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BRINGING TURKEY INTO THE SPOTLIGHT
APAC has become rather significant for Global Agency, as regions such as Indonesia, India, Bangladesh, and Malaysia have grown to be the main buyers of their finished content and unscripted formats.
“ATF has been our key market in the APAC region. We have had great results in increasing our visibility, getting in touch with the buyers of the region, and closing deals,” observed Isil Turksen, Sales Director – Asia, Global Agency. The company’s presence at ATF this year – having attended almost every edition – serves to fortify this.
Isil understands that in the past year, much has changed in the industry. The current economic situation has gotten buyers into a flurry to find quality content at reasonable pricing. With that, Global Agency has upped its game, differentiating itself by taking a Discovery is no stranger to the world of factual entertainment and real-life stories. With appetites for these contents growing, long gone are the days where they held the reputation of being cinematic spinach. Furthermore, as we live in a world outfitted to satisfy the public’s need of being informed constructive approach towards new ideas for its formats.
“For instance, we invested in several formats that we believed would work and have received incredible results with this approach. I believe we will be the first choice for clients looking for premium content and innovative ideas.”
With a genre strength in romantic comedies, romance, family dramas, costume and period
Saevar Lemke
VP International Program Sales EMEA & APAC Communications Deutschland GmbH & Co KG and entertained, this culminates well with Discovery’s offerings on its various platforms and channels. In particular, Asia sees a continuous high demand for wildlife, exploration & adventure, as well as for food and home content.
Isil Turksen Sales Director – Asia Global Agency
dramas, Global Agency draws upon a strong catalogue rich in creativity and diversity, enjoying international hits with hard-hitting dramas such as, “1001 Nights”, “Magnificent Century”, “Broken Pieces” and “Mother”. Apart from that, Isil observed that the advent of streaming services has prompted Turkish consumer demands and interests for foreign
FACTUAL ENTERTAINMENT IS IN – AND RELISHING – ITS GOLDEN AGE
content. Discovery has added new titles to its ATFspecific line-up that includes following hunky actor Zac Efron around the world in “Down to Earth with Zac Efron”, wildlife series “Chasing Ocean Giants”, and also its baking show, “Duff Takes the Cake”.
“We have experienced that long-term strategic FTA partnerships over and above simple licensing deals, create a strong benefit for both sides. We are looking to explore the opportunities in this field, especially in Southeast Asia,” said Saevar Lemke, VP International Program Sales EMEA & APAC of Discovery Communications Deutschland GmbH & Co KG.
As well, “Asian buyers are very clear in what they want. They are selective and strategic in their acquisitions, and more often, rely on advanced and diligent research to support their decisions,” added Saevar, who then noted his observations of the rapidly growing importance of digital rights, including the divergence of these rights.
“The windowing of rights, ensuring the greatest possible strategic and monetary outcome, never allows for a dull moment.”
FEATURE
KIDS CONTENT WITH A DOSE OF POSITIVITY & DREAMS
Focused mainly on kids and family content, Jetpack Distribution takes on ATF with content that elevates the experience for young viewers. Priding itself on finding the best homes for their shows, the company takes the age-old approach of tailoring bespoke and flexible services for each producer.
“It’s not the origin that makes a good show, but instead, it’s the quality – from design to writing all the way to post-production – that does,” said Head of Global Sales, Marie-Laure Roche.
For the ATF market, Jetpack Distribution hopes to establish new relationships with key buyers in the APAC region and gain understanding of the latest trends. Observing that the Asian landscape is changing rapidly, Marie-Laure believes that the evolving opportunities keeps them on their toes, and somewhat makes the challenge more interesting.
“We’ve had to be inventive and adapt our offerings to the demand. This has led to very interesting partnerships.”
As viewers lean towards kids’ content that is For Caracol Televisión’s Director of International Sales, Estefanía Arteaga, her hopes at ATF is to explore the needs of Southeast Asian buyers when it comes to the variety and entertainment genres, as well as meet new potential partners in the region. fun, instils kindness and knowledge, yet not too educational, Jetpack Distribution is on top of the game. “With the year we’ve had, kids need content that offers them a good dose of positivity and lets them dream.”
Enter the iconic “Chuggington” with a new season, the loveable, pink knitted mice
“Clangers”, and the Netflix hit, “Mighty
Estefanía Arteaga
Director of International Sales Caracol Televisión interested in connecting with buyers from Southeast Asia as well as from China, South Korea and Japan. The market’s timing is also valuable, as it allows us to better align plans for the new year ahead,” she asserted. This year, Estefanía highlighted that Asian buyers are being very alert and careful with their decision making when it comes to programming and budgets. As each buyer’s
Marie-Laure Roche Head of Global Sales Jetpack Distribution
Little Bheem”. The company also has onboarded Malaysian slapstick comedy “Buck and Buddy” and represents the Chinese production “Emmy and GooRoo”.
“It’s very important for Jetpack to attend ATF every year. It’s a shame that we can’t travel to Singapore this year, but still, we wouldn’t miss
MORE DOCUMENTARIES & FEATURE FILMS, PLEASE!
ATF, even if it’s virtual!” requirements differ, Caracol Televisión tries to tailor its approach for each market. For instance, the company has seen a need for more documentary and feature films lately. “We’ve taken careful consideration with production efforts which has allowed us to create a diverse and in-depth portfolio for both fiction and non-fiction entertainment.
On navigating prominent changes to-date, Estefanía shared that there has been a massive switch in the need for all rights and longer exclusivity periods. While the demand for Colombian content has seen a boost over the years, Estefanía expressed surprise by how well received their dramas have been in the APAC region. “Most notable would be the recent win of our historical drama, “Bolivar” in the Seoul Drama Awards.”
FEATURE
SPANISH CONTENT GETS A FOOTHOLD IN ASIA
Demand for Spanish content has seen a boost travelling across territories, and the APAC region, according to Mediterráneo Mediaset España, although being a tough nut to crack, has seen an uptake. “SBS in Australia broadcasted our thriller series, “I Know Who You Are”, which is optioned in China and India for local adaptation, while thanks to Netflix, drama series, “Unauthorized Living” is also available in most Asian territories,” explained Ana Bustamante, General Director at Mediterraneo Mediaset España Group. “Additionally, procedural drama, “Caronte” is the latest title acquired in the region via Amazon Prime Video.”
With such headway into the region, the company is committed to increasing business relationships with Asian players. For them, ATF is one of the most important markets to attend, with intentions to bring the best of Spanish content to There are plenty of opportunities for great content, and for industry veteran, James Ross, Chief Executive Officer at Lightning International, such appeal doesn’t have to be region-specific. He believes that audiences today – both within their own regions and further afield – have different cultural expectations. While it remains true that English content travels more easily, there is also an abundance of opportunities for programming in major Asian languages. Asia and consolidate alliances between Spain and Asia.
“Broadly speaking, we have witnessed a change in the content demand. Nowadays, buyers are not only focused on Asian or English-speaking titles, but there’s a general openness to appealing European shows,” Ana continued, stating that the company is also testing its self-developed entertainment formats on its channels.
She believes changes in consumption patterns have presented more opportunities for distributors. Free and payTV linear channels are no longer the only customers.
“Online services grant unlimited place for shows. With the boom of the OTT environment, we have noticed that one of the latest trends and needs is to have content exclusively conceived for SVOD
Ana Bustamante General Director Mediterraneo Mediaset España Group
platforms.”
LIGHTNING: MAKING IT HAPPEN BEYOND EVER-CHANGING LANDSCAPES
James Ross Chief Executive Officer Lightning International
“There are many nuances of language, behaviour, religion, food, accents and ways of story-telling across the globe. Just because content works locally doesn’t necessarily mean it will work everywhere else. Having said that, audiences are becoming much more open to new ideas and cultures, and new types of programming, so never say never! from New Zealand and India, and production from the UK, as well as numerous Asian connections and cultural touch points.”
Depending on each Asian buyer’s platform strengths, a host of different requirements come into play. Lightning International is a believer in customising and finding solutions in accordance with budgetary and strategic requirements. “Our motto is definitely, ‘Make It Happen!’. We are always adapting our content offering, and business models to meet the ever-changing landscape.”
With some of the company’s content including lifestyle, food, and travel genres working well, Lightning International attends ATF this year with the hopes of deepening its connections with existing and new global clients and partners.
FEATURE
MULTI-PURPOSE ROLE @ ATF: CATERING TO THE REGION
“We differentiate ourselves by our storytelling, with Singapore stories that are rich in colours and culture. In Southeast Asia and China, we focus on the distribution of our entertainment content, while our Chinese TV series resonate well with viewers in Malaysia, Vietnam, Cambodia and China,” explained Jesslyn Wong, Vice President (Head) of Content Distribution at Mediacorp.
ATF has therefore grown to be an excellent platform for Mediacorp to meet up with regional players, broadcasters, OTT players and content producers. The company is not only looking to promote and distribute their local productions, but also attends ATF to acquire good content for its local platforms, and to find like-minded partners for collaboration.
At ATF this year, Mediacorp will also be bringing its award-winning Sharing what has kept her busy, Joyce Yeung, Executive Vice Presidents, Sales-APAC, International Distribution for eOne, noted, “Our local teams in Australia, Korea and Hong Kong have been well-placed to address our buyers’ needs and respond quickly. drama, “Last Madame”, an English drama with an all Asian cast that tells a bold story of a brothel owner in 1940s Singapore. Jesslyn is also very bullish about Asian content travelling the world. With its rich tapestry
Joyce Yeung
EVP, Sales – APAC International Distribution eOne “To a big extent, buyers are looking for finished programs to fill their immediate programming gaps. But at the same time, we also have scripted discussions coming out of India and Korea; and factual co-production in China. Obviously, the planning time will now
Jesslyn Wong Vice President (Head) of Content Distribution Mediacorp
of culture and stories, a large part of it traversing between the old and the new world, Asian content has what it takes to
FILLING UP IMMEDIATE PROGRAMMING GAPS FOR APAC
appeal to a global audience. be longer than before given local productions are yet to fully resume.”
Having presented their 2021 scripted and factual slate during the eOne Preview: Studio Edition in October, Joyce believes that ATF’s timing is perfect to help them continue the conversations with buyers in APAC. Some of the new dramas in production for 2021 includes “Family Law”, a procedural legal drama, as well as “Feudal”, a story of a dysfunctional clan of adult half-siblings battling for control of an ancestral business.
The company, now a part of Hasbro, is also putting its creative team towards developing new content, based on over 1,500 Hasbro IPs. Seeking to work in partnership with buyers, Joyce also shares that the marketing team is ever ready to provide great support to buyers to ensure that their series are launched successfully.
EXHIBITOR FEATURE
MORE FINANCIAL INCENTIVES FROM THE PHILIPPINES TO BOOST COLLABORATIONS
As with most countries, the Philippine film and audio-visual industry has had a turbulent year. However, as of November, local film productions are starting back up. The Film Development Council of the Philippines (FDCP) has been processing inquiries and anticipate resumption of foreign film productions in Philippines in Q1 2021.
FDCP, through its FilmPhilippines Office, aims to maximise the country’s comparative advantage as a location site for international film and television content production and promote tourism and investment in the Philippines.
“We also want to promote Filipino films for distribution in global markets and festivals abroad, and strengthen artistic and technical linkages and collaboration among foreign film producers and artists with the Philippines’ homegrown pool of film workers and film production teams, and we’d like to do that at ATF as well,” said Liza Diño, Chairperson & CEO of the FDCP.
“Additionally, since ATF is a Singapore-based market, we saw this as the perfect place to
Vanessa Windhager
Sales Executive Studio 100 Media The request for high quality animation has not decreased even with challenges of the current situation, and for Studio 100 Media, there is now an unbroken need for animation, and it is promote our soon-to-be launched financial incentive, the ASEAN Co-Production Fund, a fund open to feature film co-productions between an ASEAN production company and Filipino production company with an ASEAN director attached to direct. Selected productions can get up to US$150,000 granted to them.” The implementation of ACOF is in line with the FDCP’s commitment to engage regional partners and neighbouring countries in Southeast Asia. In its continued cooperation with fellow ASEAN counterparts over the years – from film commissions to filmmakers and producers, FDCP has recognised that there are more commonalities in the narratives, values, and film cultures among our countries than there are differences. The FDCP currently offers two financial incentives – first of which is the International Co-Production Fund, open only to feature film projects that are co-produced by a foreign and still possible to produce excellent animations albeit some limitations. Good humour in kids’ entertainment works all over the world; comedy combined with strong storytelling and core values seems to be a key trend for Asia, as well as most territories around the globe – and that is exactly what Studio 100 Media will bring to ATF. Among the latest, the company is most proud of “SeaBelievers” – a series combining the benefit of edutainment for children and discusses about real-life issues affecting our ocean; and “FriendZSpace” – an animated comedy combined with deeper values about aliens and humans embracing their differences. “The demand for good entertainment and making people laugh is more present and needed now more than ever,” said Vanessa Windhager, Sales Executive, Studio 100 Media.
Liza Diño Chairperson & CEO Film Development Council of the Philippines
a Filipino production company. The second incentive, the Film Location Incentive Program is open to feature and short films (live-action, documentary, animation), as well as TV and VOD content (reality shows, series), to web content, music videos and VR content – a great
STUDIO 100 MEDIA: FORTIFYING AS ANIMATION LEADER
stage opened to all forms of content. In terms of sales, while the company’s focus remains on China, Korea, India, Indonesia, Japan and Thailand, there has been a hike in demand coming from new markets like Malaysia and Vietnam. Another significant change within Asia is that that non-linear business is growing tremendously at the territory level.
“Nevertheless, television remains our focus for the first window. It continues to be the most important medium for creating a high level of awareness of a property and thus remains crucial, especially for our merchandising and licensing partners.
“Additionally, we are exploring different ways of placing content on non-linear platforms. We are more cautious when selling a new show, especially regarding ‘free’ VOD content. However, depending on the region, AVOD can also coexist with television at the beginning of its life cycle without jeopardising each other.”
FEATURE
BRAVER & BOLDER TITLES FOR ASIA
Having already licensed their titles to many South Asian and Asia Pacific countries, Intermedya believes that dramedies, softer dramas and action genres are what works best in these markets. Can Okan, Founder & CEO of Intermedya observed, “We can say that Asian buyers demand braver and bolder titles. We also see great interest in period dramas.
“Asia is a huge and varied continent and different markets have different preferences,” noting that remakes of Asian dramas in Turkey have become very successful worldwide, characterized by the role of storytelling in different cultures. At ATF this year, Intermedya will present its expanded library of mini-series such as, “Respect”, which tells the story of those seeking their own justice. Another mini-series is “Mehmed: The Conqueror”, depicting Sultan Mehmed Khan, known as Fatih, who broke through a new era and laid the foundations of a great empire, which would rule over several continents for centuries.
Domestically, dramas are still the key for those looking to break into the Turkish markets. Despite being able to only meet online, Can Okan is still excited to be at ATF this year to meet new countries and clients from around Asia.
Can Okan Founder & CEO Intermedya
iQIYI has been growing from strength to strength, announcing in October its content strategy, which includes more than 200 upcoming releases. These cover a wide range of genres, including drama, variety show, film, animation, sports and children-friendly content, among others.
IQIYI: AN ALL-ROUND ADVANTAGE
Joyce Yeung EVP, Sales – APAC International Distribution eOne
“We aim to showcase a part of our 2021 original content at ATF, and to catch up with buyers and partners coming from all over Asia. ATF is always important to us as it is a platform where all the key buyers and market players in Asia are gathered,” shared Alice Leung, International Distribution, iQIYI, INC. She also revealed that when it comes to content distribution, they are focusing on regions, such as Southeast Asia, Taiwan, Japan and Korea, where there is a substantial demand for Chinese content. iQIYI also aims to boost its presence in more vertical content types, which, along with the advent of new media platforms, will enable content to travel further in the future.
“Having more OTT players in the market provides more opportunities, though it also means more competition, especially in Southeast Asia. iQIYI differentiates itself in the sense that it is a service provider, as well as a content provider, thus enabling us to create a substantial volume of content in a wider range of genres. Therefore, buyers have more content to choose from the iQIYI catalogue.”
In addition, iQIYI offers flexible and reasonable pricing negotiations to suit the rapidly changing market situations.
FEATURE
CRACKING THE CHALLENGE OF FUTURE RIGHTS FOR ICONIC CONTENT SOLD TODAY
It is no surprise that certain content and genres are so loved by viewers that it becomes evergreen. The classic Hanna-Barbera series, for example, are still being distributed today after almost 40 years since it all started. Therein lies the challenge for a brand like The Smurfs. “The problem with the rapid changing media landscape is that the rights are already changing the moment the deal has been finalized. The challenge is to keep as much future rights as possible for future deals, and thus restricting current licensees, whilst allowing them as well to distribute the content on their different platforms,” confessed Nele De Wilde, Head of Sales, Production & Business Development at Smurf.
At ATF 2020, the company hopes to reach even more Asian buyers to pre-sell their brand-new Smurf’s CGI series. The mint 3D version of the iconic characters of “The Smurfs” is in a snappier 11 minutes format.
A big challenge was to find the right balance between the expectations of today’s audience and the wish to remain faithful to the vision of Peyo, and the spirit of the original comic books. Nele De Wilde also noted that increasingly their deals can be Sola Media GmbH is picking up the pace to become a formidable player in the children and family entertainment sector. Apart from selling animation and family titles, one of the company’s strategy revolves around developing and delivering customised, as well compelling, marketing campaigns around its TV series and films. It prides itself in offering a package that comes with marketing materials free-ofcharge, which also includes the license fee. “While we are continuing to acquire strong theatrical content, we are currently increasing our investment in TV series for kids and family audiences,” said Johannes Busse, International Sales Manager at Sola Media GmbH, who is excited to connect with
Nele De Wilde Head of Sales, Production & Business Development Audiovisual & Music Smurf
done directly with TV channels and platforms
Johannes Busse International Sales Manager Sola Media GmbH
SOLA MEDIA GMBH: NO STRANGER TO ANIMATION & FAMILY ENTERTAINMENT
instead of through local agents. Asian TV stations and streaming platforms that are distributing high quality family entertainment, especially animated TV series at ATF.
“We currently have two animated TV series and a live-action TV series for family audience in our pipeline and are looking for distribution partners in Asia. Additionally, we are presenting animated features, and are always looking for new animation and family content, be it TV series or features that we can acquire for worldwide sales.”
On the feature front, Johannes highlights a number of new offerings, which include, “Moonbound”, “Two Buddies” and “A Badger and the Scary House”.
FEATURE
THE (TURKISH) SHOW MUST GO ON
Muge Akar, Content Sales Deputy Manager of ATV from Turkey expects to continue with their positive sales momentum at ATF this year. “Despite the pandemic, we have continued to close Asian deals, and recently, concluded deals with Bangladesh, Sri Lanka and Indonesia.
“Malaysia and Philippines are our new focus for Asia,” shared Muge.
One reason she believes contributes to the positive demand for Turkish content is the similarities in traditions and values with Asian markets. For example, the importance of family is central to both region’s cultures. Thus, ATV’s drama series with family-oriented stories, and a healthy dose of love angles, are popular.
One such title that ATV intends to introduce to Asia is “Maria and Mustafa”, shot in the Anatolian part of Turkey. The modern love “ATF is a signature industry event in the region. It has always been key for us, especially since we opened the APAC office 4 years ago,” said Sabrina Duget, EVP APAC, all3media International. Having made inroads in Southeast Asia, all3media has had a strong year in India, generating numerous deals for its entire catalogue from scripted formats, drama and non-scripted lifestyle series. In Japan tale tells the story of a Turkish man who falls in love with a Colombian girl, Maria. The opportunity to still meet Asian buyers despite ATF 2020 being an online event
Sabrina Duget
EVP APAC all3media International and Korea, its dramas have also found more homes than ever. Likewise, the company has found success in Thailand with sales of nonscripted content and dramas. “Many buyers in the region are more open to trying new titles and genres. The increased competition is pushing all broadcasters and platforms to be more creative, push the boundaries and to increase production budgets.”
Muge Akar Content Sales Deputy Manager ATV
excites Muge. “We hope to strike more deals with Asian partners. Asian buyers are always lovely people to work with. They are tolerant and principled and see value in building long
term relationships,” she added. Despite the challenges this year, the company delivered 25 prime-time drama series, and have over 30 series in the pipeline next year made for Tencent, BBC, ITV, VOOT/Viacom, Channel 4, HBO Max. Looking at selling rights, to keep up with the ever-evolving industry, it becomes imperative to remain flexible and aware of how to facilitate buyers’ needs. Consolidations and strong competition between platforms mean that platforms and channels want to own brands, therefore windowing titles has been harder than before. The challenge, according to Sabrina, is that there is uncertainty for a lot of broadcasters around the means of distribution.
“Broadcasters want to cover all eventualities in the event that they switch their business to a VOD model, meaning that we have to grant more rights now than we did a few years ago, to accommodate the market.” Another prominent change, according to Sabrina, has been the exploitation of format and finished programmes. “We need to evaluate at an early stage and be mindful of exploitation, so we do not jeopardise deals. Having a strategy per title has been key to maximising the brands’ exposure.”
FEATURE
GREAT DRAMAS, ANIMATION, THRILLERS & CRIME: AND NOW, INTRODUCING… DOCS!
Having attended ATF for several years now, Federation Entertainment feels that this year’s edition is even more crucial for them in light of Covid-19. The market and conferences at ATF have been excellent avenues for them to better understand how Asian markets work.
This year, South Korea, Indonesia and Malaysia are key countries for them to deepen their business relationships with, especially on format rights, believing that formats hold great potential in Asia. On top of formats, animation is one of the most popular content in Asia as well, and the company is excited to present a brand-new animation program called, “Presto! School of Magic” at ATF.
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BETTER Every year, ATF aims to bring new exhibitors and buyers in greater numbers to diversify content offerings. Joining ATF for the first time is Picture Tree International (PTI) from Berlin, Germany. Yuan Rothbauer, Co-Managing Director, is excited
Sarah Zarka International Sales & Acquisitions Manager Federation Entertainment
While strong in drama, thriller and crime genres, the company is always diversifying its catalogue with shows such as, “Made in Italy”, “Around the World in 80 Days” or “Bad Banks”. Their series, such as “Partisan” and “Red Light” have been selected and even won prestigious prizes at CanneSeries festivals. about her company’s premiere outing to ATF, saying, “We are keen to get buyers’ response on our entire library and new titles. “There are quite a few new titles that we will be premiering in 2021, and ATF will be an excellent time to showcase these titles”. Federation Entertainment’s International Sales & Acquisitions Manager, Sarah Zarka added, “As part of offering buyers a diverse catalogue, we’ve recently entered the documentary market and would love to introduce them to
our buyers at ATF.”
There are quite a few new titles that we will be premiering in 2021, and ATF will be an excellent time to showcase these titles.
Yuan Rothbauer
Co-Managing Director Picture Tree International
The company has had experience distributing their products to China, Japan and South Korea, but feels that they’ve yet to properly explore the Southeast Asian region. PTI is developing its strategy for dubbing and that makes attending ATF even more important. Yuan added, “Depending on the feedback of buyers, we hope to get more insight into what we might have to adjust in this respect and whether it becomes economically feasible to plan dubbings of our films for certain regions with an eye to TV and Platform sales, as opposed to ‘all rights deals’.” Part of PTI’s eclectic mix at ATF includes, “Wu Hai”, a FIPRESCI Award-winning Chinese film; “Contra”, a comedy about a xenophobic professor and a law student, and “Alma & Oscar”, a biopic about painter Oscar Kokoschka and his lover, Alma, which is going into production in Q2 2021.
FEATURE
MUTUAL BENEFITS: MAKING CHINA FOR THE WORLD
“ATF is usually the last overseas TV market we attend every year.
“Because it’s held at this time of every year, it is the only market which brings us the opportunity to summarise the past and to plan the future,” said Cecilia Zhu, General Manager, Huace Global, China Huace Film&TV Co Ltd.
This year, the company brings with it a new slate, including animation, web series, web movies, documentaries, and more.
Over the years, the company’s content has been distributed to over 180 markets, with one of its successes owed to keeping global territories in mind and trying to make content with Chinese representations more palatable to overseas audiences. Add this high demand to the translating of Chinese into foreign languages and vice versa, it is now much easier for global audience to find viewing pleasure in the diversity of Asian content.
“Asian countries have similar, but diverse cultures. This is also reflected in the contents One major difference that Albatross has noticed recently is the shift towards VOD rights for their factual content catalogue. “While at this point, our main clients are still the traditional FTA or public broadcasters, we are working with more and more VOD produced by different Asian countries. This year, because of the market environment, we have more orders for translation and subtitling compared to previous years.”
Cecilia also believes that the market is no longer simply buying and selling content. Both buyers and production companies are seeking deeper and diverse ways of cooperation. While audiences may first be attracted by lower prices of acquiring content, in the longer term, most would turn their focus on the quality of the content. “We have a price system for different types and qualities of contents and for different territories. This is based on our experience of overseas distribution and understanding of the market, making sure both the buyer and us can always agree on reasonable pricing for the contents they
Cecilia Zhu General Manager, Huace Global China Huace Film&TV Co Ltd
want.”
Eleytheria Heine
Sales Manager Albatross platforms (national and pan-regional) as well,” said Eleytheria Heine, Sales Manager of Albatross.
GROWTH IN VOD RIGHTS IN ASIA
emergence and evolution of new media, while others are unforeseen. Thus, Albatross remains committed to working with business partners’ evolving needs regarding rights,
formats or other matters. Albatross comes to ATF with a strong 4K documentary line-up that covers anything from nature & wildlife to science, travel, adventure, lifestyle, culture and history. In Asia, Eleytheria highlighted that the wildlife segment, featuring everything from cute rodents to wild predators appears to be popular with audiences.
Tapping into the growing awareness of climate change, “On Thin Ice”, which won multiple prizes, focuses on the dramatic effects of climate change in the Russian Arctic. A rapidly urbanizing Asia will also be interested in “Darwin in Times Square – the Science of Urban Evolution”, a doc that proves how ingeniously wild animals can adapt to man-made environments.
