like Astro and Primework Studios release their big titles first, as that would serve as a strong indicator of confidence in the industry once more. The road ahead, however, may lie in the different streaming platforms in each country. While Netflix’s strategy is no longer focused on localized content now, shared Aminullah, other platforms are. He noted that the platforms “will tell you the same thing – ‘we want something different.’ So, our arsenal of concepts and ideas must be diverse enough.” In the end, the key to leveraging on the demand for local content is knowing what commissioners want and being able to accommodate different requirements.

OUR ARSENAL OF CONCEPTS AND IDEAS MUST BE DIVERSE ENOUGH. - Aminullah on meeting the demand for local content

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). 42

(Clockwise) Micah Tadena Philippine Country Manager 108 Media Rachvin Narula Co-founder & Chief Executive Officer Benetone Films Zainir Aminullah Executive Producer Revolution Media

Justin Deimen Executive Director Southeast Asian Audio-Visual Association Mandy Marahimin Producer Tanakhir Films

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IN CONFERENCE WITH WEYDEMANN BRO BACKUP FILMS INTRAMOVIES TIES THAT BIND

A GREATER DEMAND FOR GENRE FILMS For the last 10 years, Jonas Weydemann has never done genre films. But now, there are ways to finance them, revealed the Producer at Weydemann Bros. “I have a feeling the [streaming platforms] are looking for different kinds of products,” he said.

“Genre [films], it has proven that if it’s packaged well, if it’s marketed well, it will always reach at least a niche fan base that’s rock solid,” Jean-Baptiste noted. There was also a greater appetite from the different platforms for such content.

Jonas shared his observations about a greater demand for genre films at the European Producers roundtable, which also included Jean-Baptiste Babin, Financier at Backup Films and Geremia Biagiotti, Sales Agent at Intramovies. The discussion was moderated by Christophe Bruncher, Head of Studies at Ties That Bind.

“As they said, the streamers are looking for a lot of content, and mostly it’s genre [films],” said Geremia as he gave his perspective on the trend. Theatrical distributors are looking more for genre films, so on the production side, it might be wiser to move into that type of content.

When it comes to genre films, Jean-Baptiste concurred with Jonas’ observation about the demand for genre films. “We actually did reach the same conclusion as Jonas,” he said of genre films, explaining that they were prioritising the production of genre films. “Our recipe and backup have always been to go with stable genre [films],” he continued, as they would help them stick closer to what is popular in the market.

Geremia also noticed that distributors were buying films at lower prices nowadays, partly because some territories offered film content at lower prices. “I fear this is going to stay,” he said. Their sales expectations had to be lowered in some territories where distributors already had a backlog of films to be released. On the upside, Europe, particularly Italy, looks like a promising market for Intramovies to enter as financial partners. “There are a lot of funds for production,” he noted.

OUR RECIPE AND BACKUP HAVE ALWAYS BEEN TO GO WITH STABLE GENRE [FILMS]. – Jean-Baptiste

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). 44

(Clockwise) Geremia Biagiotti Sales Agent Intramovies

Jean-Baptiste Babin Financier Backup Films

Jonas Weydemann Producer Weydemann Bros.

Christophe Bruncher Head of Studies Ties That Bind

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IT’S A WRAP!! .

.. E P O R U E ACROSS

SEOUL

강남구 역삼로

MUMBAI GOREGAON EAST

BEIJING

北京市朝阳区

文化新大街

TAIPEI

六段

東路權民區內湖

IT’S A WRAP!! SEOUL

강남구 역삼로

SYDNEY HERETIC FOUNDATION

LOS ANGELES 15TH ST

TAIPEI

內湖區民權東路六段

BEIJING

北京市朝阳区文化新大街

IT’S A WRAP!! TAIPEI

六段

內湖區民權東路

MUMBAI GOREGAON EAST

JAKARTA MNC STUDIOS – KEBON JERUK

ATF 2021 SPEED DATING ACROSS THE WORLD

IT’S A WRAP!!

HILVERSUM NORTH HOLLAND (AMSTERDAM)

DUBAI DUBAI MEDIA C ITY

LONDON BROADLEY TERRACE

ORE P A G N I S M O FR ITY S R E V I N U E TO TH AM D R E T S M A F O

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SPECIAL FEATURE

MAKING MEDIA & ENTERTAINMENT SUSTAINABLE If the U.N. climate conference made anything clear, it’s that the world needs immediate, resolute actions on the most important issue yet: sustainability. And among those leading the change in the media and entertainment industry are ITV and ITV Studios. Phil Holdgate, Head of Production Sustainability of ITV Studios, shared that the studios’ ambitious targets is to become a Net Zero business by 2030 aligned with the latest science, with a vision to make the biggest shows, with the smallest footprint. “I always describe sustainability as a journey that we are all on and everyone is just on a different part of the same curve. I’m not sure we can claim we have an end goal as such, and I say that because Climate Change is such a large, complex and ever-changing subject and so our understanding of what is required seems to be constantly redefined,” he said. Companies cannot just say they want to reduce emissions and expect the supply chain to comply. As Phil pointed out, sustainable change needs to happen across the board, throughout corporate layers, and the business value chain. It requires tools for data gathering, accreditation schemes for validation, and good quality training for education, as well as ensuring the knowledge and best practices are shared across teams and the wider industry. “We will need to find new and innovative ways of working… it’s incredibly clear that we can’t carry on with ‘business as usual’ and so we need to evolve,” he said. “We’ll also be working with our suppliers, our formats and our distribution business to widen our influence as far as possible to help tackle climate change and reduce our impact on the planet.” The studio has seen a lot of technical innovation, from remote production and cloud-based solutions, to virtual studios, in the last two years due to the COVID pandemic. “Carbon footprint data shows that travel and transport make up around half of the emissions from our TV shows. And so new technologies that allow us to avoid travel where possible are going to be a really important part of the solution going forward,” Phil added. He mentioned that he is often asked about the financial investment required to go green. “My personal opinion is that sometimes the choices that we need to make to be sustainable may cost a little more and sometimes that can save money, but this shouldn’t be the motivation or a barrier to change… I would like to think that the solutions that we are working on today will become the cost-effective solutions in the long term. “Essentially though, if we are being sustainable, then we are wasting less, and therefore, can be more efficient with the resources we require,” he said.

Phil Holdgate Head of Production Sustainability ITV Studios

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SPECIAL FEATURE

A MULTI-MODAL APPROACH FOR A WINNING FORMULA In today’s landscape where consumers have convenient access to information and an arsenal of means to obtain content, having a multi-prong strategy that enables audience reach and interaction, matter in sustaining customer engagement and ensuring retention. For Singapore’s national broadcaster Mediacorp, a multimodal approach allows its content to travel beyond local shores to expand its audience base, while staying true to telling made-in-Singapore stories. “As Singapore’s largest content creator, we are well positioned to tell stories with uniquely Singaporean flavours and perspectives, which is vital in driving our mission of engaging everyone every day and celebrating the nation’s diverse communities. We do this by harnessing the strengths of our IPs, talents, and extensive reach of both Mediacorp’s omnichannel network and our partners’ platforms,” said Virginia Lim, Chief Content Officer, Mediacorp. The company’s platform-agnostic content proliferation strategy allows it to stand out in a highly competitive media environment and overcome the market’s limitations. The tactical approach presents opportunities for consumers to access its content from third-party platforms such as YouTube, Spotify, and Apple Podcasts, in addition to watching content on the company’s owned platform. The former is a key tactic as it allows for the discoverability of its content and encourages followthrough to Mediacorp’s platform, while extending consumer reach. Success is, however, not exclusive to just having multiple touch points but also contingent on the type of content that is available to the consumer, and the standard and

quality at which it is delivered. As Virginia pointed out, the influx of delivery platforms and streamers in the market has presented an abundance of opportunities to the production industry, but it has also caused product confusion to consumers. “In today’s competitive business landscape, exclusive IP ownership for tentpole franchising is crucial for platforms to stand out from the crowd and maintain their unique market and product positioning. My view is that IP exclusivity is a key product differentiator between competing content platforms.” And the winning combination of content, quality, and reach, nets an effect of an engaged and returning customer. “Having brilliant concepts and investing heavily to bring them to life will, more often than not, yield stellar productions. It has to be supported by an effective distribution and audience engagement strategy,” she said. The payoff is beyond the consumer level, having a positive value-added effect for advertisers, partners, and investors. In August, Mediacorp sealed its first-ever distribution deal with Online Media, a subsidiary of Taiwan’s Formosa Television, to stream more than 1,000 hours of Singapore content. Netflix has also acquired sizable volumes of locally produced content, and in July, HBO Go snapped up award-winning Mediacorp titles, such as, ‘Last Madame’, and ‘Titoudao’ for the first time. The award-winning ‘The Little Nyonya’ was adapted for audiences in mainland China, while ‘The Journey’ trilogy has been adapted into Chinese comic books, and the International Emmy-nominated ‘A Quest to Heal’ has been published as a Chinese novel.

IN TODAY’S COMPETITIVE BUSINESS LANDSCAPE, EXCLUSIVE IP OWNERSHIP FOR TENTPOLE FRANCHISING IS CRUCIAL FOR PLATFORMS TO STAND OUT FROM THE CROWD AND MAINTAIN THEIR UNIQUE MARKET AND PRODUCT POSITIONING.

Virginia Lim Chief Content Officer Mediacorp

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FEATURE

Julian Althaus Senior Sales Manager Autentic GmbH

LIGHTHEARTENED CONTENT OFFER ESCAPE DURING PANDEMIC Owing to the challenging year, consumers are preferring to keep their watch list light, suggested Julian Althaus, Senior Sales Manager, of Autentic GmbH. “Factual in general is trending these days and we are having an increased demand throughout all genres of our portfolio. But in particular we felt that lighter topics like people and travel [related] content, which is one of our strongest genres, and factual entertainment, are requested, most likely because people are still forced to socially distance in many parts of Asia, and the world is looking for an opportunity to escape and see something nice and light,” he said. Titles with a sustainability theme and environmental topics are also getting more and more attention. The company’s line-up at ATF includes ‘Wildlife Diaries Australia’ about animals and their caretakers, ‘Stone Men (Season 2)’, a series that charts the process of extracting marble, the world’s most luxurious stone in the Italian Alps, and ‘World’s Most Dangerous Railway Lines’ featuring the most extreme railways in extreme landscapes with breathtakingly beautiful views. The company’s goal is to strengthen its visibility in Asia “as we believe it’s a fast-growing market with many opportunities arising”. Julian reckons that Asian buyers have opened up to foreign including European content, due to local production delays resulting in content shortages, as well as changes in viewers’ interests. “It’s important to maintain relationships and really listen to what the buyers want, in connection with [having] a good knowledge of your offerings. Besides that, our clients value that … we can also work with them on pre-sales or create new projects on requested topics together, which increases the opportunities for a fruitful relationship,” he added.

FEATURE

WIN-WIN OUTCOME AS EAST MEETS WEST In the Thai musical game show, ‘The Wall Duet’, three invited celebrities are required to sing a duet with a mysterious singer whose identity remains anonymous, while in ‘Who Is My Chef?’, invited celebrity guests are made to taste food cooked by total strangers. Both game shows incorporate an element of mystery and guessing, and such fun formats are trending based on Workpoint Group’s best sellers, according to Wirata Laksanasopin, Licensing Manager, of Workpoint Group. ‘The Wall Duet’ that premiered in September last year, has since been licensed to Vietnam and sealed rights in multiple territories, including France, Italy, Spain, Belgium, Netherland, Germany, and Portugal, for local adaptations.

Wirata Laksanasopin Licensing Manager Workpoint Group

“Workpoint is still focusing on producing unique and travelling formats. So, what we’re highlighting

this year… [are] fun formats that can travel the world. We aim to acquire new clients in our untapped territories and close deals,” said Wirata. The distribution company has ambitions to grow its foothold beyond Southeast Asia, into Europe, Latin America, and the Middle East and North America. “I think this is the right time for us to expand beyond SEA. [The] Asian wave has been a driving force for Workpoint to buyers from other continents. We’ve gotten a lot more offers for co-development on formats from big players. We can see that the trend in format is going to be the East meets West codeveloping ideas together,” she added. Format sales had taken a beating during the pandemic as productions came to a halt and most Asian buyers turned to TV dramas and/ or canned shows, opined Wirata. “But after two years into the pandemic, we see the rise again in format sales. People are now adapting to life with Covid and getting back to business with more protection. So, I hope next year, we’ll see more fun things in the format market,” she said.

DEVELOPING PRODUCTS THAT FIT WITH CONTENT PROPOSITION OF DIGITAL GIANT Production companies and executives have to be more deliberate about the products they are developing and question how it will fit in with the content proposition of giant media streamers, according to Kanji Kazahaya, President & CEO, of Culture Connect Co Ltd. “In the past, setting the category of buyer (either broadcasters or streamers) was one of the most critical elements to design the show. Since the rules of the game are changing, from the very beginning of the planning process, we have to be more conscious of these brands. I believe that this will lead to more affiliation from the production stage,” he said. With the success of Netflix, major media giants – with the likes of Disney+, HBO Max, Nick+/ Paramount+, YouTubeKids+, and Amazon Kids+, etc – are competing for a share of the consumer eyeballs through their respective branded digital distribution platforms. The consideration during development should also encompass licensing rights and product extension. “I think we need to be more sensitive to the pillars that these

brands are looking for and pitch clearly how the uniqueness of our work matches up with them. It is also important to be aware of licensing categories with platforms. The brands such as Disney and Nickelodeon, would like to secure broad rights to be flexible to explore their business. Thus, I think it is important to be flexible in granting media rights and derivative rights so that they can develop the show brand freely and widely. Of course, it is on condition that they will actually develop their works widely,” he elaborated. Kanji is keen to find a co-production partner or distribution partner for its TV series titled, ‘Gustav, The Forest Keeper’, which is currently in pre-production. The project, a fantasy comedy animation aimed at kids aged 6 to 8 years, is a finalist for ATF Animation Pitch. The company is also on the lookout for distribution partners for two other shows, ‘COOBO’, an adventure comedy series for children aged six to eight years, and the fantasy short teen animation series, ‘Laidback Lu’.

Kanji Kazahaya President & CEO Culture Connect Co Ltd. 61

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LEVERAGING COPRODUCTION TREATIES FOR PARTNERSHIPS Auckland-based animation firm Cirkus is in the market to promote its newest title, ’Goldpaw’. The animation is an action-adventure film about a rare Panda with a gold paw who is kidnapped from the zoo and must hatch an escape plan. “We are actively seeking partners in Asia and beyond to get this [film] onto the screens. We are focussing more and more on original long form IP development,” said Marko Klijn, Director, of Cirkus. There is a huge and growing demand for original IP, whether streaming, traditional broadcasters or online. Companies and streamers are sourcing content with high quality stories, great production design, and coproductions between two or three countries. “We are always focussed on the Asia/Pacific region – China of course, but also Taiwan, Korea, Japan and Singapore,” he said, and highlighted that New Zealand has very attractive co-productions treaties with these countries and offers tax incentives and rebates to help get coproductions off the ground. Marko added: “We are finding the rapid move to streaming for a huge part of the production mix to be the most challenging and promising changes afoot in the industry. There’s a desperate market for great content and loads of funding – if you can get in the door! We hope to find co-production partners for films and TV series we are developing - for creative and production collaboration and financing.” The company opts for quality over quantity and works with a wide range of producers and agencies throughout Asia. “We don’t like to compete on price - that’s a race to the bottom for us all. We focus on quality of story, quality of design and production. If you do something right, the work will follow. That has always and will continue to be our motto. We have to be flexible with payment terms and rights and focus on working with people we creatively connect with. Also, we like to work with good people who we can build long lasting relationships with,” Marko shared.

Marko Klijn Directors Cirkus

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UNCOVERING THE PERFECT BLEND TO STAY COMPETITIVE Guillaume Ange, Content Sales Manager of Millimages, has a clear view of what buyers are looking for these days. Firstly, they are interested in recognisable IPs with universal topics and values. Second, they are keen to get their hands on exclusive titles with “first” window availability. Then comes the hybrid formats that mix multiple genres and visual styles, and lastly, kid’s programs, which are in demand by broadcasters. In order to deliver what buyers want, Millimages have been expanding the narratives of their best-selling IP and acquiring new titles. The French independent animation studio based in Paris, is presenting the fifth season of the pre-school series, ‘Molang’, which stars an enthusiastic rabbit and a shy little chick sidekick, and the second season of ‘Pirata & Capitano’ that follows the outdoor adventures of two friends, at ATF. The company is also developing a new 3D fantasy animation series ‘Zoe and The Gem Dragons’ for older pre-schoolers, which they are thrilled to introduce to buyers. Guillaume is also aware of the rapidly changing media landscape and the boom of new VOD players in the region. With Millimages looking for its share of business in Southeast Asia, Japan and Korea, he said: “Things are growing fast, and we are facing the arrival of new players. We’d like to be there on time and offer the best exposure for our contents. We want to generate new opportunities in these territories AND offer new windows for our animated series, working with Pay TV partners, nationwide broadcasters or new streamers.”

Guillaume Ange Content Sales Manager Millimages

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VOD RIGHTS, IN ADDITION TO LINEAR, NEEDED Margaret Stanneveld, Sales Manager, and Lorraine Joore, Sales Executive, of Dutch CORE, are promoting a specially curated line-up of technology and sustainability themed titles, arts content and LGTBQ+ projects, at this year’s ATF.

their umbrella association NPO, the Belgian Broadcaster VRT and leading Dutch independent producers, with a specialisation in sales and pre-sales of documentaries, drama series and youth programmes.

“We are giving arts, design and culture a spotlight this year with a beautiful series on the most famous painters of our history and our fresh documentary on innovative and futuristic architecture”. Dutch CORE represents all Dutch Public Broadcasters,

Both Margaret and Lorraine observed a large attraction to the crime genre, fiction, and non-fiction. “Other content that have performed very well are our factual documentaries that are focused on current affairs and science”. High quality and

Margaret Stanneveld Sales Manager Dutch CORE

Lorraine Joore Sales Executive Dutch CORE

strong storytelling are pre-requisites from Asian buyers, they said. “Lately, we notice that we get more interest from VOD platforms in Asia and the genres they tend to have interest in are more diverse than they used to be.” Clients are also asking for VOD and digital rights, in addition to the usual linear rights. “We try to address the buyers personally to see what their requirements are and at the same time we try to stay true to what we stand for: quality and innovative programmes,” they said.

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EXPANDING BUSINESS FOOTPRINT IN ASIA In response to the changing media landscape and consumption habits, Global Screen is shifting its focus to meet new expectations and new business opportunities. “Inspired by the latest trends, we are actively further expanding Global Screen’s market coverage in Asia; strengthening our partnerships with existing partners and engaging with new players, and last but not least, to close deals!” said Stephanie Wang, VP, International TV Sales & Acquisitions, of Global Screen – A Telepool Brand. “We are experiencing a significant shift away from traditional TV to new media, VOD – TVOD, SVOD, and an increase in AVOD, too. Asian buyers, like the rest of the world, are facing drastic changes in content consumption which consequently have impacted on their acquisition strategies. They have become more selective and more price conscious,” she elaborated. The company has seen an increased demand for highend crime drama series, particularly those with a solid narrative and strong emotions. An example is the German TV multiple Award-winning mini-series ‘Dark Woods’, inspired by real-life events, it has a storyline which spans over three decades, unfolding one of Germany’s most gripping, unsolved murder cases. On offer at ATF is ‘The Palace’ (Der Palast), a lavish period drama, richly shot at the world’s biggest theater stage located in Berlin: the iconic Friedrichstadt-Palast. Against this evocative backdrop, in a divided Germany, the story tells of two women who are searching for their roots. ‘The Conference’ is a feature length, haunting drama based on true event, set in 1942 in Berlin on a fresh morning, in a luxurious villa at the lakeside, a secret conference gathered 15 leaders of the Nazi regime to determine, “The Final Solution to the Jewish Question” – the organisation of the systematic murder of millions of Jews across Europe. “We select and pick our programs meticulously to best meet our clients’ needs. I would also like to emphasise that with more than 65 years of experience, we are constantly aiming at building strong and long-term winwin partnerships,” added Stephanie.

Stephanie Wang VP, International TV Sales & Acquisitions Global Screen

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INGREDIENTS FOR SUCCESS: RECOGNISABLE TALENT & STRONG STORIES TV Asahi is offering an eagerly awaited seventh season of the hit medical drama, ‘Doctor-X’ starring Ryoko Yonekura, who plays a charismatic, unconventional freelance surgeon practicing at multiple hospitals. The drama series has all the necessary ingredients for success – live-action with a well-known Japanese cast, coupled with unique and strong storylines. According to Yukie Uwakubo, Content Sales Manager - International Business Department, of TV Asahi Corporation, the combination of these factors contributes to a winning formula with audiences and buyers. Past seasons of the dubbed series have made it to India, and Yukie hopes for other countries in Asia to follow suit. In her view, the pandemic has made the Asian buyer price sensitive and more judicious with their content purchases. Nevertheless, she is heartened that Japanese dramas resonate well with clients in Asia. “We always listen to what our buyers are looking for and try to coordinate in the best way so that we can sell our contents to both new and existing buyers,” she said. Looking to the future, Yukie said, “There is greater need for variety shows with simultaneous release on OTT in Asia. We’re hoping to have more of our new variety shows made available overseas for simultaneous release and are working on it.” With 60 years of leading the Japanese content industry and having 25 network affiliate stations covering the nation, TV Asahi Corporation delivers drama series, animation programs and high-quality variety shows that target the younger demographic, on top of broadcasting sports events and daily news shows.

Yukie Uwakubo Content Sales Manager International Business Department TV Asahi

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PRODUCING SOME OF THE BIGGEST IP HITS FROM TOYS Mattel Television (TV) is expanding the number of TV shows and movies based on its most popular toy franchises. “In 2021, we launched eight shows! We currently have 13 shows and specials in production and more than 30 television projects in development,” said Grace Chan, Senior Director of Content Distribution and Business Development, APAC, of Mattel TV. The company has recently teamed up with Nickelodeon for the production of ‘Monster High’, a live-action TV movie musical based on the popular Monster High Dolls. “The trend is always IP-driven, and some of our current shows in production are based on classic franchises including Masters of the Universe, Polly Pocket, Fireman Sam and more,” she shared. The company is delivering its latest take on the classic Thomas & Friends franchise with a 2D animated feature, ‘Thomas & Friends: All Engines Go’. It will also be pitching new exciting Barbie content at ATF, in addition to offering the latest musical ‘Barbie: Big City, Big Dreams’ that had debuted on Netflix. In next year’s pipeline is, ‘Deepa & Anoop’, a

new global music-driven animated series following seven-year-old Deepa and her colour-changing elephant Anoop. This is the first fresh title from the company, not built on existing IP. “When consumers have been spending more time at home, it has expedited the reshaping of the media landscape. Not just Netflix and YouTube are rapidly growing with subscribers and viewers, the viewing pattern and watch time have drastically changed. With more prominent OTT platforms launching in Asia by market, programming strategy of buyers from different platforms including linear and non-linear, are all changing,” elaborated Pamela. In addition to showcasing its new kids animated content, the company is searching for potential co-production partners for upcoming projects. Grace Chan Senior Director of Content Distribution and Business Development, APAC Mattel TV

PANDEMIC WHIPLASH LINGERS DESPITE GRADUAL RECOVERY As countries gradually recover from the hard-hitting impact of the pandemic, many companies are still reeling from its effects. Aitor Garcia Merino, Chief Executive Officer of Arait Multimedia, remarked that the instability in Spain’s economy because of the pandemic has affected many companies’ businesses. He said, “We are suffering payment delays because of the economic situation created by the pandemic.” He added that the whiplash is still felt in Asia with its slow momentum in recovery that has caused some worry to his clients in the region. Aitor Garcia Merino Chief Executive Officer Arait Multimedia

Nevertheless, he is optimistic about the situation improving and is keen to meet with new players in Asia and learn about buyers’ content needs for the new year. “Based on our bestselling content – trending today, are drama series. The appetite for drama series will still be much bigger than other types of content,” he anticipates, and added that feature length films were also a top request by clients this year. Headquartered in Madrid, Arait Multimedia offers distribution to licensing among other services, in the international television market, and is a specialist in Japanese animation. Wrapping up, he said, “It [ATF] is the last market of the year, but for us is one of the best. Hopefully, we can meet face to face again in 2022 with all our friends in the amazing Singapore.”

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Masato Tanaka Manager of Copyrights & Contents Sales Department Hokkaido Broadcasting Co Ltd.

TANTALISING ASIA WITH ADVENTUREFOOD SERIES In ‘Traveling Chef De France in Hokkaido’, renowned French chef Amandine Chaignot travels from Paris to the island of Hokkaido in Japan, to sample its fare and draws inspiration for her culinary recreations. The series, a coproduction between Hokkaido Broadcasting Co Ltd and a French TV station, is the former’s best-selling content and has been swept up by broadcasters in Bulgaria, Canada, El Salvador, Ghana, Italy, Kyrgyzstan, Mexico, Uruguay, to name a few. Having only sold the rights to Hong Kong, Myanmar and Penang, the company plans to get the title into the rest of Asia. “We do not have big success in Asian countries yet. So, we would like to explore the Southeast Asian market,” said Masato Tanaka, Manager of Copyrights & Contents Sales Department, of Hokkaido Broadcasting Co Ltd. TV stations and inflight distribution companies make up the bulk of the company’s clientele, but it has experienced a growing interest from digital streamers and internet service providers and is currently working to reach an agreement on payment terms. The company has been hit hard by the pandemic as business from inflight distribution companies slowed down. With borders reopening and travel confidence returning, things may start looking up for Hokkaido Broadcasting Co.

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WINNING OVER THE ASIAN BUYER Some things just can’t be rushed in business, especially when parties have yet to establish a familiarity with each other. When one considers the different and varied cultural specificities in the region, cementing partnerships can be a labour-intensive investment. “Asian buyers take their time to select their titles, and even then, there is no guarantee that the deal will happen, until there is a fully executed agreement on the table. They are very cautious, and they take a long time to trust new distributors, and to make the deals happen,” said Pamela Martinez, Head of Sales and Acquisitions, of Limonero Films. For the first time this year, the company is presenting a true crime series, which Pamela is certain will charm buyers. “We are also bringing an incredible science documentary explaining the wonders of water, and a North India-based cooking and travel show which is already gathering lots of attention in the region,” she stated. “We are seeing a great appetite for true crime, studio-based formats, history and wildlife”. The company is an international distributor of documentaries and factual programming, and had recently closed several deals, including ‘Lovesick’ to the Sundance Channel in the U.S. and National Geographic in India, and Katherine Round’s “The Divide” to Sundance in the U.S. Pamela mentioned the lowering of licensing fees across all markets and platforms, as a recurring development. “Payment terms need to be as they are for small companies like us to survive into the future. We pride ourselves in our honesty, hard work and approachability. We are flexible, focused and fabulous,” she said, confident that buyers will appreciate the company’s exclusive and eclectic programming. “My hopes for this year´s ATF are to continue building relationships with new and existing buyers and producers in Asia. It is a very important continent for us, with regards to new productions and sales,” added Pamela.

Pamela Martinez Head of Sales and Acquisitions Limonero Films

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NAVIGATING NEW RIGHTS & WINDOWING OPTIONS Like most of the world, largely due to the pandemic and the decline in advertising revenue alongside the increase in the number of channels and platforms, the market is a lot more price conscious. Cassandra Toller, Senior Sales Executive, of Hat Trick International, said the most prominent changes that she has had to deal with, is “keeping up with the new rights required by buyers and the complicated windowing options”. “Most of our series continue to sell for multiple runs, especially our classic comedies, and it is important to keep

Cassandra Toller Senior Sales Executive Hat Trick International

across all the options with new VOD platforms as well as more traditional linear broadcasters. We have a range of new and old titles in our catalogue, and we want to ensure that we’re continually selling it all,” elaborated Cassandra. Crime dramas, such as the hugely successful series from producer/writer Jed Mercurio, and lifestyle formats, especially renovation, such as ‘Sarah Beeny’s New Life in the Country’ or ‘Dream Kitchens & Bathrooms’ rank highly with buyers. “Both these genres have been popular for many years, but we have had much success

because we offer very high-quality content that the market is looking for,” she said. The upcoming slate consists of an engineering series, ‘Full Metal Junkies’, a light-hearted look at an upcycling yard in the UK that turns vehicles into multipurpose machines and homes. “Because we are independently owned and not a huge multi-layered organisation, we can move quickly and be flexible in how we work with our clients, getting the best for them and for the producers we represent,” Cassandra added.

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SERVING PSYCHEDELIC COMEDY, A NEW GENRE FOR RENEWED VITALITY By now, most of us are aware that comedy is trending and is a much sought-after genre. But you may not have yet heard of a new genre – Psychedelic Comedy. Tod Lautenberg, Writer, Director and Producer, of Psychedelic Pictures, explained, “There has never been a time on planet earth that people need to smile and embrace life more than now. In order to fill this demand [for comedy], we have created a new genre called Psychedelic Comedy, that combines music, comedy, and romance to light up a sad and weary world. People have been locked down and need to live. They want to see all the things that make life worth living.” Psychedelic Pictures is a global brand for comedy and music, with a slate of films and television projects. Its current focus is on two projects – a feature comedy film called, ‘The Hippy Vampire’, and a television series titled, ‘The Lounge’, a single camera series that Tod described as “Cheers meets Entourage”. The company has also recently produced its first feature, ‘Puff’, a psychedelic comedy that competed in 14 festivals in 7 countries before being picked up nonexclusively by Amazon at The Toronto Film Festival. The film is streaming non-exclusively in the U.S., U.K., Germany, and Austria, and Tod intends to expand the distribution to Asia. “We are open to dubbing it. We really think the music and energy of ‘Puff’ will connect with these new markets. We are interested in building long term relationships to provide content to all of Asia,” he said.

Tod Lautenberg Writer, Director and Producer Psychedelic Pictures

Tod saw a potential in the youth segment in Asia and wants to offer a slate of comedy-based projects that are rarely offered to Asian clients. “Our contemporaries simply underestimate how wonderful and strong the youth culture in Asia. We believe this is the number one growing market today,” he remarked. “Psychedelic Pictures intends to help supply lots of fun content for the great demand in the vast youth market. Our goal is to make Psychedelic Pictures a trusted place for comedy in Asia.”

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LOOKING TO TAG TEAM WITH ASIA FOR INTERNATIONAL DISTRIBUTION Laughter may be effective medicine for these trying times. “Kids need to laugh, to escape reality a bit because there are so many things going on in their lives right now,” said Danny Bergeron, President of Syon Media Inc. As co-viewing content picks up, “broadcasters and platforms are looking for shows that can appeal to the entire family, that parents can watch with their kids. They are also looking for comedy and entertainment rather than curriculum and educational content. I would say that they are also, more generally, looking for high quality storytelling, inclusivity and diversity of voices and talents,” he added. The company is sourcing completed TV series for distribution outside Asia and codevelopment and co-production opportunities at ATF. “We are here with our distributor’s hat; we are looking to partner with Asian companies that have some animated content available for international distribution.”

platforms. Broadcasters have had to adapt and shift their priorities when acquiring content. “They need more volume and more serialised content than before to meet their audience’s new habits. Now, they usually take all rights within their territory including VOD. And both platforms and broadcasters tend to do more and more original productions,” Danny explained. He finds that Asian buyers are now more sophisticated and more in sync with the rest of the world. “However, we have noticed that a local touch is also in demand. For example, lately, we have inked a broadcast deal with Disney+ Hotstar for the animated series, ‘The Beachbuds’, which is a high-quality TV Series that involves Indonesian characters. It was really well received in Southeast Asia,” he said. Danny Bergeron President Syon Media Inc.

Viewing habits have changed with the pandemic and the emergence of streaming

NON-DIALOGUE KIDS’ CONTENT COME OUT TOPS Kids-themed channels are among the most popular types of content on YouTube, with the majority in the top 10 listing ranked by the number of subscribers, offering preschool content, according to Statista, as of September 2021. As children are spending more time on screens during the pandemic, there is a growing demand for more content from both children and parents. “Alongside our timeless co-viewing classics, the appetite for preschool, bridge and comedy content is still massive,” said Fanny Gilabert, Sales & Business Affairs Manager, of Mediatoon Distribution. “Non-dialogue comedies are highly appreciated in the global market as well,’ she added. Preschool non-dialogue comedies, such as, Fanny Gilabert Sales & Business Affairs Manager Mediatoon Distribution

‘Little Furry’, and ‘Garfield Originals’, are the company’s best-selling content. Mediatoon Distribution is spotlighting its newest animated comedy, ‘Nicholas’ Fantastic Summer’ for the Asia-Pacific region. In the series, Nicholas and his parents go on a vacation to Quaint-by-the-Sea, a charming little town in Brittany, and get up to all sorts of adventures. The title has already been picked-up by many European broadcasters such as M6 (France), WarnerMedia (France), VRT (Belgium), RTS (Switzerland), and MTVA (Hungary) and has begun its journey in Asia with a first stop on Canal+ Myanmar. “Our aim at ATF 2021 online is to further strengthen the business relationships that we have with our current partners, PAN TV broadcasters and platforms as well as local players. Of course, we are always looking for new partners, with a view to engage in both sales and acquisitions,” said Fanny.

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NEW, EXCITING ANIMATION EMERGING FROM ASIA Appetite for animations across Asia remains strong. As the region continues to be a dynamic and growing market with new linear channels as well as a marked increase in VOD activity, the propensity for animation content is expected to increase. “As a specialist distributor of children’s animation, our non-dialogue series continue to do well both on linear channels and VOD platforms. In particular, our multi-award-winning series, ‘Animanimals’, which is in production with a second series for delivery next year,” said Sara Cooper, Founder of Meta Media Entertainment Ltd. For ATF, the company is presenting a wide variety of animation content produced in different countries across Europe, Asia and the Americas, including preschool, 6-10 comedy, non-dialogue shorts and holiday specials from both new talent and established award winners. “As well as selling our existing catalogue and finding potential co-production partners for our series in development, we are also on the lookout for interesting and exciting new animation content to represent in the international market and there seems to be more and more of this coming from Asia,” added Sara, maintaining that she is flexible and open to all kinds of deal structure depending on what works for the customer. She welcomed virtual options of trade events and said, “with many programme markets now adding an online option, this has been very helpful and enabled us to increase our contacts with buyers across Asia. Although it is always nice to meet people in person face to face, the last two years have shown that it is perfectly possible to make new contacts, showcase content and forge new business relationships purely online and with the added bonus of not increasing our carbon footprints.”

Sara Cooper Founder Meta Media Entertainment Ltd.

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INDIA & SOUTHEAST ASIA HUNGRY FOR CONTENT “Our classics, ’The Gruffalo’ and ‘The Gruffalo’s Child’ remain among our top sellers proving that content encouraging imagination and creative play is in constant demand and continues to resonate with audiences,” said Henny Adolfsdottir, International Sales Manager, of Magic Light Pictures. The adored story of a cunning mouse who outwits a menacing Gruffalo, has since been adapted into numerous formats, from a film and audio book, to other conceivable merchandise, as well as enjoyed spin-offs. In November, the company reported a partnership with ODEON Cinemas to feature a double bill of ‘The Gruffalo’s Child’ and ‘Stick Man’ in cinemas across UK and Ireland, in the lead up to Christmas. It has also secured its first raft of major licensing partners for its new pre-school series, ’Pip and Posy’. At ATF, she is looking forward to meeting with existing clients and establishing relationships with new contacts. “I have enjoyed working with Asian buyers for almost a decade in different areas of TV distribution. During that decade, buyers have become more focused on global trends and open to content from all corners of the world,” she shared. The company is currently exploring India and Southeast Asia with concerted focus. “Our YouTube channels are showing a lot of activity in these territories alerting us to an audience hungry for our content,” said Henny. Like many other executives who ATF had spoken to, Henny echoes that, “in order to compete with streamers, global broadcasters are wanting more rights for the same or lower prices”, resulting in longer and more complicated negotiations. She added, “At Magic Light we always try to work closely with our clients and partners to establish a long working relationship. We want our deals to represent a win-win solution where content market value meets client needs.”

Henny Adolfsdottir International Sales Manager Magic Light Pictures

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PRODUCTS DOCS & FACTUAL - CURRENT AFFAIRS

THE SATOSHI MYSTERY, AT THE ORIGINS OF BITCOIN On January 3, 2009, a certain Satoshi Nakamoto launched bitcoin, the very first decentralized and reliable cryptocurrency. In 2011, he vanished into thin air. In 12 years the value of bitcoin has soared from $0.001 to $60,000 at its peak, and everyone from governments to large corporations is now interested. This intriguing documentary web series deciphers the workings of the famed Bitcoin, the first reliable cryptocurrency, revolution and investigates the identity of its creator.

DOCS & FACTUAL - NATURE & WILDLIFE

THE QUEST FOR NATURE Morgan Bourc’his, Free Diving World Champion, is concerned about the extent of human damage to the planetary ecosystem. He travels to Norway’s Great North to reconnect with the wild and in his quest for the ideal interaction with orcas and whales, he meets those who share the lives of these animals. This poignant documentary takes him from the temperate waters of the Mediterranean to the icy fjords of Norway. COMPANY: TERRANOA

COMPANY: ARTE FRANCE

DRAMA - SERIES

THE WORLD BETWEEN US An orphaned tech genius with a penchant for inventing gadgets is framed for the death of his legal guardian who also happens to be the mother of the woman he loves. Starring Alden Richards and Jasmine Curtis-Smith, this is an enthralling tale of romance between two individuals whose love has always been opposed by familial forces and how fate always brings them back together. COMPANY: GMA

PRODUCTS

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UPON THE MAGIC ROADS Box office hit ‘Upon the Magic Roads’ takes you on an unforgettable journey through the different worlds with romantic John the Fool and his realist friend Magic Foal, where two buddies have to outsmart the evil king, catch the firebird and find John’s true love. A film adaptation of a popular 19th century Russian fairytale, this production is a hybrid of live-action and 3D CGI animation.

FORMATS/ NON-SCRIPTED ENTERTAINMENT - TV GAME SHOW

TORI’S PICTURE DIARY A fun Tori’s Picture Diary Nursery Rhyme is coming soon as an animation series! A picture diary opens up a world of colourful nursery rhymes. Combining catchy jingles and drama, it shows what happens in the daily life of Tori and her interesting friends. COMPANY: CRAZYBIRD STUDIO

COMPANY: MELNITSA ANIMATION STUDIO

DOCS & FACTUAL - HISTORY & CIVILISATION

THE ROYAL FORTRESS OF CHINON The royal fortress of Chinon sits majestically 80 meters above the banks of the Vienne. It is home to three distinct castles that, over time, came to form a unique and superb architectural complex. Today, it still bears the mark of all the counts and kings who reigned up there. The three castles will unveil several millennia of history and architecture, thanks to the testimonies of experts who have studied them as well as stunning 3D reconstitutions. COMPANY: INA INSTITUT NATIONAL DE I’AUDIOVISUEL

PRODUCTS

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THEODOSIA

DRAMA - THRILLER

THE TOURIST

Set in 1906, the series centres around a smart, bold 14-year-old named Theodosia Throckmorton, the daughter of two Egyptologists, excavating in the Valley of the Kings. When Theo and her younger brother, Henry, stumble upon a hidden tomb and a mysterious artefact, the ‘Eye of Horus’, Theo unlocks the power to see and perform true magic, thus discovering a whole new world of mystery, as well as danger.

In the glowing red heart of the Australian outback, a British man is pursued by a vast truck trying to drive him off the road. An epic cat and mouse chase unfolds and the man later wakes in hospital, hurt, but somehow alive. Except he has no idea who he is. The Tourist is a character-driven mystery packed thriller, full of shocking, surprising, funny, and brutal turns. To uncover the truth, he must first discover who he is.

COMPANY: FEDERATION ENTERTAINMENT

COMPANY: ALL3MEDIA INTERNATIONAL

DOCS & FACTUAL - CURRENT AFFAIRS

WANTED: EL SAPO A thrilling docuseries about El Sapo, one of the most notorious thieves in Spain, executor of the spectacular theft of works of art. Infamous for felonies and scandals combining white collar crimes with violent ones, El Sapo has been arrested numerous times and for many years, remained as one of the most wanted criminals by the Spanish authorities. COMPANY: MEDITERRANEO MEDIASET ESPAÑA GROUP

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

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PRODUCTS DOCS & FACTUAL - HISTORY & CIVILISATION

THE SPANISH FLU - THE INVISIBLE ENEMY In April 1918, while Europe was plunged into WWI, an extremely virulent flu swept across every continent. Erroneously labelled the “Spanish Flu”, it raged for two years, causing the death of more than 50 million people before fading into oblivion. With access to rare and previously unseen archives and as well as international press material, photos and personal diaries of the time, this film offers a deep, chronological analysis of one of the major collective catastrophes of the 20th century. COMPANY: CINÉTÉVÉ SALES

DRAMA - SERIES

THE TEACHER This brand new psychological drama stars multi BAFTA and Olivier award-winner Sheridan Smith as a school teacher whose life unravels after being accused of raping a student during a drunken encounter. She protests she is innocent of rape, but with no memory of the night in question, Jenna’s only hope of redemption lies in uncovering the truth about a dark event in her past that returns to haunt her. COMPANY: ENTERTAINMENT ONE

DOCS & FACTUAL - CURRENT AFFAIRS

TO STATE THE RESPONSIBILITY OF BATS The coronavirus pandemic has reached almost every country in the world, plunging the global economy into deep contraction. The precise origin of the virus has not been pinned down, but the vast majority of scientists agree that it crossed into humans from an animal species, most likely a bat. While that is so, it doesn’t mean bats are to blame; it’s human’s increasing interference with these wild creatures that’s at the root of the problem. COMPANY: BLUESTAR PRODUCTION

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PRODUCTS DRAMA - THRILLER

YOU ARE NOT ALONE Mira is a young, antisocial workaholic. When a sudden earthquake strikes while she is in the office, she finds herself trapped in the building’s elevator. During this ordeal she finds herself comforted by Adrian the Security Guard on duty via the elevator’s speakers. Amid a harrowing situation with the possibility of total collapse, Mira begins to ponder on the way she lives her life and decides to open up her heart to others.

DRAMA - FAMILY

VIRAL A riveting drama about a young woman found to be involved in sensational sex scandal. She faces harsh public judgement as her mother and family try to seek justice. COMPANY: ABS-CBN CORPORATION

COMPANY: PT MNC STUDIOS INTERNATIONAL TBK

DOCS & FACTUAL - NATURE & WILDLIFE

WILD HORSES – A TALE FROM THE PUSZTA This is the story of a beautiful wild Przewalski horse foal born on the Hungarian plains called the Puszta. Filmed over a three-year period by an award-winning team, the film is a journey into the Przewalski’s secret world, told through the eyes of the growing baby horse. Many other iconic animals of the grasslands will make their appearance as well, like the Great Bustard, the Aurochs, giant spiders and many more. COMPANY:ALBATROSS WORLD SALES GMBH

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PRODUCTS ADDITIONAL INFORMATION - 4K/8K ULTRA HD

WASHOKU CUISINE - A TIMELESS TREASURE The story stars a photographer whose life work is to capture the artistry of Washoku chefs transforming colorful ingredients into beautiful cuisine. One day, he is at his favorite eel restaurant when the chef happily shares that he may finally become the head chef after more than 20 years of training! The two are delighted, but the sauce, which has passed down for nearly 100 years, is all ruined and without it, they cannot make the eel dishes. How will they continue to guard the legacy of their signature taste?

DRAMA - COMEDY

ULTRA CITY SMITHS Ultra City Smiths unfolds via stop-motion animated baby dolls repurposed as a grown-up cast of characters. The series revolves around an investigation into the mysterious disappearance of fictional metropolis Ultra City’s most famous magnate, Carpenter K. Smith (Kurtwood Smith). Two intrepid detectives, David Mills, and Gail Johnson, follow the case, rallying to fight against their city’s dangerous corruption, at a high cost to themselves and their families. COMPANY: AMC STUDIOS

COMPANY: NAGOYA BROADCASTING NETWORK CO., LTD. (NAGOYA TV)

TEENS (AGES 13 AND UP) - LIVE-ACTION

UZZUZZU MY PET Just watching the daily lives of ‘Boo’, ‘Tary’, ‘Kung’, ‘Ta’, ‘Uzzuzzu My Pet’ is enough to brighten anyone’s day! Based on the most familiar and friendly pets in our lives, this 15-seconder is an uplifting and energetic live-action animation about adorable friends whose infectious laughter is a recurring theme in their daily lives. COMPANY: OOSSO INC

The Weight PRODUCTS of Reaches unusual

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PRODUCTS FORMATS/ NON-SCRIPTED ENTERTAINMENT FACTUAL ENTERTAINMENT/MAGAZINE

WITH MR. RAE-CHUN (래춘씨와 함께) A program in which Mr. Rae-chun invites creators to his camper in Jeju Island, serves them food and shares with them the joy of camping. Although he is a camping expert, he unknowingly experiences loneliness. Through exchanging stories during their interaction in the program, camping becomes a source of strength to both Rae-chun and the creators.

DOCS & FACTUAL - REALITY/ FACTUAL

WE THE ECONOMY People aren’t only active members of the global economy – they are part of the world that is governed by its structures, benefits, and drawbacks. ‘We the Economy’ focuses on people as they adjust to different economic conditions and develop different forms of participation - whether it is crypto-currency or free Internet. COMPANY: DEUTSCHE WELLE

COMPANY: SANDBOX NETWORK INC

DRAMA - SCI-FI/FANTASY

WHITE SKY When three campers witness an alien mothership descending on their town and turning the population into “Altered” human beings, they team up with a reclusive stranger who offers to guide them to safety. As they are chased deep into the forest and one of them becomes infected, they realize there’s nowhere to hide from the Altered horde that seems intent upon finding and infiltrating them. COMPANY: VISION FILMS

PRODUCTS DRAMA - SERIES

WHAT PAULINE IS NOT TELLING YOU Pauline witnesses her ex-husband falling from a homemade scaffolding in the garden. She calls emergency services, but it is too late, which sees her becoming the prime suspect of his death. Facing the justice system, she fails to find the right words to defend herself, her will weakened by years of contempt and daily humiliation. ‘What Pauline is Not Telling You’ is the story of insidious oppression, a victim who, under social pressure and institutional violence, seeks to regain her freedom and her desire for life. COMPANY: GAUMONT

KIDS (AGES 7 AND UP) - ANIMATION

WHEN I WAS YOUR AGE Paul is a typical ten year-old boy. He goes to school, plays sports, tries to do as little as possible at home, confuses his parents to get what he wants and has a secret crush. Except that, he has a strange gift - or curse. As soon as someone says the words, “When I was your age…” Paul is immediately hurled back to the time when the person he is talking to was 10 years old like he is now. Depending on their current age, he can be transported back to 20, 30, even 70 years ago! COMPANY: GRACE & KO.

DRAMA - SERIES

UGLY “Ugly” is a sentimental generational portrait. The series recounts the excesses of a whole generation that feels as a hinge of the world, a generation between an uncertain future, a placid past and a convulsed present, a consumerist, insatiable, and hopelessly lost generation, of the existential void that tries to solve with excesses and exciting experiences because it feels does not have much to offer the world. COMPANY: ATRESMEDIA TELEVISION

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PRODUCTS DRAMA - ROMANCE

WOUNDED HEART The series is an impressive story of revenge between two families. In the series, everything turns upside down when Ferit and Hande arrange a marriage with the support of their families. When Ferit returns to the farm earlier than he should have and sees Hande acting intimately with Yaman, he immediately travels to İstanbul. By chance, he meets a feisty girl Ayşe, whom he makes a proposal to. Drama ensues when they head back to their motherland.

DRAMA - CRIME INVESTIGATION

THE TAKEDOWN 肃战肃绝 Qiaoyi, a team leader at CNB who specializes in drugs-related cases, often neglects her family because of work. Her son is soon suspected of abusing drugs, but upon investigation, the trail leads to her teammate Hao Yang’s best friend Jin Cheng. An action-packed drama that follows a team of drug-busting officers on a mission to hunt down the real mastermind of a large drug ring. COMPANY: MEDIACORP PTE LTD

COMPANY: ATV

DRAMA - TELENOVELAS/SOAP

THE THREAD OF LOVE / DISEÑANDO TU AMOR “Diseñando tu amor” tells the story of Valentina, a beautiful young woman who dreams of becoming a fashion designer. After a tragic plane crash that sees her losing her father and boyfriend, she begins to interact with many other people who will help her make her wish come true, as well as others, including her deeply jealous sister, who will try to prevent it. COMPANY:TELEVISA INTERNACIONAL LLC

PRODUCTS DRAMA - MOBISODE/WEBISODE

TTEUGEOUN HONGCHA An imposter pretends to be the boss’ son and attends a boy’s school in his name. But she’s a girl and from that day, her secret life begins. She soon arouses the suspicions of Lim Seok Yong who calls her out - “You’re not Hong Chayeon. You are a girl.” Nuri’s life is plunged into danger from then on. COMPANY: WHYNOT MEDIA

FDOCS & FACTUAL - SOCIAL RESPONSIBILITY/GREEN

THE ZIMOV HYPOTHESIS Past the Arctic circle, in deepest Siberia, two Russian scientists, Serguei Zimov and his son Nikita, are conducting a unique experiment: turning back time and going back to the Ice Age to save the world from imminent environmental disaster. According to the Zimov Hypothesis, a large-scale reintroduction of herbivores would stop the permafrost from melting and the resulting catastrophe. Could the mammoth’s return to Siberia save humanity? This is the story of a scientific and philosophic quest at the frigid end of the world. COMPANY: CLPB RIGHTS

OTHERS - IPS

VIDEO STREAMING PLATFORM Suss out the concept of ‘Play Now’, an enterprise whitelabel video streaming platform provider that offers an end-to-end solution for content creators to launch multi-screen video streaming platforms - ranging from IT infrastructure to website and mobile applications. COMPANY: ALPHANSO TECHNOLOGY

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PRODUCTS DOCS & FACTUAL - CURRENT AFFAIRS

THE SALT PLANET Salt, embedded with small crystals of sodium chloride, is vital to our survival. This precious, tasty mineral led to the progression of civilization and the construction of cities all over the world, and it was essential to our survival. One could say that this seemingly insignificant compound was the quiet engineer behind the drawing of the world map as we know it. Perhaps it was humanity’s passion for salt that has driven our current success as a species. COMPANY: KOREA RADIO PROMOTION ASSOCIATION

DRAMA - MINISERIES

THE SNITCH’S SERENADE: TOKYO METROPOLITAN POLICE CASE FILE After a junior detective dies in the line of duty during an active investigation, Detective Masaki Sera of the Tokyo Metropolitan Police First Investigation Division is transferred to Section 1 of the Personnel Division, the internal affairs unit that investigates law enforcement officers suspected of misconduct. Sera, who is still traumatised by the past, is shunned by his colleagues who see him as a traitor and is forced to carry on his duties as a lonely outcast. COMPANY: WOWOW INC.

DRAMA - FAMILY

TOKYO MER: MOBILE EMERGENCY ROOM A brilliant ER doctor Kitami has been handpicked by Mayor Akatsuka to head a new ER team: TOKYO MER, with leading-edge medical technology to respond to accidents, natural disasters, and other emergencies. Their mission is simple: Save every life; However, the reality is anything but. COMPANY: TBS TELEVISON, INC.

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