ATF 2022 - Show Daily Day 1

WELCOME MESSAGE

Dear Industry Friends,

So much has changed globally since we last celebrated ATF’s 20th anniversary in December 2019. We are delighted to finally welcome everyone back in person with a strong comeback edition, gathering attendees from more than 60 countries and regions, including 15 official pavilions.

This year’s theme, “Content is Still King” fortifies how quality content continues to transcend time and boundaries, including the pandemic, against a dynamic backdrop of industry consolidation, rising prices, the quest for talent, and evolving business models.

With content as the driving force of any successful studio or platform, the Kingmaker or Talent is at the heart of the ecosystem. As an entertainment content market and conference serving the Asian region, celebrating, and nurturing Asian talents has long been a critical part of our curation.

This year, we announced 2 new pitches. The 1st pitch is in partnership with Vidio, looking for great stories for the Indonesian market, and the 2nd with Warner Bros. Discovery for drama concepts for the Thai market. These additions have beefed up ATF’s stable of pitches that currently includes the Animation Pitch, Formats Pitch, the Chinese Pitch with GHY Culture & Media, and the IP Accelerator with 108 Media and the Southeast Asia Audio-Visual Association — all of which were curated with industry partners and commissioners to source for fresh ideas for development of originals.

The success of regional and global streamers across the world increasingly rests in the might of Korean content. ATF’s Conference shines a Spotlight on Korea – where insights from senior executives of top Korean platforms and studios are offered, as they continue to smash screens with their bold visions, taking on global competitors through creative storytelling and high production values.

ATF had its humble beginnings at the turn of the millennia, in the Year 2000. It has since blossomed into Asia’s leading entertainment content market and conference. All these would not have been possible without your participation. While we look forward to the future, we would like to express our gratitude for the support from our partners over the years, through good times and bad.

CONTENTS

WELCOME MESSAGE

Hui Leng Group Project Director, Asia TV Forum & Market RX

HIGHLIGHTS INDEVELOPMENT

EXCLUSIVES

01 11

04 22

Yeow

An Event of Hosted by

Nicolas

Tony Gunnarsson Principal Analyst, TV, Video & Advertising Omdia

TVING

Jay Yang CEO

Currently, the cost of content production in Korea is rising rapidly. There are two major causes. First, as K-content is gaining popularity around the world, directors, writers, and actors are demanding more revenue. Second, as a more essential factor, the overall production cost is increasing because blockbusters are needed to stand out in a situation where there are a lot of content, such as existing broadcasting channels and YouTube, as well as OTT.

The positive side is that the best directors, writers, and actors gather to create the best content, so the enthusiasm is more intense than ever before – we expect even more amazing K-Content to come out in the future, with the number of remakes of existing K-Content hits to increase through co-production.”

JAY

WAVVE

Lee Tae Hyun

In the case of content produced in other countries, those have not prevailed successfully (in Korea). We must develop and fund those stories collaboratively instead of just licensing or through acquisition. (In terms of K-content evolving in the near future), it will be holding more universal, more attractive, more costeffective and more cutting-edge stories, while connecting the young generation throughout the globe.”

TAE HYUN

CJ ENM

Spencer Thomas Global Content Strategy

Frankly, Korea has such an active and competitive production ecosystem that Asian regional content is almost never acquired by Korean networks. For many years, the focus has been on exporting Korean content. We do, however, pay attention to all the content trends across Asian territories to see what types of shows resonate and better understand various cultural sensitivities.

With the emphasis global streamers are placing on Korea, Korean content will evolve to being even more premium. On the other end of the spectrum, I can imagine web entertainment growing into a fertile environment for testing ideas, building audiences and track records, and establishing credibility for enterprising production companies.”

SPENCER

KT STUDIO GENIE

DEC 7 @ MAIN STAGE 3.05pm

K-content doesn’t have the limit of budget anymore, so it means the spectrum of K-content will be wider and its creativity more edgy. On how regional content can supplement K-content within Korea, there are fandom of specific genre content like Thai action or Chinese fantasy. Regional content contributes to meet diverse needs of audience.”

CHUL YEON

SLL

Kyung Moon Jung CEO

DEC 7 @ MAIN STAGE 3.30pm

(With regards to opportunities for Korean producers to work with partners from outside Korea in Korean productions), absolutely they exist. We are trying to expand partnerships with global players. For example, we have acquired Hollywood-based studio WIIP, and currently we are looking for partners in Japan/Southeast Asia since we are planning to start business there. Beyond the boundaries of country, race, language, K-content will become a genre having dimensional narrative and emotional flow of characters. To achieve this, we are not going to stick to traditional Korean production system. We are seeking for more collaborative opportunities with creatives around the world.”

KYUNG MOON

DITURN

Wonwoo Park CEO, Chief Creator

DEC 7 @ MAIN STAGE 3.55pm

There are many regional content created with better production abilities than Korea. Therefore, regional creators/producers need to have their own originality, trying not to follow Korean content. That ‘money makes good content’ is a common bias people have, and it is unfair to see content from a capital point of view.

The Korean version of Masked Singer was created under lower budgets than that of current versions. As viewers become increasingly savvy, they want quality, not quantity — they want a show that has attention-grabbing visuals; one that draws curiosity. This has led to Korean creators/producers putting effort into brand-new visuals, new structures, new technologies, and new talents needed for creating a show.”

WONWOO

Coming to you tomorrow morning...

Local content rules Indonesia’s video-on-demand scene. Vidio a streaming service owned by the country’s second-largest media company, Surya Citra Media (SCM) is punching above its weight and has emerged as the most popular service in terms of consumption, according to a coverage by Bloomberg. The streamer drew millions of consumers with its teen fiction adaptations and premium sports.

“Being part of SCM, the leading media group in Indonesia, Vidio enjoys the benefit of SCM partnerships with best local content creators to continuously deliver popular quality local original series. In addition, SCM’s media dominance also enables Vidio to promote its content very effectively to potential users. Having substantial commitment to build strong local resources also enables Vidio to deliver the best support to various partnerships. All of these are difficult to replicate by other global platforms,” said Sutanto Hartono, CEO of Vidio, who is also the MD of Emtek.

There is a burgeoning appetite for local content in the world’s fourthmost populous country. Indonesians spend an average of more than four hours daily consuming free-to-air television content and content

WILL YOUR IN ASIA?

How are originals performing against IP acquisitions for the Asian region?

Sanmesh Thakur, Executive VP & Territory Head (APAC), ZEE Entertainment Enterprises Ltd Ella Umansky, VP of Format Acquisitions, ITV Fenton Bailey, CEO, Wonder Productions Rahul Raman, VP, Sales & Global Partnerships, 108 Media (Moderator)

OUT OF THE BOX FILMMAKING

In less than 10 years since Singaporean film director Kelvin Sng released his comedy “Taxi! Taxi!”, much of the film scene in Singapore has changed. For starters, filmmakers and producers now have distribution access beyond theatrical. The sector has also seen a boost of partnerships and collaborations, particularly within the APAC region. Several government agencies, including the Singapore Film Commission (SFC), Film Development Council of the Philippines (FDCP), Taiwan Creative Content Agency (TAICCA) and, more recently, the Hong Kong Film Development Council (HKFDC), have launched funding schemes in the past few years that encourage regional co-production.

“The pandemic has made people accustomed to free content online, staying home, streaming films directly from their devices and having less attention span for feature length content! All these have made the future of cinema very challenging, but at the same time, forces us to think out of the box and be open to more innovative ways of producing and distributing content,” said Kelvin, who is the MD and Head of Film & Media of Kelvin Sng Productions Pte Ltd.

Kelvin’s latest project, “Don’t Go Home Tonight” is a “100% Singapore production” – as he described it – with cast hailing from Singapore, China, Korea, UK and the US. He shared about the freestyle direction he approached the project with: “I wanted to make a film without a full script based on improvised performances and the concept of integrating naturalistic dialogues into the story, since the film is dialogue driven and takes place over the course of just one night at one location. I wanted to include not just local actors, but also actors from other parts of the world to make it look and sound more regional, with a universal message that encompasses a key aspect of our human condition: Lying to others and ultimately lying to ourselves.”

Fresh insights on business strategies & audience engagement across borders

Kazufumi Nagasawa, Chief Content Officer, Hulu Japan | Kelvin Yau, Head of Southeast Asia, iQIYI International | Yeo Kok Siew, Partner Solutions Lead, Creators, APAC, Meta (Moderator)

PINK ECONOMY: FROM BOYS’ LOVE TO BEYOND

BY MICHELLE LIN, APAC MANAGER, K7 MEDIA

Western TV producers and commissioners were unaware of just how popular same sex drama shows are in Asia. In truth, this is a genre that has been building for decades.

In many Asian countries, the “Boys’ Love” trend, or BL for short, can be traced all the way back to 1961. That was the year in which A Lovers’ Forest (恋人たちの森), a gay romance novel by Japanese author Mari Mori was released. By the 1970s, the term ‘yaoi’, referring to homoerotic manga about men, but created by women for women, started to gain traction, growing in popularity even faster once the internet arrived, spreading to other Asian countries, and then exploding on TV in the streaming era. Followers of these male-male romantic stories are known as ‘fujoshi’, many of them lifelong fans of yaoi manga and BL, its TV offshoot.

This genre has been highlighted recently, given its obvious appeal and untapped commercial potential on the global market. 2gether, a 2020 university-set gay romantic comedy from Thailand reached at least 100m viewers on streaming platform LINE TV. As well as delighting domestic viewers, the show found fans across Latin America, and even more socially conservative countries such as China and Indonesia.

GagaOOLala, Asia’s biggest LGBTQ+ streaming platform now has one million monthly active users and has seen subscriber numbers grow by 96%. In 2022, hours watched on the platform has more than doubled. GagaOOLala’s BL dramas account for over 30% of those total views in the top 3 subscribing Western countries, with the USA, UK and Germany each responsible for more than 40% of views on GagaOOLala’s Boys’ Love content.

This fresh wave of interest from the west has given many Asian companies confidence to invest more into this once niche form of programming. In 2021, $10.7 million in foreign investment was specifically poured into the making of BL dramas in Thailand alone,

making this ecosystem “export-minded”. Just as Korea’s romantic comedies and dramas attracted teenage viewers around the world due to the lack of similar programming in their home countries, these young audiences outside Asia have also found their way to watch BL dramas as the logical next trend.

Many people new to this genre may struggle to understand that most Asian BL drama viewers are heterosexual women aged between 20—40 years old. In the past, some Asian commentators credited this to the limited societal expectations for female social roles, encouraging many girls to seek emotional satisfaction in fictional relationships. The androgynous nature of much BL drama meant girls could project their romantic ideals onto a safe fantasy scenario.

However, nowadays the BL genre is attracting audiences across the spectrum of gender and sexual orientation. Indeed, to newer fans that’s the appeal. No restrictions. No judgements. Aesthetics is the attraction. For many young people, particularly in Gen Z which has shown itself to be more open-minded regarding sexuality and gender, that’s proved incredibly liberating. Entire communities have sprung up to enjoy the freedom and confidence that indulging these fantasies brings.

According to a survey by LGBT Capital, the worldwide LGBTQ population numbers around 450 million, nearly one-tenth of the world’s population, with consumer spending power valued at around US$3.7 trillion annually. With such a big economy at stake, it’s not hard to imagine creative and thorough business minds already working to tap into this audience.

The aforementioned GagaOOLala is an excellent example. Only six years old, it has

made more than 60 original titles serving 2.5 million users around the world. 80% of subscribers come to the platform to watch gay content, while 60% of members say they subscribed specifically for BL titles. Portico Media, the mother company behind GagaOOLala, is already seeking global expansion. Based in Taiwan, the first and so far, only Asian market to legalise same-sex marriage, Portico Media is pushing boundaries for LGBTQ content in Asia, contributing to this healthy ecosystem.

One of GagaOOLala’s most popular shortform movies, Light, is being adapted into an interactive game, a shrewd move considering that, according to Nielsen data, the LGBTQ community spends more on games than the general public. Having run for two live action seasons, Asia’s first gay parenting series, Papa & Daddy, is getting an animated spinoff to help children understand and accept diverse family types. Portico could well be at the forefront of another trend with this project, as western animation becomes more diverse. Cartoon Network has 19 animated shows and Netflix has 14 that make a point of being LGBTQ-inclusive according to INSIDER (2021).

This Pink Economy is no longer an underground phenomenon serving a small minority. It’s aesthetically appealing and represents a big global community. It’s growing and is trusted. Related IPs are spinning off into marketable brands and content distribution has matured. It’s only a matter of time before BL, and other LGBTQ content, becomes a recognised mainstream genre outside of Asia. Indeed, one day you could find in-flight entertainment, featuring BL dramas, and passengers in the next seat won’t frown when two beautiful boys have a smooch onscreen.

LOOKS LIKE THE BEGINNING OF THE END: NETFLIX AND DISNEY TO BRING BACK ADVERTISING TO ENTERTAINMENT

• SVOD has caused a great deal of creative destruction, as customers switched from expensive pay-TV to cheaper online alternatives

• The immense popularity of Netflix has forced media companies to embrace streaming-first strategies

• With fierce competition from new D2C services Netflix has been forced to abandon its ‘no ads’ philosophy

BY TONY GUNNARSSON, PRINCIPAL ANALYST, OMDIA, TV, VIDEO & ADVERTISING

Source: Omdia

In Asia, more people now watch SVOD than pay-TV—regionally, SVOD overtook pay-TV for the first time in mid-2022. In the years to come, SVOD will reach enormous scale previously unseen by pay-TV. Between 2019 and 2027, Asian SVOD subscriptions will more than double to 860 million (from 421 million). Key drivers for SVOD remain major services like Netflix, Amazon, Disney+, as well as major local players like Tencent Video, iQiyi and Youku Tudou. The global pandemic acted as a major driver for SVOD—as did the arrival of new services like Disney+ and HBO Max. But SVOD growth rates are already decelerating. In Asia, the annual growth rate for SVOD will drop into single digits in the next few years.

2023 will be a key year for SVOD. Advertising on Netflix will be one of the defining factors, one that Omdia believes will kick-start a major return of advertising to TV & Video in general: Most if not all major services will shift towards

hybrid AVOD-SVOD models. By 2027, 2/3s of Netflix users will be ad-tiers; for Disney+ it will be as high as 75%. Within just a few years from now, most people watching streaming video will be exposed to adverts. Meanwhile, the D2C revolution is quietly coming to an end.

Around the world, telcos are increasingly bundling, aggregating, and curating SVOD services. In 2022, just under 1/5 of all SVOD subscriptions come through operator bundling, where the SVOD is sold together with telco TV, mobile or pay-TV services. By 2027, operator bundling will be responsible for over 500 million subscriptions. In Asia, the split between direct retail and indirect wholesale is expected to be even higher— in 2022, wholesale makes up 16% of all subscriptions (slightly lower than the global proportion), but come 2027, it will have grown to 30% (over 250 million subscriptions).

For more info, please do contactTonyGunnarssonTony.Gunnarsson@ovum.com

For most consumers, the next few years will bring about changes to how they watch premium online video streaming services, how they pay for them, how much they pay, and who they pay. Customer perception of pricing will undergo a radical change – as customers will each individually have to undergo a costand-benefit analysis whether to opt for a more expensive subscription without adverts, or whether the lower price with adverts offers a better value for money. Omdia firmly believes most consumers will opt for the cheaper adsupported alternative—this will be the only way that they can afford to access multiple ‘must have’ SVOD services.

Omdia is a global research leader, formed in 2020 through unifying the depth and breadth of expertise from InformaTech’s legacy research brands:Ovum, IHS MarkitTechnology,Tractica and Heavy Reading. Omdia has decades of industry experience, world-class research and consultancy, and actionable insights in over 200 markets.

EXCLUSIVE

GLOBAL PLATFORMS: NON-EU/US SERIES & ENTERTAINMENT FORMATS ON THE RISE

BY AVRIL BLONDELOT & ANQI LIU

Global platforms face higher competition and subsequent churn leading to economic pressure. With the intense war of content investment, an expected $140 billion is to be spent for 2022 (a 10% rise from 2021). Meanwhile, streamers are looking for more profitable ways in content spending.

While fiction remained the leading invested genre, entertainment formats seemed to be an efficient alternative to tackle the content cost issue. This season, the launches of new entertainment formats saw a significant increase among Asian (+74% representing +34 launches) and North American regional platforms (x6 times representing +13

This phenomenon can also be found amongst global players, with a slight increase in volume (+32% representing +17 launches), mostly a result of Netflix’s investment in local content of the genre. For instance, the South Korean JTBC produced format SINGLE’S INFERNO, or its first Spanish reality show INSIDERS produced by iZen Producciones.

Meanwhile, the origins of platforms’ commissions significantly evolved this past TV season. There were more commissions outside of the EU and US on global platforms due to their international expansion. For instance, Paramount+ has collaborated with South Korean local platform TVing to directly access local audiences and commissioned the IP by CJ ENM, YONDER.

This season, Netflix’s commissions outside of the US and Europe had a bigger portion, with 36% of launches vs 35% US-only commissions, and Disney+, 39% of launches outside EU/US vs 3% the previous season.

This rise of commission numbers outside of the EU/US was unprecedented, mainly due to global expansions in less saturated OTT markets.

On the other hand, local/regional platforms also seek international markets through their unique touch of local content. The Nordic platform Viaplay expanded largely outside of its regional market – for instance, it arrived in the US market in December 2021. More recently, ViX+, the premium tier Spanishlanguage streaming platform, was launched in the US and LatAm markets in July 2022. It aims to be the biggest Spanish-speaking streaming service in the world.

VOD Landscape report:AVOD/SVOD/TVOD market insights, catalogue analysis and platform descriptions (https://onlinestore.mediametrie.com/en/products/vod-landscape)

Contact:Avril BLONDELOT ablondelot@glance-mediametrie.com;Anqi LIU aliu@glance-mediametrie.com

Borderless Creativity

Fantastic Timing Fantasy Romance Drama

Show Window: The Queen's House Drama

Work Later Drink Now 2 Drama

TASTES OF HORROR Horror

Seasons of the wetland Documentary

Peet, The Forest Detective Animation

BTS Music Documentary Documentary

Tayo, The Little Bus Season 6 Children and Family

Perfect City SF Action Thriller

Dr. Evacuation Entertainment Oasis Drama

Good Job Drama

Extraordinary Attorney Woo Drama

Jinxed at First Drama

Weekly Idol K-POP Entertainment

Fanletter, Please ! Romance, Comedy

FUTURE CITY: CHERNOBYL VR XR 4K Documentary

Cheer Up Drama Bargain Thriller

The Garden of Harmony Romantic Comedy, Historical Drama

Dinoman Animated TV Series

Andante of Love Romantic Comedy

PURSUING THE LARGEST INDONESIAN LIBRARIES

BY TOM GENNARI, CEO, BB MEDIA

Within the context of the session titled, ‘Winning Indonesia’ for this year’s Asia TV Forum & Market (Dec 8 @10.30am on Main Stage), BB Media carried out an analysis of the streaming market in Indonesia. The data science company monitored 27 streaming platforms in the country, identifying more than 39K unique titles available, an offer consisting of 32,318 movies and 7,565 series.

When looking at the streaming platforms in this country that hold more original content than acquired ones, Netflix comes out on top with a striking number of 3,002 titles. Amazon Prime Video follows with 299 originals, and Apple TV+ closes the ranking with 147.

Within Indonesia, there are almost 500 local titles streaming to date. Platforms outside of Indonesia have also sought after Indonesian originals, where countries with the largest Indonesian catalog include Malaysia (213 titles), Philippines (174), Singapore (171), Thailand (160) and the US (154), marking a clear preference by Asian countries for regional content.

Netflix stands out once again as the most localized streaming service with over 254 Indonesian titles. Disney+ Hotstar comes in second with 175, which are interestingly all movies. Vidio (148 titles), Amazon Prime Video (130), and MAXstream at 104 Indonesian titles,

completes the list of the biggest Indonesian library owners.

‘Gundala’ is the Indonesian title that has achieved the highest distribution around the world, with presence across 50 countries and 193 monitored streaming platforms globally. The main genres it is categorized under are Action, Adventure and Drama, and it can be found in almost all of the streaming platforms mentioned above.

Note:The data included depends on the services monitored by BB Media and the metadata availability of each title

Source: Multiscreens+ | Content Pulse

BB Media is aWorldwideAward-Winning DataScienceCompany, specialized in Media & Entertainment for over 35 years. It monitors over +4,000 streaming services across 240 countries, their prices, plans, bundles, and commercial offers. Plus, all their libraries of movies and series, including normalized metadata. For more info, contact hello@vip.bb.vision

Download BB Media’s full report on STREAMING INASIA —A breakdown of platforms, supply, and demand (50 monitored countries, Q3 2022)

A quick look at Indonesian content performance

ATF FORMATS PITCH

K7 MEDIA

Clare Thompson Consultant

There was such a wide range of ideas — from food travelogues to documentaries, gameshows to dating formats. It really showed the breadth of original content creation coming out of Asian markets now. In the end, it was about picking out the ideas that were most clearly presented and expressed, felt like they could travel, and had something clever and original in them — that you would be intrigued to see play out. But it wasn’t an easy task!”

KC GLOBAL MEDIA

Derek Wong Vice President & Head, Production & Creative

This year’s submissions were all generally very creative; they contained quite a number of “dating” formats, which in a way, made the non-dating formats stand out from the rest. I was happy to see that creators were more aware of the potential production budget of their creation, which gives commissioners a better sense of the feasibility of each of the formats.”

Wonwoo

Justin Deimen

SPECIAL

CHINA EXPANDS ITS KEY POSITION IN THE GLOBAL AUDIOVISUAL INDUSTRY

China’s large population and strong demand for audiovisual content are driving the boom of the country’s audiovisual industry. As of 2021, China’s paid user for internet video and audio reached 710 million and 150 million, respectively, contributing to a 1.15 trillion RMB yuan market (US$180 billion), of which 360 billion yuan (US$56 billion)—or twice the 2019 amount—was generated from online content providers.

Exporting Content

Fierce competition has led to innovation, quality improvements, and greater availability of Chinese audiovisual content in the global market, giving the international audience more diverse choices. More and more international viewers tune in to Chinese programs, especially idol dramas and female-centric series. The narrative style of Chinese TV dramas and the formats of Chinese variety shows have won the attention of global producers, who have adapted and localized many successful titles, including Nothing but Thirty, Street Dance of China, and Young Forever.

Preliminary statistics show that China exported nearly 400,000 hours of audiovisual content—with a total worth of nearly US$700 million—to over 200 countries and regions globally between 2012 and 2021, making it an important global content supplier.

Importing Content

Chinese viewers are eager to watch international programs to learn about the economy, society, culture, and customs of different countries. Chinese media and broadcasting organizations also actively import content to meet the demand of these viewers. From 2012—2021, China imported close to 300,000 hours of content from nearly 100 countries and regions, which amounted to over US$2 billion, consistently higher than its recent audiovisual exports. The television series Game of Thrones, My Love from the Star, Downton Abbey, the documentary Blue Planet, and the animated series Peppa Pig, among others, have become household names in China.

China will continue to import outstanding content to better address people’s diverse, personalized, and ever-changing audiovisual appetite.

Copro

International co-production, an important way to share and ignite creativity, innovate expression, and strengthen international communication, has become a new trend in the international content industry. The NRTA encourages international co-production and provides financial support for outstanding projects. Chinese media organizations are actively engaged in co-producing television series, documentaries, animation, and variety shows, with partners from dozens of countries and regions globally.

China is home to diverse landscapes and a beautiful natural environment. Its audiovisual industry boasts sophisticated infrastructure, advanced technology and equipment, a complete supply chain, favorable local policy environment and government support, and abundant professional talents. As such, more and more international media organizations choose to film and produce in China.

Major professional international film and television festivals and exhibitions are held annually in cities like Beijing, Shanghai, Chengdu, Hangzhou, and Guangzhou, making China an important global hub for audiovisual trade. In 2020, during the COVID-19 pandemic, the NRTA launched the “China Pavilion Online”, an online global trade platform connecting major international festivals and trade fairs, such as the MIPCOM, ATF, MIPTV and TIFFCOM. Supporting online transactions between international buyers, sellers, and Chinese agencies, the platform has become a “24×7” marketplace for international audiovisual trade.

The future is here. China’s audiovisual industry will share its huge market with global partners, while deepening its engagement and partnership in the global supply chain to offer more exciting Chinese content to global audiences.

Zhu Xinmei

Researcher & Director, International Communication Research Institute, Development Research Center, National Radio, and Television Administration of China (NRTA)

FEATURE

GENERAL ENTERTAINMENT REMAINS KEY THAI DRAMAS GAIN

Even as Netflix rolls out its ad-supported subscription tier, Alexandre Bac, Managing Director (Asia-Pacific) of Thema, is observing huge developments in the free ad-supported streaming television (FAST) space in the region, including app integration with different streaming players. Indeed, a study by Kantar Group found that FAST is currently the fastest-growing tier of streaming TV, with original content and quality of shows increasingly driving sign up. Alexandre explains that general entertainment remains key in attracting and retaining consumers, and this guides the company’s content slate.

Thema, a Canal+ Group, has been able to diversify its product offering through partnerships with various content providers. In September this year, the company entered into a strategic alliance with SPI International to distribute the latter’s content portfolio in Asia-Pacific countries. The arrangement offers flexibility in the different business propositions to platforms in the region. “Our focus is also to partner with Asian content providers to bring Asian content to the rest of the world,” said Alexandre. “While mainstream content is widely available on platforms, we [are able to] propose alternatives to platforms to differentiate their content proposition. We have the possibility to try creative business models to penetrate new markets,” he added.

‘Khun Chai’ (To Sir, with Love), a Thai drama about a young gay man taking over his family’s business, released in October this year, gained a global fan following and amassed a fair deal of social media traction. Also generating online buzz is the historical romance drama, ‘Wanthong’, which came in the top five most-watched list in Southeast Asia.

Heartened by the positive international reception of Thai dramas, ONE 31 Co Ltd is seeking out collaborations with regional counterparts to develop Thai versions of dramas. Its most recent, undisclosed cooperation involves a production with a South Korean television channel, with release expected in the fourth quarter of 2023. “We are open to all partners and investors and all kinds of international media stations to partner with us. We have a well-known and fantastic IP that can be adapted to a global audience,” said Wanida Boonprasertwattana, AVP — International Copyright Management of ONE 31 Co Ltd.

Wanida credits the popularity of the dramas to the attention-to-detail aspect throughout the production process, from script and

GLOBAL FOLLOWING

character development to principal photography, as well as the team’s resolve to never compromise on the projects or take shortcuts. “Despite the challenges posed by the coronavirus pandemic and additional production costs, we maintained the quality of the dramas in its entirety,” she said.

ONE 31’s commitment to producing premium quality content with diversity is evident beyond its scripted formats. The company has recently significantly invested in new capabilities for its news program, Channel One 31 by assembling a team of seasoned and accomplished news anchors, and behind-the-scenes talent to keep up with consumer demands and offer journalism that would appeal to audiences both at home and abroad.

Wanida Boonprasertwattana

AVP - International Copyright Management ONE 31 Co Ltd

Alexandre Bac Managing Director Asia-Pacific Thema

FEATURE

HITTING THE SWEET SPOT

It is often a challenge to forecast what would stick with consumers, but some genres prove more predictable over others. Often not, the recipe for success involves not only having a pulse and insights for what audiences are watching, but understanding the broader, macro topics that motivate and resonate with them.

For Global Screen, reading the consumer has meant evolving its acquisition and sales strategy to reflect its new focus in content that features diversity, inclusion and sustainability. The company’s slate at ATF include ‘Zombielars’, a comedy-drama series and ‘Dome 16’, a futuristic sci-fi climate drama – the titles that exemplify topics of environmental impact, climate change and diversity for a new generation of viewers. The company has also found success with its live-action-animation family dramas ‘Lassie’ and ‘School of Magical Animals’, which have garnered considerable attention from buyers, allowing the company to secure pre-sales.

Wang,

explains that the shift in its strategy is not just a commercial move, but a matter of principle too. “We have a very strong work ethic and values, and we believe that beside the artistic and entertainment aspect of our business, we have a cultural, educational mission as well,” she said. Her focus at ATF is to reinforce the company’s presence and business in Asia, and look for strong partners and coproduction projects.

The free ad-supported streaming TV (FAST) service is fast growing, with a recent report from Comcast saying FAST penetration among households more than doubled year over year in 2021, making it the fastest growing streaming tier. Six out of 10 households with a connected TV are turning to FAST services, either exclusively or to complement other services. “We are putting in place partnerships with global AVOD/FAST services, such as Pluto and Freevee, as well as hardware providers such as Roku, Samsung and LG, who are now key players in this space, alongside more local services such as Seven Plus in Australia, or Tubi in the US,” shared Augustus Dulgaro, Executive Vice President, Distribution Asia Pacific, of ITV Studios.

The company’s strategy involved focussing on key globally recognisable IP that it knows will work well in this space, such as ‘Hell’s Kitchen’ and ‘River Monsters’. “We also have Storylands, a channel for European drama, ITV Choice, a general entertainment channel and more planned around our extensive drama library and additional genre based non-scripted channels,” said Augustus.

He observes that demand for scripted formats continues across the region, particularly from India and South Korea. On this front, ITV Studios had recently partnered with JTBC/ SLL on a South Korean version of ‘Cleaning Up’, as well as with BBC/ Applause on an Indian version of ‘35 Days’. The approach differs by territory as Augustus explains, “In Asia, we work with pan regional platforms like Netflix and Disney+, while in other markets like Australia, New Zealand and South Korea, our business is anchored by output deals, who all take a mix of scripted and non-scripted programming.”

Augustus Dulgaro Executive Vice President, Distribution Asia Pacific ITV Studios

Stephanie Wang VP, International TV Sales & Acquisitions Global Screen

Stephanie

VP, International TV Sales & Acquisitions of Global Screen,

FEATURE

CASHING IN ON OFFSHORE POPULARITY OF INDIAN CONTENT

There is no question that the unstoppable rise of OTT platforms is altering consumer behaviour of content consumption and access. Companies are shifting their focus to addressing how they can meet the needs of viewers by delivering different and quality stories, as well as extend their market reach. For IndiaCast, jointly owned by TV18 & Viacom18, it meant venturing into the digital space in India with VOD streaming service, Voot, in 2016. The service has expanded beyond domestic shores, to the US and UK. “Clients are now seeking multiple rights along with free and pay, TV Everywhere, CatchUp, Digital, and so on. The effort is also to tap into the VOD/ OTT platforms that are as integral to the ecosystem as traditional,” said Sheetal Mehra, Vice President – International Syndication of IndiaCast.

The company produces five to six drama series a year and have found success beyond Asia, in Africa, Japan, Middle East, Russia, and Central and Eastern Europe. “The truth of today’s world is that we exchange ideas with each other’s cultures. While our

A NEW DNA FOR A NEW MEDIA LANDSCAPE

Local adaptations and creation of original content appear to be the way forward, post pandemic, for companies navigating an evolving media landscape. According to Sonal Gupta, Head - Syndication & Content Alliances of One Life Studios, developing original IP is the company’s DNA. “Our IP expansion plans include collaborations with studios, direct acquisitions from content owners and creation of IP through our own production setup, which allows us to take content (Indian and international) freely from one territory to another.”

The company’s recent foray into web series has yielded success. ‘Escaype Live’, a Hindi social thriller has seen successful global audience traction on Disney Plus Hotstar. Their Flagship series Porus, the first and only Indian series to air in Japan, has been licensed to Hulu (Japan) and BS Nippon TV. It has also been licensed in 17 territories, including all of Southeast Asia.

“Trends that we are seeing specific to genres are in the demand for thrillers and love stories. However, it is local adaptations of popular series and movies of any genre which are far overtaking originals or genre driven content,” added Sonal. The market insights and data have shaped the company’s upcoming slate of remakes such as the thriller web series, “Saaf- The Cleaning Lady”, which is the Indian adaptation of the Argentinian thriller, “La Chica Que Limpia”, and which was locally adapted in the USA by Warner Bros for Fox.

Top on the agenda at ATF involves exploring collaborations for co-production, licensing and acquisitions. “One Life Studios has always seen success with all of their productions in APAC. We look forward to newer partnerships and to delivering more exciting content to the audiences of the world,” said Sonal.

content is symbolic of India’s core culture and diversity, our approach has always been global. ‘Indian-ness’ appeals magnificently across the globe, and we seek to captivate audiences from all walks of life, in India and overseas, with our compelling storytelling,” added Sheetal. Having made inroads in the APAC market, mainly in Southeast and South Asia, IndiaCast/Viacom18 is now exploring business in untapped markets, including Japan, Russia, the Philippines and Korea. “We are concentrating on unlocking new territories, opening a regional content library, and launching new animation series.”

Titles on offer at ATF include fantasy/short drama series, thrillers and supernatural stories: ‘Naagin’, a saga of love and revenge involving a snake woman who is able to take on human form; ‘Sherdil Shergil’ (Mismatched) about two individuals with opposite ideologies trapped in a fake marriage; and ‘Saavi Ki Savaari’ (Saavi’s Ride) involving a 21-year-old girl who rides a rickshaw in order to run her house and fund her education.

Sheetal Mehra Vice President ––International Syndication IndiaCast

Sonal Gupta Head - Syndication & Content Alliances One Life Studios

FEATURE

IT’S GAME ON WITH MNC!

Gaming culture has steadily permeated the mainstream. The trend has only been accelerated by the recent global coronavirus pandemic, which forced billions of people into a more than year-long period of isolation. In this time, gaming became both a source of entertainment and socialisation. In 2020, the global video gaming industry was reported to have taken in an estimated $180bn – more than sports and movies worldwide.

Cashing in on the next big consumer platform, MNC Studios International said it released a multiplayer online battle arena (MOBA) mobile game called, ‘Fight of Legends’ in late November this year. “We believe that the launch of this game can elevate the stature of our company in the long run, as it expands our exposure to the international market,” said Ella Kartika, CEO of Contents and Licensing, of MNC Studios International (Indonesia).

The company is exploring further monetisation opportunities in the social media space and is currently in the process of developing its own non-fungible tokens (NFTs), in addition to its diverse existing portfolio of videos, news reporting, audio

management, merchandising and sponsorship. As dramas and talent search programmes are highly sought after by audiences in Indonesia and generate highest advertising, Ella shared that the company is also creating its first talent search programme, ‘The Indonesian Next Big Star’, exclusively available on its digital app.

“We have always been strong with our free-to-air (FTA), we cover all segments and continuously deliver the highest audience share over the years. Now that the era is shifting towards digital, we have created RCTI+ (an AVOD app) and Vision+ (an SVOD app), which have synergised really well with our FTA and content business,” added Ella.

BUSINESS GROWTH THROUGH DIVERSIFICATION

In the race to serve content-hungry audiences, companies are diversifying their business models and product catalogue, as well as inking partnership deals in the hopes to reap rewards beyond their home turf. For international distributor and global rights management company, Ecchorights, broadening its slate beyond Turkish and Korean content to include British, Nordic, and European dramas, is a strategic response to market trends observed.

The company has experienced an increasing demand for premium European dramas –both English and non-English titles – from regional VOD platforms, shifting away from its traditional approach of providing exclusive first release to linear channels. “Scripted formats are a key part of the new business models as well. Direct-to-Consumer is another growing business, especially expanding our reach on YouTube, Facebook

and Dailymotion platforms,” shared Deborah Youn, Head of Asia, of Eccho Rights.

‘Golden Boy’, a Turkish family drama about two sisters whose paths cross with the heir to a family full of betrayal, lies and secrets, is the most watched title in Turkey, with over 10 million linear viewers on Star TV, and 9 million YouTube views for its latest episode in three days. Deborah explains, “Turkish drama is our main product primarily for linear broadcasters, but the genre is gaining more traction on digital, especially on AVOD. In turn, our own digital management team is growing as well.” The diversification involves an expansion of the business with a new office in London this year as the company seeks out co-productions and financing opportunities in new territories.

More recently, the company saw its first string of deals for non-English European drama in East Asia. At ATF, Deborah is looking forward to closing more deals in Asia with the crime thriller, ‘Vanishing Triangle’, which has already been pre-sold to the whole of North and South America, across Europe, Australia and New Zealand.

Deborah Youn

Head of Asia

Ecchorights

Ella Kartika CEO of Contents & Licensing MNC

SPECIAL

JAPAN RETURNS TO ATF ARMOURED WITH SOME AWARD-WINNING PRODUCTIONS

“For the past three years, we have communicated with you online,” reminisced Toru Ota, the Executive Vice President of Fuji Television Network, Inc, who vice chairs the Overseas Content Development Committee of the Japan Commercial Broadcasters Association (JBA), which plays a leading role in the International Drama Festival in TOKYO (IDFT).

Expressing his enthusiasm for the Asia TV Forum & Market, which has gone 100% physical in 2022, Toru continued, “While online is an excellent method in that it allows us to communicate with you at any time and any place, we have also felt that it has been lacking in some ways, such as the difficulty in finding new business partners. We hope that by meeting in person this time, we can convey our passion and enthusiasm for our content.

“For Japanese content holders, Asia remains a familiar and highly interesting area. We look forward to meeting business partners from around the world, especially from Asia, and presenting our diverse Japanese content to them at this year’s ATF. We hope you will experience the appeal of Japanese content,” enthused Toru.

This year, the Japan Pavilion again holds court at ATF, bringing together 24 content holders, including broadcasters from around Japan.

“We are very much looking forward to ATF,” Toru expressed. “We are delighted to be able to set up the Japan Pavilion here in Singapore for the first time in three years, since 2019.

This year, we have the latest dramas (complete packets and remakes), variety formats, animations, documentaries, and a wide variety of content.

“As the COVID-19 disaster subsides and the number of tourists visiting Japan gradually increases, we will also have programs that introduce the charm and culture of local areas in Japan, and we look forward to welcoming you all.”

The movement in Japan towards content production and overseas development is not limited to broadcasters in major cities like Tokyo and Osaka but is also spreading to local broadcasters in various regions of Japan. IDFT supports Japanese companies in their content production and overseas expansion through the Tokyo Drama Awards, one of its major projects, and by setting up pavilions at international trade shows.

On October 25, the IDFT announced the Tokyo Drama Awards 2022.

“The award-winning productions are all great works that have been talked about in Japan,” noted Toru. “Of course, it is not only dramas. The Japanese content industry has been competing with each other to produce new works in the face of a huge increase in demand, especially during the pandemic.” The Japan Pavilion— operated by the IDFT, in cooperation with the Ministry of Internal Affairs and Communications (MIC)—will showcase a variety of such content, whose promotion is supported through an “all-Japan” system.

Toru Ota

Executive Vice President, Fuji Television Network, Inc. & Vice Chairman, Overseas Content Development Committee, Japan Commercial Broadcasters Association (JBA)

This original special segment in Day 1 had misprinted details pertaining to the interviewee

FEATURE

Smriti Singh Bhatia, Chief Visionary of InQognito is excited to be participating at ATF for the first time and represent InQognito, an independent consumer and market research firm whose clients include Disney+ Hotstar. Her company offers a suite of advanced tech-based solutions combined with traditional consumer insights methods to enrich content development, marketing, and communications processes.

At ATF, the company will be showcasing its applied neuroscience tools and demonstrating how companies can glean insights to offer more engaging and effective content and attract eyeballs. “We are looking at making new connections, understanding the buyers and creators’ needs so that we can help them in strategizing and creating the right products, solutions, and content for their viewers and audiences,” said Smriti. “Our solutions are simple and agile to implement and provide a strong insight into what the viewer/ audience wants, how they perceive the content, and also garner new and emerging trends.”

KIDS’ SHOWS PRIORITISING DIVERSITY & EDUTAINMENT

From programmes that educate about environmental issues, such as, ‘SeaBelievers’, to those that feature diversity, such as, ‘FriendZSpace’, Studio 100 Media is leveraging the demand for kids’ content with more of such themes and subjects, coupled with ingenious storytelling. The company’s latest show, ‘Vegasaurs’ features a group of dinosaur friends introducing different healthy fruits and vegetables through fun and playful learning. The series has charmed young audiences in Australia and achieved an average share of nearly 65% in metro markets, with over 1 million viewers per episode.

Vanessa Windhager, Sales Executive of Studio 100 Media, ascribes the company’s success to its high-quality, non-violent animation for kids and families, that combines comedy with strong feel good storytelling. The company’s other titles, ‘100% Wolf’ and ‘Mia and Me’ have found success amongst viewers in Asia and is in huge demand in China, where Studio 100 is partnering with Chinese children’s entertainment and media company, UYoung for licensing and merchandising.

Akhil Singh Co-Founder & Chief Disrupter InQognito

Smriti Singh Bhatia Chief Visionary InQognito

Distribution wise, the company has its sights on key markets such as China, Korea, India, Indonesia, Japan, and Thailand, although it is open to deal and build relationships with broadcasters from smaller Asian countries as well. “We are noticing on an ongoing basis, an increase in demand from Southeast Asia, especially from Malaysia. Concurrently, we are seeing growth in the demand for live-action programs in Indonesia, the Philippines, and Sri Lanka,” said Vanessa.

Vanessa Windhager Sales Executive Studio 100 Media

FEATURE

‘SUPERSIZED’ SERIES TO MEET CONSUMER DEMAND

The consumer appetite for reality shows is insatiable, allowing companies to package existing IP with more content to meet audiences’ demand. A case in point is ‘Married at First Sight’, a reality series about loveless singles agreeing to a marriage proposal with strangers in hopes of finding a life-long partnership.

“Not only has the hit reality series been adapted locally in over 30 countries, and spawned numerous spin-offs, some territories have even commissioned two versions – one for their linear platform and a ‘supersized’ version for their VOD platform. It’s a true channel-defining brand,” said Joyce Droese, Sales Manager (Asia, Nordics, Africa & Inflight) of Red Arrow Studios International. The franchise is making its debut in Korea and Japan, while the sixth season of the Australia and US versions will be made available on A+E Networks Asia.

The company’s slate at ATF include the new comedy drama, ‘Kid Sister’, about a young Jewish woman navigating life’s big issues in New Zealand; ‘Summer Love’, an eight-part anthology series set in a seaside holiday house involving eight sets of people, and ‘Claim to Fame’, a new primetime entertainment format about 12 ordinary people with famous relatives competing to keep their identities a secret while exposing the others.

FOREIGN CONTENT SOUGHT AFTER INTERNATIONALLY

Once upon a time, buyers would stray away from foreign language titles that were viewed as a possible barrier when it came to the world of film and television. The very thought of subtitled shows in an unfamiliar language would be just as off-putting. Today, some of the popular hits have come from non-English speaking countries, and thanks to digital streaming services and developing technology, these titles are more accessible than ever to consumers.

“Our products are supporting a growing trend of non-English speaking dramas conquering the world,” said Yuliya Fischer, Director of ZDF Studios. She shares that crime and mystery genres are its top sellers internationally. To grow its roster of overseas drama titles, the company is co-producing with partners in the Asia-Pacific region. Examples of titles arising

from these partnerships include ‘The Window’ (with broadcaster Fuji TV), a drama thriller that explores the complex and dark off-field machinations of the world of soccer, and ‘The Swarm’ (with Hulu Japan), a thriller series about mysterious ocean-related events that threaten the existence of humanity.

At ATF, the company’s fresh line-up include ‘Boundless’ (starring ‘Money Heist’s Álvaro Morte) that tells the story of the first circumnavigation of the Earth 500 years ago by Portuguese explorer Ferdinand Magellan; and ‘Clean Sweep’ (starring ‘Peaky Blinders’ Charlene McKenna) about an unassuming regular mom concealing a dark past.

Joyce Droese Sales Manager (Asia, Nordics, Africa & Inflight)

Red Arrow Studios International

Yuliya Fischer Director ZDF

FEATURE

A HEIST TO REMEMBER

‘Money Heist’ has cracked open the vault of Spanish language titles in Asia. Within months of its release in 2017, the series became a global cult sensation, having amassed a superfan base. Its runway success has opened doors for Spanish companies, presenting business opportunities for original content from the region. According to research house BB Media, ‘Money Heist’ has garnered the best score in the Asia-Pacific region, presenting an 8,3 by 470,922 votes.

AtresMedia, the distributor of ‘Money Heist’ is looking forward to more breakout hits. Consumers’ taste buds have evolved and they are gravitating towards “high quality productions with diverse, international themes, and powerful and original stories with interesting plots” as Laura Sampedro, Sales Executive of Atresmedia Televisión has observed.

The company is seeing traction with ‘El Tiempo entre Costuras’ (The Time in Between) about a young seamstress in pursuit of love.

The best-selling series in Asia offers romance, fashion and espionage, and is the most watched Spanish drama on CCTV China and Television Asia Plus in South Korea. ‘Vis a Vis ‘ (Locked Up), a Spanish crime-drama following a middle-class young woman who is framed by her lover for corporate fraud, is also gaining ground in Japan, having found a fan following.

SERVING-UP INCLUSIVITY

Ana Luisa Sánchez, TV Sales (Asia) of Mediapro Studio is armed with a fresh slate of titles for ATF and feels confident that her buyers will be interested in the company’s new and upcoming line-up that offer diversity. “This year, we´re betting on more innovative and inclusive content that has a great universal potential,” said Ana.

Featuring lesser seen screen representation, the company’s line-up include ‘Las Bravas’, a heart-warming series focused on a team of

female teens training to be national soccer champions. ‘Cromosoma 21’, an investigative crime thriller, involves a young man with down syndrome who becomes a prime suspect for a murder, while the drama comedy ‘The Last Night of Karaoke’ stars two Spanish actors of Asian origins in leading roles.

Laura Sampedro Sales Executive Atresmedia Televisión

Ana Luisa Sánchez TV Sales (Asia) Mediapro Studio

FEATURE

THEATRICAL SUCCESSES WITH ANIMATIONS

Animations rule at the theatrical box-office. From “Sing 2” to the more recent “Minions: The Rise of Gru” released in the pandemic era, families are looking to get out and back into the cinema, laying to rest any lingering and outdated pandemic narrative that parents and kids only want to watch movies at home.

Hungary-based international sales outfit, Luminescence is firm on its focus on theatrical exploitation, especially when it comes to animation features. “Our titles have grossed since 2018 almost US$80 million at the box office worldwide. From September to December 2022 we have over 60 slated theatrical releases,” said Juraj Barabas, Managing Director of Luminescence Kft.

Commercial entertainment animations and live-action feature genres make up the company’s line-up. Animated fantasy adventure, “Nutcracker and the Magic Flute” has grossed over €500,000 during the first weekend in Italy, while the animated comedy, “Big Trip 2: Special Delivery” collected over €800,000 after a four-week run in the Netherlands. Juraj pointed out that markets where animations perform equally well theatrically include Australia, Belgium, Israel, Latin America, the Middle East, Spain and South Africa.

In addition to the above two titles, Luminescence’s highlights at ATF will consist of family friendly titles such as, “Upon the Magic Roads”; and live-action features, such as survival sci-fi “Freefall”; as well as the teen fantasy “The Biggest Moon”, amongst others.

STAY ABREAST THROUGH REGIONAL & GLOBAL PARTNERSHIPS

Collaboration is the way forward as domestic companies emerge from the coronavirus pandemic and respond swiftly to the ever transforming media landscape. “The way of life of the citizens has changed, so everything else, even their consumption of entertainment, also evolved. Probably it will never be exactly the same as prepandemic since viewing habits have shifted,” said Vincent Del Rosaio, President and Chief Operating Officer of Viva Communications, Inc. “Consumption of content via streaming platforms remains strong, especially since we have several strong contenders in the market. With a lot of choices, having new, original and unique content will drive subscriber acquisition and retention,” he added.

Having built the largest film and music library in the Philippines, Viva sees great value in IP ownership and aims to invest in more original content through partnerships within the Philippines and the region. The company has long-standing relationships with Multivision Plus (Indonesia), Celestial Tiger (Hong Kong), and CJ E&M (South Korea). “We have acquired and sold content to each other, co-produced films and even set up Pay TV channels together. I would say they are not just valued partners in business, but part of the Viva family,” said Vincent. At ATF, he is looking forward to establishing new connections and solidifying existing ones.

Vincent Del Rosaio President and COO Viva Communications, Inc

Juraj Barabas Managing Director Luminescence Kft

FEATURE

RAISING THE STAKES FOR INDIAN CONTENT

Indian titles are popular in the Asia-Pacific region and have fared exceedingly well for linear networks in Southeast Asian countries, particularly Indonesia and Malaysia. While family and romance dramas see steady demand across Asia-Pacific, the Middle East and Africa, genres such as thriller, crime, and horror are trending. Stories involving womenempowerment are also very well-received in the region, according to Ashok Namboodiri, Chief Business Officer (International Business) of Zee Entertainment Enterprises Limited. The company has been strategic with coproduction deals to develop stories with broadcasters and local production studios in Africa and the Middle East — a model that it has started replicating in APAC.

Having 18 years of experience operating in the Asia-Pacific region, Zee is staying ahead of the competition with a slate of fresh fast-paced and edgy thrillers, crime and horror titles. Ashok is confident that the company’s revamped library consisting content of varied genres and customised solutions approach for clients will interest a lot of potential buyers at ATF. His focus is to explore and secure opportunities for future

business, including striking coproductions, and story adaptations deals. “With the emergence of various new-age media platforms, and a content consumption boom like never before – the complete media and entertainment industry has benefited. We, as a broadcaster and production studio, are agile and are adapting ourselves to the fastchanging environment continuously, while filling the gap to make content that is not only relevant, but also desirable to suit the ever-changing taste of the consumer,” said Ashok.

Amongst its line-up are action feature-length titles, such as, ‘Rashtra Kavach Om’, involving an undercover cop who creates havoc to safeguard his country’s interest; ‘State of Siege: Temple Attack’ about military commandos who stop a terrorist attack; and ‘AttackPart One’, an intriguing sci-fi thriller that revolves around an army soldier who becomes India’s first bionic super-soldier.

NAVIGATING AN ‘ATTENTION ECONOMY’ THROUGH CO-PRODUCTIONS

Co-productions are on the rise in Asia, and the partnerships among regional countries and companies have mutual payoffs in producing richer content, reaching larger audiences, and creating products that are on par with international production standards. Through new co-production and distribution strategies, Philippine media giant GMA Network, through its content distribution arm GMA Worldwide, aims to grow the international profile of the local industry. “The past three years have seen significant growth for GMA in the digital space. This is why we continue to push our content in this direction by establishing more partnerships with major OTT platforms,” said Roxanne J. Barcelona, Vice President Consultant of GMA Worldwide Division.

Roxanne foresees that there will be continued growth in streaming video services for SVOD and AVOD will complement the value of traditional free and pay TV in Asia. “We now manage our business in what experts call an ‘attention economy’. Globally, there has been a significant shift to ad subscription services and a decline in linear TV,” she explained.

In this regard, there is a need for companies to help traditional free and pay TV clients keep up with the global shift to streaming. GMA Worldwide does this by providing simultaneous streaming rights as required by its traditional free and pay TV clients. “It is a way of making their linear programming available to viewers who prefer to stream instead of watch on television. While for clients who require OTT rights, we come up with titles that can drive engagement, and can activate and retain online viewers,” she added.

From Roxanne’s experience, romance dramas perform well with international clients. Universal themes that revolve around family, love, and revenge are easily relatable to international audiences and are in constant demand. GMA’s latest drama, ‘Maria Clara and Ibarra’, about a young student who is magically transported into the fictional world of ‘Noli Me Tangere’ and finds herself in the Spanish colonial period of the Philippines, hits the brief with its combination of history, romance, and adventure.

Roxanne J. Barcelona

Vice President Consultant

GMA Worldwide Division

Ashok Namboodiri Chief Business Officer (International Business) Zee Entertainment Enterprises Limited

FEATURE

CONSUMER DEMAND FOR QUALITY PREMIUM CONTENT

Premium content with high-production value are sought-after assets by consumers in Asia. Stories with universal themes with touches of local flavours are also in demand. It helps when a project is helmed by strong talent, observed Fabrizia Palazzo, Distribution Manager of Movistar.

The company’s newest production ‘Off World’ (Apagón) offers a mix of these factors, which Fabrizia is certain will resonate with viewers in the region. An anthology of five stand-alone stories, the Spanish television series takes place after a solar flare causes a worldwide blackout and deals with the consequences that such a catastrophe might impose. From the company’s portfolio, ‘The Pier in Japan’ (La peste), a Spanish historical drama television series, which has been sold to China and South Korea.

SPANISH CONTENT GOES ‘GLOCAL’

Majority of Spanish titles that are distributed in Asia are released directly onto streaming and in a combination of release arrangements. According to research house BB Media, which monitors the distribution of Spanish titles in Asia, there are over some 2090 titles on SVoD, 640 titles on TVoD, and close to 400 titles on AVoD platforms. In the last month, around 310 Spanish titles were added onto streaming platforms across the region.

The revived interest in Spanish content in Asia bodes well for Erika Gómez, Sales Manager of ONZA. In particular, the company’s documentary and fiction travel well in the region. Erika refers to these titles as “glocal” – they are Spanish productions, but have universally-themed stories and values that are familiar to Asia. Among some of the titles that have outperformed in the region are ‘Real Madrid: The White Legend’, a documentary series based on the legendary European football club, which has been sold to Hong Kong; and ‘Equilibri’ featuring the well-known Japanese artist, Okuda, that has been acquired by Japan’s public broadcaster NHK.

Fabrizia Palazzo Distribution Manager Movistar

Erika Gómez Sales Manager

FEATURE

ASIA’S THRILLER OBSESSION

Having a diverse content catalogue with windowing options is advantageous, especially since buyers in different territories have varied needs and distribution arrangements. For Rocio Cachero, International Sales Manager of Mediterraneo, it also pays to stay on top of knowing the types of genres that hit or miss the mark in the respective territories.

“Each title holds different characteristics that make it more suitable for a certain type of channel or platform. On the other hand, the territories themselves and their cultural factors determine which type of content can be offered in each region,” said Rocio.

Demand for thrillers have skyrocketed in Asia. Within the span of two years, the number of Spanish titles of the genre has grown from 72 to 265 in the region. Today, it is the third most offered genre today, according to research house BB Media.

The company’s highest trending thriller, ‘Wrong Side of Time’, a relationship drama featuring a grumpy hardware dealer and his granddaughter, was Netflix most-watched non-English series in 75 countries –eight of them in Asian territories, while ‘I Know Who You Are’, its best-selling thriller has been broadcasted in more than 100 territories, including the option rights for the local remake in China.

MARKETING ASIA TO EUROPE

Asian content is continuing to trend upwards with viewers outside its region. The slate of emerging diverse and bold Asian stories is a heartening sign for Nikolaus Sivaloganathan, VP - International Sales & Acquisitions, of Beta Films.

The region’s multi-faceted content offering exemplifies a richness of eclectic ‘Asian’ culture that he is keen to market to European viewers. In addition to acquiring titles, Nikolaus is looking to forge partnerships between the two regions. “We are also looking for an opportunity to do more in Asia. Not just sell, but co-produce,” he said.

Rocio Cachero International Sales Manager Mediterraneo

Nikolaus Sivaloganathan VP - International Sales & Acquisitions

Beta Films

PRE-SALES

ANIMATION, PRE-SCHOOL

BILLY

THE COWBOY

HAMSTER

Growing up in the Wild West and raised on the exciting stories told by his father, cowboy Billy desires to hit the trail! He seizes the opportunity when he gets the chance, taking his faithful friend, Jean-Claude the worm, and his accomplice Suzie, the stone marten, along with him.

COMPANY: DANDELOOO

DRAMA

WHAT CON LOVERS DO

How far will you go to help a loved one? When a father with a sick child crosses path with a mother abandoned by her husband, it appears as if they were destined to meet and turn each other’s lives around. In truth, they are both profiteers — and each other’s targets — in a scam that will leave one party paying costly.

COMPANY: CTI TELEVISION INCORPORATION

ANIMATION, PRE-SCHOOL

ZOOKIZ THE BABY

It’s never a dull day at the kindergarten as six kids learn about life and all that it has to offer through education, adventure and playtime. Growing up has never been this fun, especially when you are surrounded by good friends!!

COMPANY: ZOOKIZ CO LTD.

PRE-SALES

ANIMATION, TEENS

SPACE SHAMAN HUNTERS

Armed with oriental chants and spells, and cutting-edge weapons, Hunter Shamans are an edgy, hip gang of intergalactic demon hunters, who traverse the galaxy in search of evil robot-possessing spirits that threaten to disrupt the peace of the galaxy. Unknown to them, a larger sinister force is brewing and may prove to be a mightier, formidable opponent for our intergalactic heroes.

ANIMATION, CHILDREN

PIGSY

The fantasy adventure film is set in the distant future as a comedy version of Chinese classic ‘Journey To The West’. The title character Pigsy is lazy and fun-seeking, always looking to cut corners and avoid hard work even if it means using deceit and manipulation. He eventually learns that there are no shortcuts to success and happiness!

ROMANCE DRAMA

LUV IS : CAUGHT IN HIS ARMS

A young woman who works as a cook in a wealthy and affluent family manages to charm the notoriously mischievous five young grandsons, with her quirky personality and relentless optimism. Over time, she develops a close bond with the boys and unexpectedly falls for one of them. But just when she seems to start settling into her new life, she learns uncovers a truth that threatens her new found happiness.

PRE-SALES

FACTUAL

SHAANXI, WILD VALLEY

Deep into the mountains of China where the Panda rules, lives a mysterious and secretive species: the golden snub-nosed monkey. Shedding a light on this rare and still largely unknown monkey, the documentary journeys on with one individual who will be faced with an unsuspected experience in the wild.

COMPANY: MEDIAWAN RIGHTS

DRAMA

QUEEN OF MASKS

Told through the eyes of four successful women, ‘Queen of Masks’ is a darkly tale of murder, revenge and deception as a web of secrets unravel and threaten to destroy their lives. Can the women count on each other with taking their secrets to the grave? Or would their paranoia lead to more lies, backstabbing and treachery?

COMPANY: CHANNEL A

ANIMATION, CHILDREN

THE MARSUPILAMIS

Promising action, adventure and comedy, three little Marsupilamis - fun, furry creatures with enormously long tails – live under the watchful eye of twins and their grandma. There’s never a dull moment with the mischievous yet lovable trio as they get up to all sort of antics. Thankfully, grandma and the twins are never far off when they are in need of help.

COMPANY: MEDIATOON DISTRIBUTION

PRE-SALES

DRAMA

I CAN SEE YOU SHINE

A coming-of-age comedy drama series about two high school girls, whose friendship is put through the ringer as they try to navigate their way through problematic teen quirks, unrequited love, family complications, and dysfunctional high school life. If being a teenager wasn’t hard enough, one of them have to deal with the cultural minefield of being a second generation immigrant.

Lilly, an ordinary 12-year-old girl, gets an extraordinary gift: a book of magic spells! With the help of an enchanted little dragon and her own personal Samurai protector, Lilly travels magically through time and space, tumbling into stories that challenge her courage and bravery while testing her character and talent for magic. Along the way, she gains confidence, experience, new friends, and uncovers family secrets.

COMPANY: DEAPLANETA ENTERTAINMENT

DRAMA

PARINEETI (TWO FRIENDS, ONE MARRIAGE)

Two best friends have their relationship tested when fate leads them to marry the same man. This results in a complicated love triangle that sees boundaries being rewritten, alliances tested as plotting and scheming ensues, resulting in unexpected twists and emotional consequences.

MAGIC LILLY ANIMATION, CHILDREN

COMPANY: SCREENWORKS ASIA LTD

ANIMATION, CHILDREN

PORUS - THE PRINCE OF JAMBOODWEEP

Watch Porus and his band of Eco Ranger Warrior friends in an adrenalinlaced race against time, as they battle it out with the motley crew of nefarious seafarers threatening to destroy the very existence of their homeland, Jambodweep. The pirates are led by their boss Sarvanash, The Ultimate Intergalactic Villain who has vowed to gobble every ecosystem he can land his jaws on!

PRE-SALES

DRAMA

SECRETS OF AN ANGEL

The drama follows the story of a family whose life is changed abruptly by a tragedy, when their young daughter dies shortly after marrying a man she loves. Soon after, a letter emerges after her funeral revealing shocking revelations of domestic violence that threaten to topsy-turvy a once close-knitted and loving family.

ANIMATION, CHILDREN

COOKIE RUN: THE ANIMATED SERIES

A series that hit the sweet spot, ‘Cookie Run’ is the story of GingerBrave, a gingerbread cookie, and his other Cookie friends. Together, they must unearth the tumultuous history of the Cookie Kingdom and vanquish the hordes of evil cake monster and banish the darkness that constantly threats to infiltrate their home.

PRE-SALES

ANIMATION, CHILDREN

ADVENTURER CARLY

Taking a page from her previous adventures to find her father, Carly teams up with Bobby and a boy called Morgan, who is accidentally turned into a transformable wolf. With the biggest clue, her father’s notebook, left behind, they solve puzzles in order to move forward and the fabulous trio are guided to a brand-new mysterious world: Yilo Kingdom, where the secrets of The Book of Life unfold.

DRAMA

OVERSTEER

When a young man sets out to follow his passion as a car mechanic, he is met with criticism and rejection by his family and eventually, falls out with his father. Out on the streets, having to fend for himself and make ends meet, he finds himself in the world of fast cars and is lured by the shiny new toys and adrenaline of illegal car racing.

FACTUAL

NEFERTITI, THE RAIDERS OF THE LOST TOMB

Where is the tomb of Nefertiti, the famous Queen of ancient Egypt? What treasures could lurk inside the lost chambers of Egypt’s lost queen? For over a century, it has been the object of an insatiable quest. Travel back in time with this documentary to investigate the mystery behind the lost tomb of Queen Nefertiti, as ancient wonders and mysteries are revealed with the help of scientific and avantgarde technologies. COMPANY: INA - INTITUT

COMPANY:

COMPANY: VOGUE FILMS

PRE-SALES

FACTUAL

2080

What will the world look like in the year 2080? This forwardlooking documentary series tackle questions of mobility, food, entertainment and health, with each episode uncovering possible alternative futures – some bright, others dark – focusing on topics such as genetic engineering, robotics, cloning, artificial intelligence, nano technology, autonomous drones, and humanmachine hybridization.

DRAMA, CRIME

GIVER TAKER

Based on the action manga series by Keiko Suenobu, ‘Giver Taker’ resolves around an ex-elementary school teacher turned detective, whose daughter was brutally murdered 12 years ago. When she receives a horrifying anonymous message one day, she puts her crime solving experience and finds herself morally confronted with having wanting to extract revenge on her daughter’s perpetrator versus doing what is lawfully right.

COMPANY: WOWOW INC.

ANIMATION, PRE-SCHOOL

HANA AND MOLLY

Come onboard a colourful adventure with curious little Hana, a four-year old girl and her friend, a sock named Molly. The pair explore the world and their neighbourhood in search of a missing friend, Luna. Guided on their mission by the friendliest stray cats, both Hana and Molly embark on a series of fantastical adventures.

COMPANY: BALANGA COMPANY: 5BRICKS

PRE-SALES

ANIMATION, CHILDREN

HELLO MR. SUNGLASS

Targeted at pre-schoolers, this informative and education title features adventures involving baby animals and encourage its viewers to utilise their five senses through a variety of games. Lessons are dished out by a pink bunny named Eaya who hears cheerful sound well, glutton puppy Coco who smells tasty food well, and shy baby eagle Looka who can see in a long distance well.

OUR SON DRAMA

Two childless married couple raise an unexpected son from an illicit affair between two households. Amidst the chaos that follows from a paternity test, the two wives take parenting into their own hands, testing their limits of love for an illegitimate child, and raising the question: how long they are they able to shield him from the truth.

ANIMATION, CHILDREN

SHASHA & MILO

The series features 12-year-old twins Shasha and Milo, as they juggle school and home lives with a secret new role as the Crescent Island Guardians. Imbued with the power to transform between human, cat and a formidable hybrid form, Shasha and Milo are tasked with protecting Crescent Island from the dark forces that lurk beneath it, while navigating the daily complexities of preteen life.

COMPANY: CAMPFIRE ANIWORKS CO LTD.

COMPANY: XENO PICTURES

COMPANY:

PRE-SALES

ANIMATION, PRE-SCHOOL

THE TINIES

Meet the MacGyver of the kids – the Tinies! Ollie and Titus are ace tinkerers, who are quick on their feet and mind, turning everyday items into usable objects – a milk cap, an egg box or an empty shampoo bottle into a cool helmet or a fast pickup truck – the possibilities are endless!! This new pre-school series invite children to go on outdoor adventures and join the pair as they create their own games and adventures.

COMPANY: MIAM! DISTRIBUTION

DRAMA

TO THE UNWICKED WITCH

Mystery, magic, broomsticks and cauldrons! Nothing is planned, yet everything seems expected in this fantastical land of wizards and witches. Here, magic begins from those desperately wanting their wishes to come true. With a flick of the wand or a finger, appears a railroad or giant airships in the factory ready to be commercialized. For knowledge is limited, whereas imagination embraces the entire world.

COMPANY: MSTORYHUB

ANIMATION, TEENS

THE VIOLINIST

Set in 1941, Singapore, the feature length animation revolve around two young musicians, Kai and Fei, whose dreams are shattered by Japan’s invasion of Malaya. Kai joins the Resistance forces, promising Fei to return but he goes missing after the war. A determined Fei spends the next 20 years performing all over Southeast Asia while searching for news of Kai.

COMPANY: ROBOT PLAYGROUND MEDIA

PRE-SALES

DRAMA, PERIOD

GONE WITH THE RAIN

When an underaged emperor unexpectedly inherits the throne, the country falls under the tyrannical rule of his uncle and the Prime Minister. Tired of seeing the people suffer, two brave young generals defy the ranks and stage a revolt to save the emperor and their country.

DRAMA, HORROR

BLACK NOISE

In a tale of suspense and terror, an unseen evil torments with its voice, controlling all who crosses its path. When the worlds of dark and light collide, a colony of murderous demons are unleashed, wreaking havoc in their path. Cast into a peril, the universe awaits a saviour.

ANIMATION, PRE-SCHOOL

FABLES FROM OOT’S WORLD

“Fables from Oot’s World” draws inspiration while putting a contemporary spin on classic and Asian fairy tales. The animated series revolves around two loveable aliens: Oot and his best friend, Mo, as they explore and go on adventures around their home planet.

COMPANY: OUT OF THIS WORLD

COMPANY: HUANYU ENTERTAINMENT

COMPANY: FIXED STARS MULTI-MEDIA CO., LTD.