Day 3

Page 1


20/20 ON 2016

New market places for TV will develop: Meta, Hyper & OTT

Success can be measured in a multitude of ways MDA Show Dailies Cover- Day 3_ATF.pdf



11:14 am


The advent of cinematic prowess from Asia

Visit us at ATF 2015 Stand D10


02 Day @ a glance Film industry luminaries take to the stage at the ScreenSingapore Conference

04 from the market Deals and spills from the market floor; the latest collaborations and acquisitions in Asia

08 great mind shares As the ATF conferences draw to a close, our speakers uncover the latest format trends

14 PRofile The Secret of a Successful Format Formula



20/20 on 2016: News from the Future

From Bollywood to Hollywood: Taking India Global

22 FEATURE New Era of Streaming Entertainment is Upon Us


Country pavilions take centerstage in a splash of colour









28 PRODUCTS NEWS Check out what’s on offer at the Market

DAY at a Glance


4 Dec 2015 FRIDAY SCREENSINGAPORE CONFERENCE Editorial & Production Team

conference 10.00am–10.10am Opening Remarks 10.10am—10.40am Crossing Continents: Guide to Structuring A Successful eastWest Co-Production 10.40am–11.20am Europe: An Insight into European Film Finance 11.20am–12.00pm Multiple Funding Streams For Impact Content

1.30pm–2.20pm Southeast Asia: Overview of Southeast Asian Film Financing 2.20pm—3.10pm Mega Panel: Meet the Financiers 3.10pm—4.00pm Understanding Distribution and Festivals Achieving Critical Acclaim and Commercial Rewards 4.00pm—4.30pm Closing Keynote Marketing and Distribution in a Global Context

Market EVENTS 9.00am—5.00pm Level 5 Film & TV Market Southeast Asian Film Financing Project Market


“It’s a great time to catch up with the Asian family and see what’s new, talk about the future of the TV world and basically exchanging notes.” Brad Cox, Senior Director, Content – Entertainment and Lifestyle Channels, A+E Networks Asia

4.30pm-5.00pm Level 4, Roselle Ballroom Southeast Asian Film Financing (SAFF) Project Market Prize Ceremony


“I’ve been to shows in Europe and America but Asia is very important to us. We want to expand Bollywood content into Asian countries like Japan, Taiwan and Korea apart from countries that already carry Indian content. ATF is great because a lot of Asian buyers come here.” Kumar Ahuja, President – Business Development, EROS International


“I am looking to acquire UK content that can attract the Asian audience and there is a lot more selection this year compared to last. I also enjoyed the conferences on Tuesday. They were very good. Sophia Yuen, Program Manager, iTV Studios Global Entertainment

Editorial Director Lunita S V Mendoza On Site Editor Mark CHEN Designer Zoey LIM Photographer Justin ONG Project Management Senior Project Director YEOW Hui Leng Project Manager Joyce CHUA Marketing Senior Corporate Marketing Manager CHUA Yee Ling Marketing Manager Monika AU PUBLIC RELATIONS Senior Account Manager Diana LOW Assistant Account Manager Samantha NG Buyers Research and Delegate Program Executive Genevieve CHEW Exhibitors & Participants Account Manager PHUA Meenyi Project Coordinator Chrystia LIEW Conference Executive Producer Lunita S V MENDOZA Operations Operations Executive Amelia KHO Operations Executive Bryan LAM Published by REED EXHIBITIONS, a division of Reed Elsevier (Singapore) 2008 Pte Ltd


A World Icon: Singapore Botanic Gardens (Turner)

from the m arke t

Green Light for World Heritage Channel’s Asian Original Turner has commissioned an original production on the world’s first and only UNESCO World Heritage-listed tropical botanic gardens from Beach House Pictures.

Seoul Searching Riding the Korean Wave, the Seoul Metropolitan Government is courting investment from media and content businesses for its Digital Media City, an advanced digital media and entertainment cluster that is home to Korean entertainment giants such as CJ E&M, KBS, SBS and MBC – all of whom have a presence at Korea’s KOCCA Pavilion. To help attract investors, the authorities have established a Content Industry

Promotion Plan that includes a US$91.6 million fund, exclusively to support the digital content industry. This appears to line up with the broader Korean presence at ATF, where animation and digital content feature strongly across Korea Film Council (KOFIC), Korea Creative Content Agency (KOCCA), and SBA Seoul Animation Center, the three Korean Pavilions at the show.

The 60-minute special, A World Icon: Singapore Botanic Gardens, will air on Turner’s recently launched World Heritage Channel in Asia, and signals the start of the channel’s commitment to create original Asian documentary content. Produced in brilliant 4K, the documentary will combine expert interviews with spectacular aerial photography and epic time lapses. Work is expected to commence immediately and will air in late 2015 or early 2016.

Ray Li of Han Media (TH) Culture and Shen Wei of Cathay Audiovisual Global Media Group Co Ltd affirm the deal at the official signing ceremony

Double Happiness at Beijing Day


This year’s Beijing Day, titled “The Charm of Beijing, The Dream of the East”, celebrated many years of partnership and participation at ATF. The highlight of the session was the inking of two key deals with Chinese production company, Cathay Audiovisual Global Media Co Ltd. Telesuccess Productions Inc from the Philippines acquired the broadcast rights for Chinese wuxia classic The Romance of the Condor Heroes, while Han Media (TH) Culture from Thailand bagged the broadcasting rights for several programs, including The Gods.

The self-elimination cookery contest starring the godfather of modern gastronomy... Marco Pierre White

UK indies. Stand K32 Amelia Ritchie, Sales Executive


from the m arke t

Helping South East Asia’s Independents Find Footing The inaugural Southeast Asian Film Financing (SAFF) Project Forum, co-organised by ScreenSingapore, the Southeast Asian Audio-Visual Association and Ties That Bind, the has seen keen interest as financiers the world over descend on the show floor. “Not every good product can come only from large production houses but you’ll have to source for them and meticulously find the diamond among the many gems,” said Kevin Balhetchet, CEO of Hub Media. John Torres, an independent director with four feature films under his belt is looking for funding for his fifth project. He said, “It’s like speed dating. You can’t expect to marry someone straight away. But you get to ask questions, get a clear vision of what each other is looking for and then maybe, if there is enough promise, we make it happen.”

British “Indies” Come East Representing the commercial interests of more than 600 independent television, film, animation and digital media companies in the UK, the Producers Alliance for Cinema Television (PACT) has curated a showcase of works from 20 exhibitors for the market at this year’s ATF.

Japan’s Tradition of Diversity

With UK content having evolved into a multi-billion pound business, the Asia Pacific region represents a significant opportunity for distribution, collaboration and co-production. For Asia’s content producers, PACT also presents an avenue to leverage the UK’s expansive experience in independent filmmaking.

A French Connection

A sushi and cocktail party on the ATF show floor, jointly hosted by Regions of Japan and the Japan Pavilion, gave attendees a taste of the Land of the Rising Sun.

TV France International is a trade association of French content producers, distributors and broadcasters comprising about 140 members.

Mr Kozo Ibata, Director of Promotion of Broadcasting Program and Minister of Internal Affairs and Communications and Mr Shuichi Michiyasu, Director of Screen Authority Sappora, graced the event with speeches and participated in the kagamiwari, a traditional sake ceremony.

“We have been coming to ATF for 15 years,” said Mathieu Bejot, Executive Director, TV France International. “It is a long standing tradition for us to be at this market. It works very well. We have 30 French companies here this year. It is a very strong delegation.”

With 40 exhibitors, the combined pavilions represent the enormous breadth and distinctive cultural diversity in the Japanese content on offer.

Animation and documentaries are two genres that are traditionally selling well here in Asia. “But we have more and more companies selling fiction too,” he added.



An Unlikely Love Story

MIPFormats International Pitch

Fashion TV showed off its latest offering at ATF’s glitzy Opening Party, held at the majestic Gardens by the Bay. Exodus to Shanghai, produced by Michel Adam and directed by Anthony Hickox, is a cross-continental love story, interrupted by the Nazi invasion of Austria in 1938.

Backed for the second time by all3media International, the MIPFormats International Pitch is calling on creators and producers to submit entries. The competition is open to participants who want to present innovative, original, non-scripted entertainment formats. Call for entries will open shortly on

Fannia, a beautiful Jewish violin player, is perfecting her violinist skills in Vienna when she falls in love with Bruce, a gifted violinist and martial artist. Together they are forced into an action-packed exodus to Shanghai.

Top FashionTV models were brought on board to play leading and supporting roles in the channel’s maiden affair with feature film - a not-so-subtle nod to the project’s fashionable roots.

Exodus to Shanghai (FashionTV)

According to Adam, who was born in Warsaw, Poland, the film is based on real life events.

Inaugural Spanish Outing Gets Thumbs Up For Maria Garcia-Castrillón at Grupo BoomerangTV International, the ICEX debut at ATF provided an opportunity to connect with Asian buyers, something she hasn’t found elsewhere. Hans Spielthenner from Spanish distributor Indigenius noted the growing trend for Asian producers to make and market content for a global audience, making it easier for him to acquire Asian content for distribution.


New Momentum in World TV By Sahar Baghery, Head of Global Research & Content Strategy, Eurodata TV Worldwide

Netflix’s Winter of Fire on the conflict in Ukraine, entertainment programmes and exclusive movies (Netflix Original Movies). In response to this diversification strategy, TV channels too are expanding their original content. Confronted by this enhanced environment, the strategy used by incumbent players includes changes to their editorial stance and a diversification of their offer. The idea is primarily to appeal to the younger crowd through participative digital strategies.

Viewer habits are changing fast across the globe, especially with the delinearised consumption of TV content and the growing number of screens. Confronted with such changes, both incumbent players and newcomers (OTT platforms, GAFA etc) are renewing their offer with innovative content featuring the kind of interactivity that fits the target audience. This new momentum, which is transforming the way TV content is being watched, is also boosting the appeal of qualitative content on increasing number of screens. The time spent watching TV is also diversifying across countries: while it is on the rise in Croatia (up 8 mins) and Malaysia

(up 7 mins), it is declining in Great Britain (down 7 mins) and the US (down 12 mins). Meanwhile, delinearised consumption is increasing. Thanks to this catch-up consumption, the audience is growing in Great Britain (up to 17.2%) and the Netherlands (up 6.6%). TV content is still watched on more screens (via the net) than just TV. Whether being incumbent channels, OTT platforms, GAFA and other giants in the digital sector, all must adapt to this fastchanging audio-visual environment by providing new content. However, not all are using the same strategy. Platforms are basing themselves on TV channel programming by offering documentaries, such as

With regards to content trends, fiction is a clear leader with over 3,700 new series broadcasted worldwide in a year. Adaptations account for 2% of series launched, against 41% of original creations and 57% of completed format. In this sphere, Europe is the most dynamic region with 37% of series adaptations produced and broadcasted worldwide. As for entertainment programmes, competition is leading producers to focus on niche topics, like Popster (Talpa) in the Netherlands, a talent show for puppeteers. Last, in order to capture an audience whose habits are diversifying, players in the market are setting up multiple-platform systems around documentaries and fiction. This is the case with Racing Extinction (Discovery Communications) on Discovery Channel, where the live broadcast shown in more than 200 markets worldwide is supported by a viral campaign.

Never Straying from the Proven Path By Nathalie Wogue and Matthias Puschmann

Nathalie Wogue, coming from the TV industry and Matthias Puschmann from the digital world, presented their selection of the best ideas in their session, When TV Formats Meet Digital. This year has certainly been a milestone in the world of television with the digital wave not only deeply impacting the business, but also the artistic content of television formats. And the good news is, formats specialists are the “spoiled kids” of the digital disruption compared to the players of the press and music industry because they’ve mastered the success keys in the digital world, including: • A good knowledge of video production (by definition), • A good knowledge of their targets (ratings)

• A good knowledge of the international market. The session led by Wogue and Puschmann brought a selection of the best practices, a list of big brands of non-scripted TV formats that made their digital exploitation successful. Their selection of ideas was based on 3 criteria: • Originality, because good content is king • Coherence, as the DNA of the programme • Relevance, in line with digital trends Four categories were represented, including entertainment, reality series, factual entertainment and gameshows. All these with one goal – that these ideas become a source of inspiration for your own development of programmes moving forward.


The World is Going Goo-Goo for Gogglebox, even Asia! By Tim Crescenti, President, Small World IFT

A standing room only crowd for Gogglebox session were among the first people to hear the news that Sabrina Duguet has been promoted to Executive Vice PresiATF 2015dent of Int’l Format Sales for all3media SapporoInternational and that the company will be setting up a base in Singapore in 2016. Show Daily 02(DAY03)

Size: 244W X 164H The fun-filled and fact-packed session Scale 1/1began with laughs and applause with the

video highlights of Gogglebox, which has now been sold to 35 countries, South Korea being one of the most recent. Sabrina

spoke of the initial launch of the series in 2013, which was met with criticism by the British media, and okay ratings of 500,000 viewers. The second season was promoted to prime-time (now has 6 million viewers) that then drove global interest on a format that Sabrina said was “a very hard show to sell and for buyers to understand.” She added, “on the surface, it appears to be a simple show with two cameras in a living room and let it roll. But there are so many details, and production expertise

that go deeper than even the production bible.” With that comment, Sabrina elaborated on the casting challenge, where she displayed a slide that stated nearly 60% of the casts comes from ‘street casting’, versus casting agencies, advertising and other traditional methods. The format is innovative in many areas, including licensees to have freedom to create their own title and logo; moreover, Sabrina elaborated on the ground-breaking element of getting competing channels to allow clips of their programmes. Other pioneering elements discussed and shown were South Korea (KBS) changed their normal policy of only celebrities cast in formats; allowing real-life health situations to alter locations during shooting. The energetic, infectious session ended on the challenges of Asian audiences being open to the “looking at people in private” aspect of the show, citing the Middle East adaptation of a broadcaster trying something new. With that note, the moderator echoed Sabrina’s comment that perhaps Asian broadcasters underestimate their audiences and viewers. The real-life people are the real-life stories. At session end, the audience stormed the stage…



How To Protect and Monetize Your IP? you created it. And right now, the best evidence that you created a format concept is a signed declaration by a neutral third-party custodian, who swears that they received your manuscript, treatment etc on a certain date and has kept it in seclusion ever since. This is what registration with FRAPA’s FRS Online Registry accomplishes. FRAPA will continue to provide registration and protection of IP and a multitude of valuable and practical services and networking opportunities to go with this – but most importantly, they provide a quality brand for members. It clearly states that if you are a FRAPA member, you can be trusted and it is OK to do business with you. And most of us are in the IP industry to do business, so what could possibly be more important than that? Today, IP is a billion-dollar industry and sharing non-protected IP is something you only do with someone you really trust. A claim to the ownership of a format must be made using the law of copyright. While the format trade assumes that intellectual property (IP) rights exist in formats, this assumption is disputed in law. Consequently, protection for formats will remain an issue while format theft remains a big risk. FRAPA believes that in the absence of a clear worldwide legal framework, it is possible to work within agreed rules based on

values, which we can all relate to. Thus in 2014, FRAPA launched the voluntary Code of Conduct. This code sets the best practice standards and guidelines for the industry. The more members FRAPA gets, the more the industry can work by these best practice guidelines, and the easier it will be to one day establish a legal framework to protect this industry. But until that day comes, FRAPA always recommends the registration of format proposals. This will provide credible evidence that your work existed the moment

FRAPA is a global non-profit organisation run by a board of high ranking TV executives, who contribute their time pro bono for the good of the industry. FRAPA was founded 15 years ago by visionaries within the TV industry. They saw the need for format rights to be properly protected in way that secured the growth of the business. Since then, the format industry has transformed from being a fairly small business dominated by the UK, US and The Netherlands to being a truly global business, where good ideas can come from anywhere, anyone and any platform.

New Korean Wave at ATF By K. Dass, Senior Editor, Television Asia Plus

What’s really trending in Korea is the new wave of Korean content that’s travelling globally and amusing audience everywhere. Six major Korean broadcasters from CJ E&M, KBS, MBC, EBS, A9Media and SBS took the conference hall to a different level, as they each introduced two of their running formats in a fully packed session. The Korean wave did not rest with its exciting dramas and K Pop bands, but elevated to a new wave of formats that international players are re-producing. In 2014, while the foreign media were focused on the upcoming Korean adaptation of the hit Israeli drama, Prisoners of War, CJ E&M was striking major format deals with broadcasters in Latin America and Europe. In the same



Why Dave Winnan’s Perfect: Proven Success Following that Flawless Format tory: giving an airing to some successful documents from the early days of the formats business to outline, at the most basic level, how effective they were, what they did well, and what we can still learn from them now.

What is a Format Bible? What does a good one do? What does a bad one do? Who makes it? Who reads it? And why? Bible technician and international formats Executive Producer, Dave Winnan, took us through his plainly spoken and nononsense methodology for producing the perfect bible.

tor once you have licenced the format. Winnan outlined, with no small wit, exactly what is required to make a format bible work for the, pardon the pun, holy trinity of international format sales: the original producer, the distributor and, of course, that all important client or production partner.

A bible is, of course, all of the information you would receive from a format distribu-

He examined the genesis of the Format Bible and took a quick look at their his-

Winnan then took a 360-degree look at the modern Format Bible. It’s not just a book anymore, but a hands-on-how-to on: • Producing a format bible in a collaborative sense with the key creatives behind the original shows. • Making them work on a digital level, covering graphics, titles and music delivery in terms of practical technical delivery and avoiding the pitfalls of licensing. • Commercial and second screen tech nologies having a key role in the con struction of today’s bibles and, of course, ensuring that the format grows with each and every interpretation. • What is the best way to filter, farm and re-distribute the mountains of minutiae that come from each version of a successful format in each country. • How much do you share, and how much do you keep back on a need to know basis. In short, 45 minutes of many questions raised and answered by an Executive Producer with a terrific track record of returning seasons around the globe.

year, the emergence of Korean TV formats on the global stage became widely recognised within the industry. Audiences were thrilled, as much humour, celebrities and unexpected moves were revealed during the KOCCA-sponsored session. Yet, Korean format sales are not something unheard of before. But, as Korean broadcasters have embraced format sales as a new source of revenues, one market is seen as the first stop before reaching out to the international market: China. Indeed, as the Chinese audiovisual market has risen to be the second largest worldwide, it has become an unavoidable option for Korean shows to boost both their revenues and reputation. Once their success is proven, Korean formats can then use the acquired notoriety to expand to more reluctant markets.



Prowling (or even Hunting) in Asia for Good Stuff By Tim “Rocket Man” Crescenti, President, Small World IFT

With a diverse group of panellists assembled with common theme of finding, creating, developing, producing and broadcasting shows/formats for Asia for terrestrial digital and online. The panellists included Kevin Balhetchet of Hub Media Group in Indonesia, Zhang Yuxin of iQIYI in China, Hendy Liem of MNC Group Indonesia and Xue Han of Zhejiang Satellite TV China. Beginning with flipping the table on the panellists, we learned what shows these decision-makers personally enjoy. (Kevin certainly stood out for his preference of what to view to relax, as the audience laughed with him.) The talk then moved onto learning which market is influential to the panellists with Xue emphasising South Korea, while Kevin identified Malaysia.

Moving onto which trends are emerging in each of the markets where, Zhang presented an impressive slide show of the phenomenal numbers that iQIYI has delivered while breaking records in the short time of their existence, such as 2.8 billion clicks The Lost Tomb has hit, making it the most successful web series in 2015. Hendy of MNC Group talked about the multi-faceted directions that his company researches to find and produce programming in an innovative way, such as the benefits MNC Group has benefited from its partnership with ABC (Australia). The session shifted to what has worked in the past year for Zhejiang, as Xue highlighted The Running Man, adding that South Ko-

rea is an important territory for China to buy formats. A spirited discussion amongst the panellists was the topic of the biggest challenges facing the Asian market. Kevin emphasised finding the right partnerships amidst the financial obstacles from the US and Malaysia, adding that the game is changing with the big US studios not being able to push their product into Asia anymore. In Indonesia, they are looking at which of their content can transform and translate to become more international. As time was running out, questions from the audience came flying in. Let’s just say India is going to make a spirited run at becoming a partner in China and Indonesia.

Hollywood Magic: It All Starts With the Writers cessful entertainment properties, compelling characters and universal themes, and how WGAW writers adapt these elements across different distribution formats. From Pretty Woman to House of Cards, audiences respond to fascinating characters. As a story progresses, audiences look to follow a character or a cast of characters that they care about; “whether it be love or hate, they need to feel something.”

Melodie Shaw of the Writers Guild of America, West (WGAW) spoke on two fundamental components found in globally suc-

In order to widen the audience-base and transcend borders, there must be a common thread that runs across cultural, racial and other influences on viewership. Some examples of this are music, dancing, romance and humor. Hollywood writers tap into these universal themes to draw in audiences regardless of nationality. WGAW represents a membership of over 7,000 culturally-diverse writers spanning

across the globe. Its members provide their knowledge and skill in Hollywoodstyle storytelling to companies around the world in all areas of audio-visual media including television, feature films, video-ondemand programming for outlets such as Hulu and Netflix and many other platforms. Producers looking for compelling stories can turn to WGAW writers by signing a Guild agreement that ensures fair compensation, creative credit, and residual payments that allow writers to share in the success of their projects. “Using Writers Guild members and local talent are not mutually exclusive and the goal is not to take work from local talent.” WGAW members can add Hollywood flair, while indigenous talent provides a backdrop of local culture and customs. There is much to be learned and plenty of magic can happen when partnered together.


When Kids Lead the Way nel,” says Kelly Wright, Sales Director at Keshet Broadcasting International in Israel. Thus, The Voice Kids, distributed by Talpa, ranked in the top 5 entertainment formats in France, Spain and the Netherlands and will soon be broadcast in the UAE and in Brazil.

So there are plenty of talent show formats on the market that focus on adults, but

grown-ups are not the only ones capable of commanding viewers’ attention. More and more, younger individuals are being featured in a variety of talent shows that are being adapted around the globe. There are two types of talent shows. First, well-established formats such as Masterchef, Got to Dance and The Voice made capital out of their brands by successfully developing spin-off series starring children. “They benefit from the brand-knowledge, an already-existing fan base and a big coverage, which is less risky for the chan-

WHO WE ARE We are the Writers Guild of America, West (WGAW), a labor union made up of the thousands of professional writers who create the television shows, movies, new media/digital content, documentaries, animation, videogames, news and radio programming that keep audiences constantly entertained and informed.

Writers Guild of America, West 7000 W 3rd Street Los Angeles, CA 90048 T: + (323) 951-4000 T: + (323) 782-4501 E: FAX: (323) 782-4707 Represenative attending ATF: MELODIE SHAW Field Representative/ Organizer

Our members write every genre of audiovisual content creating some of the most popular and profitable entertainment in the world. If you are producing English-language theatrical motion pictures, television shows, or new media/digital programs and want Hollywood-style storytelling, our members have the skills you want. Many of our members are multilingual and culturally diverse giving them a unique edge for creating content with international appeal.

Regarding the mutation of TV consumption (delinearised viewing, multiscreen, new social interactions, need to engage the viewers etc), Nederlof compared content to the centre of the hand, from where all the distribution strategies need to start. Last, about the next trends in entertainment, Vinay spoke about formats crossing the limits and 100% digital to adapt to new ways content is watched.

WHAT WE DO • Negotiate with studios, independent producers, networks and new media/ digital companies to improve writers’ compensation, benefits and creative rights • Enforce contracts • Protect financial and creative rights • Determine and protect writers’ credits • Process residuals payments • Provide portable pension and health benefits • Foster networking and educational opportunities • Engage in public policy advocacy directly and through our political action committee If you have questions about the important work being done by the WGAW, the largest labor organization of its kind in the world, visit the Guild’s website at



In a situation where talent shows continue to draw in good audience ratings, but are struggling to establish new formats, TV viewers are weighing in behind programmes that star talented children. The genre has been in existence for a long time now, but more recently, the search for young prodigies seems to be especially popular, among the entire family audience, according to Sahar Baghery, Head of Global Research and Content Strategy at Eurodata TV Worldwide.

More recently, there was also Superkids, which travelled to Poland, and will arrive in France next year, added Gepke Nederlof, Head of Global Sales at Talpa in The Netherlands. As for Comarex, Kids Academy has been the hit format so far and international sales are going well, declares Marcel Vinay the CEO. Wright noted the positive message behind the hit show Master Class, which recently travelled to China, and will soon arrive in France as well: no eliminations and competition, just the pleasure to perform.


The Secret of a Successful Format Formula Hit after hit, Dave Winnan is here to stay

By Lunita S V Mendoza, Executive Producer & Editorial Director, ATF

There’s never a dull moment when you find yourself lucky enough to be in the same space as ITV Studios’ Executive Producer of International Formats, Dave Winnan. This larger-than-life personality chatted with ATF’s Executive Producer and Editorial Director and revealed some delicious dope on formats that has been his life’s passion, living la vida loca the world over.

What do you give a man who has everything? After over 20 years developing and producing entertainment formats such as The Big Breakfast, Surprise Surprise, Guinness World of Records, Meet My Folks, Nothing but the Truth, Come Dine With Me, Four Weddings, Saturday Night Takeaway, Hell’s Kitchen, The Chase and more, David Winnan can be a tough nut to crack, as achieving satisfaction goes. Yet, being at ITV Studios has been surprisingly gratifying, more so in the last four years there as Executive Producer of International Formats. Dave cites a defining moment in the work he did with ITV Studios’ South African production hub for I’m A Celebrity...Get Me Out Of Here! (IACGMOOH!) “It’s allowed us to open up this fantastic format to a much wider market – we’ve produced for seasons in the hub last year, which was a really large scale format in every sense, not least logistically,” prides Dave. In addition to that high, the fact that all of ITV Studios’ clients this year are absolutely returning next year, with even more in the pipeline, it certainly has been hugely satisfying for this colourful Brit.

“The market is much more fragmented now, and success can be measured in a multitude of ways, such as the longevity of a format, re-commission rate etc.” 14


“How you translate a format so it works in multiple territories is key.” “I might as well take the opportunity to show-off and mention my hit rate. For our big five formats: IACGMOOH, Hell’s Kitchen, The Chase, Saturday Night Takeaway and Come Dine with Me, I have a 95 percent success rate in achieving second season re-commissions.” With such recurring sensations, can Dave then lock down a guaranteed success formula? Moving forward, is this million dollar prospect to consistently show us the money in repeatable, exportable templates or new, exciting conceptions? “Well these two things aren’t mutually exclusive,” Dave declares. “You can have ‘repeatable, exportable’ in combination with the exciting and new.” This is especially true in the case of the hugely headlining “second screen”, where Dave believes there are opportunities that can be taken, if one is flexible enough, to add and augment existing formats. “But of course, everyone is looking for the tried and tested – those proven hits. This is our forte at ITV Studios. Our headline format for this autumn is Love Island – we’re pitching it to buyers around the world off the back of a great run on ITV2. It is a heritage brand, a refreshed format with a brilliant new platform for social media and second screen technology that is firmly targeted at a young and sophisticated audience. This is a happy marriage. It’s unusual to find a show which increases its audience across the series, but that’s exactly what it did – jumping by 76 percent from the first week to the last.” So we ask, is there more to give today, in a world where noteworthy ideas seem to be running short on gasoline? While Dave deems a good idea works anywhere, we must be sensitive too. “The industry is much more sophisticated than it was – and we don’t tend to see dominating formats anymore, or certainly not as often.” “I think we are moving away from the idea that for a format to be a success, it has to be in every territory. The market is much more fragmented now, and success can be measured in a multitude of ways, such as the longevity of a format, re-commission rate etc. I’ve mentioned IACGMOOH! previously – but that is such a good example of an idea with a very long life span. It’s a 15-year-old format which we have found a more sophisticated way of producing. How you translate a format so it works in multiple

territories is key. Not to mention the commercial opportunities we now bring to our clients alongside our formats, and that includes second screen opportunities.”

growing slate of new formats alongside ITV Studios market leading portfolio of evergreen titles, which perform so well for networks around the world.

The great thing about being in the formats business at ITV is that international growth is a massive focus for the business. Both factual entertainment and entertainment formats remain an important part of that. So the world can expect to see a continuing and

But for Dave himself, he guarantees he’ll be in the international formats business for the foreseeable future. “I find the different countries and the individual quirks and idiosyncrasies of each culture fascinating, and I can’t imagine a more fascinating industry to work in.”

ATF asks: What could possibly be more important than that compelling format? Dave answers: I would argue that collaboration is the most important ingredient. You could have the best format in the world, but if you aren’t working with the right partners, you’re not going to find success. And that applies to all formats – not just the bigger, high profile shows. A good collaboration opens the doors to more business in the future. ATF asks: You’ve apparently dipped your toe in reality formats. What has been your cup of tea? Are those the ones that also rake in the dough? Dave answers: I’ve produced many reality formats throughout my career, and I think it is the most exciting genre. As a producer, you have the ability to construct theatres, which generate real reactions – who can resist that? Hell’s Kitchen is my favourite format and it also happens to be one of our most successful shows, as both finished tape and as a format – Hell’s Kitchen USA is shown in almost every country. ATF asks: You’ve braved the best Asia has to give, bringing some of your successful formats to these parts of the world. What sort of future do you see in the formats business in Asia? Dave answers: Asia is booming! I think there is still an opportunity for Asian buyers to get more out of the global industry. I suspect they’re only seeing the top few percent of what’s available – there are less and less dominating formats now. Every year, there are many notable ideas. ATF asks: What is your favourite Asian original format? Dave answers: Sing My Song, which we distriute and will be doing in Vietnam next year.



20/20 on 2016: News from the Future

Scions of Humankind’s Success When Netflix CEO Reed Hastings made a ballsy statement last year that the age of broadcast TV only had 15 years left, it got the industry’s panties in a knot, sending the somewhat incumbent dinosaurs into a frenzied analysis to see if their bread and butter was going to end up toast. By Alexandre Callay, Global Head of Media Products, Repucom Edited by Lunita S V Mendoza, Executive Producer & Editorial Director, ATF

Towards Hyper and Meta Television The first two decades were times of apparent chaos. The world had never experienced this rapid a rate of developing new technologies and services, which proved to be paradigm-changing. The Internet was at the centre of the game in the early stages of this new millennium. As usual, the ones who have the most interest in these changes predict the end for the current incumbent dominant forms.


Broadcast and its related industry would be the next one to disappear, leaving an opportunity for the new barbarians, those who will embrace this change and innovate. Despite breakthroughs heading towards Hastings’ vision, changes have been at a relatively slow pace, as it involves not only new equipment to be developed and shared amongst the general population, but also changes in behaviours, which will definitely take longer.

In that respect, if Facebook is to become the global media that we did not see until now, it still covers “only” 1.3 billion individuals, leaving the vast majority out of its scope. Not surprisingly, Facebook is now trying to speed up the future by delivering high speed internet to “remote” areas with the population removed from the adult stage of the digital modernity, which raises the question, “should we consider mobile phone access as the infancy of digital modernity?”


Up until 10 years ago, most homes in developed countries had two to three screens available to the family members. As of today, many developed countries benefit from six to seven different screens, which are not primarily dedicated anymore to television. The additional ones are often the place of applications and social network amongst which moving images are trying to find its way.

everywhere with the help of its new friends incarnated by social networks. Individuals are increasingly sharing content of interest with the help of official and non-official services allowing the spreading of its content: each of us through our likes, comments and sharing are then the marketing agents of the broadcast industry. In addition, native television offers are

The value of Facebook is increasing with the number of its members (like the telephone before): the more people, the more value for its users. By capturing moving images curated by individuals, it becomes the meta place for television, if not a meta television in itself. François Mariet is calling the Internet, the “media of the media”. I’ll call Facebook, “the television of televisions”.

The reasons for television leaving these screens empty of its contents are many: technical hurdles, as well as regulatory and commercial agreements have prevented their content to fill in the new opportunities represented by these additional screens, not mentioning the fear of this new world for the incumbent executives of the previous world. These screens are the place to find traditional television (e.g., the linear version of it), as well as its non-linear version. New entrants have well understood the power of moving images and are speculating on them for their current and future success. It has to be said that television and its new breeds have never been so present to the world. It is just that we don’t recognize its children.

Alibaba’s Jack Ma

Baidu’s Robin Li

now developed within Facebook and its competitors. New market places for television have developed, allowing the hyper distribution of television. One of them may take the lead with a better

“As of today, many developed countries benefit from six to seven different screens, which are not primarily dedicated anymore to television.” In other words, television as a surface on which moving images can be seen and associated sounds heard is purely at its infancy and the future is taking shape around the reinforced mantra of hyper television. Digital is in fact contributing highly to the success of television and is not the lethal force that some describe - what does not kill you anyway, does reinforce you. During the past few decades, we have seen an apparent decline in traditional viewership, while the audience measurement companies were facing difficulties in measuring a larger scope of TV screens. Indeed, what used to be fully measured (the average two TV sets per home) is now measured poorly or not even at all, with out-of-home viewing basically out of reach for the majority of audience measurement tools. Despite this huge limit leaving many blind or half blind (what is not measured does not exist), television is spreading

curation (human vs algorithm), a better offering of television-like services, as well as with a higher identified reach. By allowing recommendations through likes, comments and sharing amongst a list of people I trust, like, know, and follow, Facebook is indeed allowing personal curation e.g., programme schedule in line with my interest (and not the ones of “ghosts”, who may be defined by the same kind of socio-demographics or apparent behaviour).

Sina Weibo’s Charles Chao

There are of course limits, which impact the uniqueness of Facebook as a marketplace; one of them being the social network users are skewed towards certain socio-demographics. Their attitudes and behaviours are sometimes different than the general population, leading to mismatch when it comes to content appraised on “traditional” broadcast dais and not on digital platforms. With different viewers profiles and therefore expectations, a TV series which is liked on a pay TV channel may not find the same success on free-to-air. The same applies to broadcast versus online where users/ viewers profiles are not yet equivalent. This analysis should also be balanced by the fact that a huge portion of the content market pie – Asia focused – is not yet taken into account within international benchmarks; Baidu, Weibo, Alibaba, Wechat and Q Zone, to name a few, are yet to be understood when it comes to defining the giants of the 21st century. With more than 20% of Internet users based in China, today’s winners may not be tomorrow’s leaders. And when it comes to digital, Moore’s law applies faster than it did for Kodak and more recently for an ex-Internet star called MySpace. The higher the “flexibility” and “opportunities” for content delivery in China, it is also a booster of this neteconomy, where the game is far from over. More (surprises) to come!




New Era of Streaming Entertainment is Upon Us Linear OTT TV is just around the corner By Ed Barton, Practise Leader, TV, Ovum

Direct-to-consumer initiatives such as HBO Now and Sling TV herald a new era in online streaming as premium, standalone services based on content that was once exclusive to traditional pay TV hit the market. While free, ad-supported, and bundled multiscreen streaming have driven huge usage volumes, a new era of streaming entertainment is upon us. Until now, watching the latest Hollywood movies and TV shows has largely been the preserve of downloads, discs, and pay TV. What we are now seeing in maturing markets, such as the US is that the audience is shifting towards premium linear streaming, augmenting wellestablished free, on-demand services, such as YouTube. This will have a number of impacts on the visual entertainment ecosystem. Naturally,


an already unforgiving competitive environment will intensify. Services, which fail to understand the increasingly complex array of choice available to the audience, will struggle against those which address the need for connectivity, perhaps hardware, as well as content. There is likely to be much downward pricing pressure, as multi-play offers ruthlessly discount bundled services, which lie outside the core business of the seller. There is, however, some upside expected for companies which produce the content that the audience craves: More distributors – and perhaps even the creaking open of another release window – will offer yet more negotiating leverage for creators of the most dearly loved TV shows and movies.

At the current pace, it will be several decades before OTT video revenue even comes close to pay TV’s The new era of streaming is characterized by increasingly competitive products and services to rival traditional pay TV. But, at the current pace of growth, it will be several decades before OTT video even comes close to the size of pay TV. At a global level, OTT video revenue will represent less than 4% of global pay TV revenue in 2015 and less than 6% by 2019. This is partly skewed by the inclusion of underdeveloped OTT video territories, but the same comparison between OTT and pay TV revenues for the world’s most developed OTT video market, the US, still finds OTT video accounting for less than 10% of the US



pay TV market in 2015, growing to around 15% in 2019. In Asia, transactional OTT video revenue accounts for less than half a percent of pay TV revenue in 2015 and by 2019, it will constitute less than 1% of APAC pay TV revenues. • In China, OTT video revenue will be less than 2% of the total Chinese pay TV market in 2015, and by 2019, this will still be less than 6%. • In Japan, OTT video revenue will account for 4% of the total Japanese pay TV market in 2015, and by 2019, this is likely to grow to around 8%. • In South Korea, OTT video revenue will account for just 0.6% of the total Korean pay TV market in 2015, and by 2019, this will have grown to just 2%.


pushing back against technology-led OTT specialists, such as Amazon, Netflix, and Hulu. The emergence of such services will help drive global online streaming subscriber numbers past 100 million during 2015 – a major milestone in the development of OTT video – and global SVOD audiences are expected to grow by at least 60 million more by 2020.

TV industry: off main screen device usage, binge viewing, availability of large catalogues and a very strong value proposition given the amount of content available for less than $10 per month. The basic model is now well established and is skewing towards multi-episode scripted series augmented with movies and kid’s content. We are, however, increasingly seeing pay TV operators striking back by offering SVOD services

“The basic model is now well established and is skewing towards multiepisode scripted series augmented with movies and kid’s content. ”

At this pace, the Asian OTT video market will not exceed the Asian pay TV market until after 2050 when we believe it will account for around one third of pay TV revenues. In developed markets, SVOD has already become a mass-market leisure activity Home entertainment is evolving as subscription-based VOD services reach the mass market: It is now commonplace to watch original productions, such as Bosch from Amazon’s Prime Instant Video streamed to the main TV. The emergence of standalone – often linear – streaming propositions, such as PlayStation Vue and DISH’s SlingTV represent the first* which can truly be seen as substitutes for traditional pay TV. The key trend is the proliferation of standalone OTT services launched by traditional TV players, such as HBO Now, CBS All Access, and DISH’s Sling TV. Therefore, the reassertion of the traditional TV value chain is expected,









Netflix’s Reed Hastings

Amazon’s Jeff Bezos

Retail OTT is driven by early access to new movies, while SVOD is driven by binge viewing of TV series SVOD consumption gained traction initially because these services satisfied audience desires, which were not being effectively addressed by the traditional

Hulu’s Jason Kilar

and acquiring stacking rights, enabling them to offer binge viewers multiple series of popular shows. On the other hand, EST is effectively replacing the home video window and is the primary charging model for online movie sales. Collecting movies has not translated particularly well in the digital world outside a small, yet committed, stratum of enthusiasts. However, initiatives such as Digital HD, Ultraviolet and the ability to pre-order new release movies in advance of general video release will remain a key driver behind EST sales. Purchasing digital movies is less about collecting than early access, as it moves out of the theatrical release window into home entertainment. The audience is evolving from earlier generations, where a VHS or DVD library was the centerpiece of a sophisticated home entertainment proposition with access, particularly early access, the driver of the digital value proposition in EST.





Conference session: On the Prowl for Asia’s Original


Busy Participants’ Club full of engaging discussions

Introducing Japanese culture - Maiko dance performance at the Regions of Japan & Japan pavilion

Networking and relationship building at ATF/SS Opening Party

Dr. Partha Nandi, star of Emmy Award winning medical lifestyle show

Telesuccess Productions Inc acquired broadcasting rights of Romance of Condor Heroes from Cathay Audiovisual Global Media

The Winx Club fairies, Bloom and Stella, add color and a pinch of fantasy at the market Buyers reviewing animation programme at the Korea Pavilion


Business and social at ATF market



From Bollywood to Hollywood: Taking India Global As both producer and distributor, how do you work with partners in the creative and financial value chain? We do get involved at an early stage where we are partners in production development and filming stage. Having said that the creative freedom of writers, directors and others involved is of paramount importance to us. You produce with Hollywood and Bollywood on bigbudget films – what are the differences in the production processes? The key difference is the pre-production preparation that goes into a Hollywood film. There is a depth of research and planning to produce a rock solid end product, whereas in India, that process is still evolving. Also, in Hollywood, the content is most important, while star power still rules in India. But things are changing with the growing independent arena in India.





Are you also seeing much success in low to midbudget films in returning investments and is a multiplatform approach key to this?




It’s a universal truth that if the content is good, it works. The budget of the film only determines the returns on the project. In the Indian market, the importance of star power is diminishing relative to that of content. One of India’s biggest celebrities, Salmaan Khan, had two films this year. Bajrangi Bhaijaan, which had very good content, did over US$45m, whereas his second film, Prem Ratan Dhan Payo, with predicable content and very average reviews, took in US$30m at the Indian box office. There are also cases of small to mid budget films not even recovering a fraction of the investment. There have been multi-platform approaches for years now. However, VOD is the next thing. For production houses, the success of a film depends what revenue a film can generate on each of these platforms. Where do you see Indian films in the current landscape of world cinema and where do you see its potential outside of South Asia? Independent niche films have made greater headway into non-Indian communities of film goers. Film makers like Anurag Kashyap change the definitions of commercial Indian cinema into world cinema. Others like him are pushing the envelope in select countries where world cinema has a market. Digital too is helping to creates shared experiences and greater avenues for exchanging and respecting notions of difference. Good content is accepted no matter which culture it represents.



Dhruv S Sinha, General Manager, Hollywood and Overseas Business, Reliance Entertainment & Phantom Films Pvt Ltd

Have you identified good areas of distribution and producing partners in South East Asia? We have worked with various distributors who we consider partners, more than distributors, and markets like Singapore, Malaysia and Indonesia are definitely key. We have also seen innovative marketing and publicity from distribution partners, who are moving away from age old notions and patterns of theatrical distribution. The recent success of Talvar in South East Asia is a case in point, where the distribution and publicity partners worked with us to create effective publicity platforms to bring diverse audiences together with effective localised marketing strategies.

Products Ne ws

A+E Networks

A Fantastic Ghost Wedding (Antares International Media)

Showbiz Korea (Arirang TV)

Prisoner Zero Children (ABC Commercial)

Sinatra 100 - An All-Star GrammyÂŽ Concert (ALFRED HABER DISTRIBUTION, INC.)

Alone (A+E Networks)


Alone | Ten hard-core survivalists placed in the Vancouver Island wilderness are on a singlular mission - to stay alive. Completely separated from one another and carrying only what they can fit in a backpack, they have to hunt, build shelters and fend off predators in the harsh and unforgiving terrain. With no camera crew or producers, Alone is the ultimate test of man’s will to survive.



What Do Men Want? (BananaMana Films)

Picky Eater Saver | The judges in Picky Eater Saver have something in common – they each have a dislike for certain food. In this new cooking program, selected chefs are challenged to create a new type of dish from food which the judges would shun. Will the chefs be able to change the judges’ eating habits?

Go Jetters (BBC Worldwide Asia)


Beyblade Burst (ASATSU-DK INC.)

Made in Italy (Arte Sales)




Kiwi (Dandelooo)

Zorro the Chronicles (Cyber Group Studios)

30 Becoming Us (Cineflix Rights)

Ready Jet Go! (CAKE)

Building La Dolce Vita with Debbie Travis (Beyond Distribution)

Cupid Above (Beijing Hualu Baina Film & TV Inc.)

Products Ne ws


Our Friend Remy Bear (Fengzhi Entertainment Co., Ltd)

Our Friend Remy Bear | Our Friend Remy Bear is an animated show about Remy the bear and his friends: Zhiping the penguin, Ellie the elephant and Ray the lion. The story revolves around how lending a helping hand and encouraging each other can take friendships a long way, teaching its viewers to be kind, friendly and polite to one another.

Kyushu Asahi Broadcasting Co. Ltd

Hunter in the Dark (Nihon Eiga Broadcasting Corp.)

Beauty Police (Kyushu Asahi Broadcasting Co. Ltd)

Outback Truckers –Series 3 (Flame Distribution PTY Ltd.)

School for Husbands (Fox International Channels Content Sales)

Quantico (Disney)

Fengzhi Entertainment Co., Ltd

Beauty Police | Beauty Police is a reality show where the hosts take on the streets to investigate women’s beauty secrets. But if anyone denies using cosmetic products, they will be arrested for perjury.


Products Ne ws


Rob the Robot! | Join Rob, the galaxy’s most curious and adventurous robot as he explores different planets with his friends: Ema the alien linguist, TK the wheeling toolkit, and Orbit the quirky artist. Tighten your bolts and buckle your seat belts as they travel, solve problems and make amazing discoveries throughout the Robot Galaxy in Rob the Robot.

Fleabag Monkeyface (Sparky Animation Pte Ltd)

The Lion Queens - Fighting for Survival (ZED)

Never Say Goodbye (Pilipinas Global Network Limited)

The 7th Sense (SINCE TV)

Full Proof (NPO Sales)

Rob the Robot! (One Animation Pte Ltd)

One Animation Pte Ltd


4-7 April 2016 // Cannes // France




Just like Ben Silverman, thousands of talented people bring content to life. Come and mip them. Ben Silverman, Founder & CEO , Electus

Join them

4 days 11,000 participants 20,650 m2 1,632 exhibiting companies 100 countries 3,915 buyers

(including 1,050 VOD buyers)

*MarchĂŠ International des Programmes : Your content, your community. Any screen. The global TV and digital marketplace in April.

Visit us at ATF on stand D21