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THE 2014 OFFICI AL DAY

03 12 DEC 2014 Advertorial

STORYBOARD SHOWCASE: GAME OF THRONES

Relive the most iconic scenes with storyboard artist Will Simpson

KIDS ANIMATION KEYNOTE

Tiger Aspect’s Tom Beattie on plans for Mr. Bean’s 25th year

LAUNCH YOUR OWN ONLINE VIDEO CHANNEL

Dailymotion’s Vincent Martin shares tips on starting videosharing channel Follow us on: /asiatvforum /screensingaporechl /asiatvforum /screensingapore

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DATE : 10 - 12 DECEMBER 2014 BOOTH NUMBER : D10 LOCATION : MARINA BAY SANDS, SINGAPORE

CONTENTS EDITORIAL & PRODUCTION TEAM KHOO Boo Leong LIM Shibin Cristal BEK CHUA Yee Ling Michelle GOH Rena LIN Shouvik MUKHERJEE Hannah PICHAY Joanne YIP Tiffany KHOO Marianne CHANG IP Wai Yin Maybelline TAN Andrew LOW LEE Man Tshun

DAY @ A GLANCE

FROM THE MARKET

GREAT MINDS SHARE

PROJECT MANAGEMENT SENIOR PROJECT DIRECTOR

YEOW Hui Leng

PROJECT MANAGER

Joyce CHUA

MARKETING & PUBLIC RELATIONS ASSISTANT MARKETING MANAGER

Kas XIE

SENIOR MARKETING EXECUTIVE

LIM Shibin

BUYERS SENIOR PROJECT EXECUTIVE

Kathy KIM

PROJECT COORDINATOR

Sofea TAN

EXHIBITORS & PARTICIPANTS SALES MANAGER

Rachel NG

SENIOR PROJECT COORDINATOR

Lynette THNG PROJECT COORDINATOR

Chrystia LIEW

16 17

CONFERENCE EXECUTIVE PRODUCER

Debe HOO

PROJECT COORDINATOR

Celyn LIEW

OPERATIONS ASSISTANT OPERATIONS MANAGER

Regina NG

GALLERY

FEATURES

PROFILE: PARK JOON HWA

OPERATIONS EXECUTIVE

Bryan LAM

18 20

Published by REED EXHIBITIONS, a division of Reed Elsevier (Singapore) 2008 Pte Ltd

EVENTS OF

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PROFILE: ALON SHTRUZMAN PROFILE: KIM TAE-HO

PRODUCT NEWS

DAY 03 DAY @ A GLANCE

DAY CONFERENCE

A GLANCE 12 DEC 2014, FRIDAY MARKET & EVENTS

CONFERENCE SYNOPSIS

ANIMATION LAB

9:00am - 9:40am Level 4, Roselle Ballroom

PRODUCERS WORKSHOP: CREATING A BIBLE FORMAT 9:40am - 10:10am Level 4, Roselle Ballroom

PRODUCERS WORKSHOP: CREATING A BIBLE FORMAT

10:00am - 4:00pm Level 5, Animation Lab

ANIMATION LAB CLOSED-DOOR PITCH

Alexis De Gemini

Founder & CEO, A2G Studio, France

PRODUCERS WORKSHOP: HOW TO DRAFT THE PERFECT TREATMENT?

Get an insight into what a TV Format Bible is – how, when and by whom they should be prepared, and understand what an industry-standard Bible should look like. Use some of the hottest formats from Asia – The Voice, Top Chef, Where Are We Going, Dad? and Beauty Academy to further illustrate. A format scan method on “How to structure a good idea into a real TV show” will be introduced, including methods to define the mechanics, the stakes, and other main ingredients of storytelling.

10:10am - 11:10am Level 4, Roselle Ballroom

TV x TWITTER, WHERE THE AUDIENCE COMES TO LIFE

11:10am - 12:10pm Level 4, Roselle Foyer

TWITTER SPONSORED NETWORKING RECEPTION (all are invited)

1-TO-1 FORMAT SESSION WITH ALEXIS DE GEMINI (AM&PM)

Sponsored by:

11:40am - 12:30pm Level 4, Roselle Ballroom

11:00am - 1:00pm Level 5, Animation Lab

HOW TO CREATE SUCCESSFUL SCRIPTED FORMAT & DRAMA?

1-TO-1 FORMAT SESSION WITH ALEXIS DE GEMINI (AM)

TURNING DISADVANTAGE INTO A CRITICAL EDGE

11:00am - 1:00pm Level 5, Animation Lab

1-TO-1 DRAFTING TREATMENT WITH TIM CRESCENTI (AM)

12:30pm - 1:15pm Level 4, Roselle Ballroom

3:00pm - 5:00pm Level 5, Animation Lab

The world is filled with terrific TV show ideas. However, if you can’t convey the power of your format properly in a pitch, nobody will buy it. If you can’t get to first base, you won’t score. The pitch is the most important step in the process, which includes writing the perfect treatment, sales sheet, presentation with clear and concise points, the all-mighty sizzle tape and most importantly verbally expressing your format. These tools are even more important when trying to sell an Asia format to the Western world. From the person who found and sold Japan’s Dragons’ Den and South Korea’s Grandpas Over Flowers to the world and whom Broadcast magazine named a Top Dealmaker in 2010, Tim Crescenti will share the secrets and tricks to pitch and sell a format.

1-TO-1 DRAFTING TREATMENT WITH TIM CRESCENTI (PM)

1-TO-1 DRAFTING TREATMENT SESSION WITH TIM CRESCENTI (AM&PM)

FUNDAMENTALS OF DIGITAL PROGRAMMING 2:00pm - 3:00pm Level 4, Roselle Ballroom

DELIVERING STORIES IN THE DIGITAL AGE 3:00pm - 4:00pm Level 4, Roselle Ballroom

3:00pm - 5:00pm Level 5, Animation Lab

HOW DO YOU PROLONG A SUCCESSFUL & LONG RUNNING FORMAT?

1-TO-1 FORMAT SESSION WITH ALEXIS DE GEMINI (PM)

4:00pm - 5:00pm Level 4, Roselle Ballroom

FACTUAL CONTENT SHOWCASE MANAGING CONTENT DEVELOPMENT AND CO-PRODUCTION

PRODUCERS WORKSHOP: HOW TO DRAFT THE PERFECT TREATMENT? President, Small World International Format Television, United States

1:30pm - 2:00pm Level 4, Roselle Ballroom

PRESENTED BY KIM TAE-HO, CREATOR & PRODUCER OF INFINITE CHALLENGE

Founder & CEO, A2G Studio, France

Tim Crescenti

LOCALISING ASIA’S FORMAT: INSIGHTS ON HOW JAPANESE FORMATS ARE ADAPTED FOR THAILAND

THE 10 GOLDEN YEARS OF REAL VARIETY

Alexis De Gemini

Tim Crescenti

President, Small World International Format Television, United States

DAY 03 DAY @ A GLANCE 05

TV x TWITTER, WHERE THE AUDIENCE COMES TO LIFE Tony Broderick

Head of TV Partnerships, Twitter, Australia

Kim Minyoung

Head of TV Partnerships, Twitter, South Korea

Pratiksha Rao

Head of TV & Entertainment Partnerships, Twitter, India

Twitter is the social soundtrack to TV. Whether it’s voting in a reality competition, live-tweeting with talent or campaigning for social change, Twitter has become the default second screen to your favourite television shows. Join the Twitter APAC TV Team as they take you through the case studies, research and data behind Twitter’s Emmy award-winning best practices for social TV. Learn how Twitter brings your audience to life, driving engagement, loyalty and tune-in.

LOCALISING ASIA’S FORMAT INSIGHTS ON HOW JAPANESE FORMATS ARE ADAPTED FOR THAILAND Moderator:

Michel Rodrigue

CEO, The Format People, United States

Nobuo Isobe

Executive Producer, Coproduction & Development, International Business Group, NHK ENTERPRISES, INC., Japan

Nonglux Zhao

Senior Creative, TV Program Production, MCOT Public Company Limited, Thailand

Sonia Fleck

Chief Executive Officer, Bomanbridge Media Pte Ltd, Singapore

Our world is full of mysteries. And the biggest mystery of all is the human body. Usually, we don’t take much notice of our bodies. But if you think about it, there is so much we don’t know about our own bodies. Why do our hands sweat when we’re nervous? Why are yawns contagious? Does eating late at night really make you fat? The New Anatomy Show takes the latest science and unravels the marvelous mysteries of the human body. By exploring a simple question, we can learn how our bodies work. These amazing discoveries will be a real eye-opener. Informative but easy going, this intellectually entertaining programme will make the viewer want to tell everyone about the wonders of the human body.

HOW TO CREATE SUCCESSFUL SCRIPTED FORMAT & DRAMA? TURNING DISADVANTAGE INTO A CRITICAL EDGE Moderator:

Ryan JH Lee

CEO, OpiconMedia, South Korea

Park Joon-Hwa

Producer / Director, tvN, CJ E&M, South Korea

Park Joon-Hwa, a TV producer / director / creator in CJ E&M tvN, with 17 years of experience, have made a new series early this year, called Let’s Eat. The series hit up to 44.9% ratings share in pay TV platform, which was one of the highest rated drama series in the 1st quarter of 2014. The series has been sold to multiple countries, mainly in the Asian region. The second season is currently in production. Korean TV dramas are still the centre of the K-wave, also known as Hallyu. But not every drama can succeed and become an international hit. It is said that it takes three things to become a Hallyu drama. First being a big star cast; secondly, a big budget production; and lastly, a fairy tale story. However, Park is one producer that has never involved his productions with any of the three factors above. Putting aside the ratings, Let’s Eat has some unique features. The drama was of hybrid genre, cost effective, brand attracting, went viral, no big star cast, and most of all, it was so emphatically filled with authenticity. Before producing Let’s Eat, Park created and produced Korea’s longest running drama series, Mean Lady. And the surprising thing was that he did not specialise in dramas back then, but was an entertainment producer. In this session, Park will share with us how ordinary life can bring about powerful stories, how to create a successful and effective scripted format, and the power of creativity that can turn the disadvantage into a critical edge.

FUNDAMENTALS OF DIGITAL PROGRAMMING Gautam Anand

Director, Head of YouTube Partnerships & Operations, Asia Pacific, Google / YouTube, Singapore

FACTUAL CONTENT SHOWCASE - MANAGING CONTENT DEVELOPMENT AND CO-PRODUCTION Marc Checkley

Senior Development Producer, Beach House Pictures, Singapore

DELIVERING STORIES IN THE DIGITAL AGE Moderator:

Gautam Anand

Director, Head of YouTube Partnerships & Operations, Asia Pacific, Google / YouTube, Singapore

Andrew & David Fung

Online Content Producers, FungBrosComedy, United States

Ryan Tan & Sylvia Chan Online Content Producers, Night Owl Cinematics, Singapore

May-yi Lee

Director, Factual Content Production, National Geographic Channels Asia, Taiwan & China

Bringing an idea to an international network’s platform requires more than just a thought. From developing a programm e idea, getting the green light and working your way through the production process, this can all be a long journey. How can you ensure that you have what it takes to bring you through to the finishing line? National Geographic’s director of Factual Content Production will be sharing some of their best works and their in-house content development experiences and challenges faced when working with different regional production companies.

HOW DO YOU PROLONG A SUCCESSFUL & LONG RUNNING FORMAT? THE 10 GOLDEN YEARS OF REAL VARIETY PRESENTED BY KIM TAE-HO, CREATOR & PRODUCER OF INFINITE CHALLENGE Moderator:

Marianne Lee

Vice President – Content, General Entertainment, Turner International Asia Pacific Limited, Hong Kong SAR

Kim Tae-ho

Producer, Munhwa Broadcasting Corporation (MBC), South Korea

Infinite Challenge is a real variety show with irregular challenges and irregular stories for every episode, not tied in any fixed form. Thus, the unique characters of six friends and the story of their evolution is the core element of Infinite Challenge. It was within Infinite Challenge that they made their names known and popular, grabbed the success, met love, married and formed a family of their own. Korean audience watched the life story of these six ‘Trumans’, laughed with them, shed tears with them, and shared sympathy with them all through the years! All these made it possible for Infinite Challenge to become a Korean legendary real variety show with the most creative and dramatic elements. 2015 will mark Infinite Challenge’s 10th Anniversary! Producer Kim will be sharing his experience on the success behind this long-running format show. What are some of the changes and new segments that he has done to keep the strong momentum going, maintaining the continuing success in ratings and satisfying the ever-changing demands and viewing habits of the audience. Producer Kim will share his insights on how he turned Infinite Challenge into one of Asia’s most renowned branded format show!

DAY 03 FROM THE MARKET

FROM THE MARKET NEW

GCCA, FUNNYFLUX, AWOL BRING KATURI TO THE WORLD

BUYER's TAKE

Gyeongsangbukdo Creative Contents Agency (GCCA), FunnyFlux Entertainment, and awol animation have signed an MOU for an upcoming 52-episode animated series named Katuri.

if there was a series, but there wasn’t at that time. We expect to see a lot of interested parties coming up internationally, now that GCCA and FunnyFlux have decided to produce the series.”

Co-produced by GCCA and FunnyFlux, and distributed by awol animation, production for Katuri will be completed in late 2015 and scheduled for release in 2016. The series rides on the success of its namesake, a short animated film first released in 2011.

“Katuri is based on the renowned children’s novel by celebrated Korean author Kwon Jung-Saeng, who is from the Gyeongbuk province, like GCCA,” said Kim Yun Hee, team manager at GCCA.

Julie Fox, managing director of awol animation, shared that key distribution markets for Katuri include Europe, especially Italy, where the original film is well loved. She said, “When they first saw the original film, many people asked

Lee Yong-Ho, chief business officer at FunnyFlux, added, “It’s a story about family, love, and nature, and it captures the beautiful values of Korean culture. We have modernised the story through animation, and we hope viewers across the world will enjoy the story together.”

THE 19TH ATA GALA CEREMONY

“We distribute film and video-on-demand (VOD) content in Japan, and being in a market dominated by local productions, we want to give Japanese viewers more variety by bringing to them content from all across the globe. With the variety of content available at the market, the Asia TV Forum is very important to us. We’ve been able to find and buy some quality content last year, and some programmes have already drawn our interest this year. In addition, with the networking opportunities that ATF presents, we hope to be able to establish some good partnerships with other players in the market.” Shinji Nishimura CEO Stand Entertainment Inc, Japan

The Asian Television Awards (ATA) celebrated the brightest Asian television professionals, content makers and broadcasters at a gala ceremony yesterday. In its 19th edition, ATA has evolved to keep in step with the changing needs of the industry over the years.

DAY 03 FROM THE MARKET 07

SINGAPORE, KOREA EXPLORING CO-PRODUCTION OPPORTUNITIES

Joachim Ng, director (Industry Ops) of the Media Development Authority of Singapore; Woody Kim of the Korean Film Council’s International Promotion Department; Choi Pyung-ho, president of Union Investment Partners; and Lim Teck, managing director of Clover Films.

Many talented filmmakers, directors, crew and scriptwriters in Korea and Singapore have contributed to the rise of the Korean and Singaporean film industries, and they are looking to co-production opportunities in the future. To encourage co-productions, both countries have their support systems in place for the film industry, including funds to invest in productions and various grant schemes. These support systems have led Singapore and Korea to successful projects. They include the recent Taiwan-Singapore coproduction, 3 Peas in a Pod, and global hit Snowpiercer, which was jointly produced by Korea’s CJ Entertainment, Moho Films, Opus Pictures and Stillking Films. Sharing their vision on future co-productions at the Singapore Pavilion yesterday were

FRENCH PAVILION COCKTAIL In true French style, guests mingled over wine and cheese at a French Pavilion cocktail event wrapping up the second day of ATF.

Joachim Ng, director (Industry Ops) of the Media Development Authority of Singapore and director of the Singapore Film Commission; Woody Kim of the Korean Film Council’s International Promotion Department; Choi Pyung-ho, president of Union Investment Partners; and Lim Teck, managing director of Clover Films. According to Lim, a way to approach coproduction is to work with a neighbouring country that share certain cultural values and then create content that will appeal to audiences in both territories. “Korean entertainment content and television [shows] have been very popular here in Singapore,” Lim added. “In time to come, I feel that Korea-Singapore coproductions are definitely very possible.”

Sinae Kim, managing director of AUD, a Korea-based buyer and distributor of French films, was amongst the guests. “At this time [of the year], I am usually more relaxed and am looking to collect information for next year,” she said. “The Asia TV Forum gives me the chance to network with buyers and sellers from Southeast Asia and there are a lot of good conferences and great panelists here.”

NEW

BUYER's TAKE Flame Distribution is a worldwide television production and distribution business, with a rapidly growing catalogue of outstanding HD and 3D factual content sourced from independent producers worldwide. At ATF and ScreenSingapore, Flame Distribution is seeking to connect with Asian co-production partners, producers and broadcasters. I’m really interested to meet with potential co-production partners for branded projects that can work for Australian and Asian audiences, and to meet with any factual producers with high-quality wildlife and science series in HD and 4K. In acquiring programmes, I am looking for high-quality production always; a unique story or angle that hasn’t been covered before; and entertaining characters - be they human or animal. John Caldon Managing director Flame Distribution, Australia

DAY 03 FROM THE MARKET

NEW

BUYER's TAKE

BUSINESS MATCHING FOR BETTER CONTENT IN TV AND FILMS

TV AlHijrah is Malaysia’s first Islamic lifestyle television station and our primay target demographic is geared towards the younger, urban and under-40 group. We want to find quality content for 2015 and build up relationships with potential buyers and sellers. At TV AlHijrah, we have to take extra precaution when selecting our programmes. I am looking for documentaries that focus on humanitarian values and global issues. I believe these genres are evergreen and ‘safe’ for our station. So, the three types of programmes I would like to acquire are mostly documentaries, movies that promote good moral values, and non-fiction kids animation. Most programmes offered at ATF are suitable for the Asian market. So, we spend less time running through catalogues! Liyana Khairul Brand executive AlHijrah Media Corporation, Malaysia

Aiming to enable new partnerships, foster relationships and encourage co-productions, ScreenSingapore and the Media Development Authority of Singapore (MDA) hosted the Business Matching sessions yesterday. The morning session focused on the TV content industry with 43 commissioners, buyers and producers coming together to discuss potential deals over two roundtable rotations and a free mingling section. The five discussion tables were moderated by senior executives from Discovery, Fox International Channels, HBO Asia, National Geographic Channels International (NGCI), Sitting In Pictures, and the international media consultant Tony Chow. Hamish Mykura, executive vice president and head of International Content at NGCI, shared that one third of their content is commissioned from their “content hub in London to independent production companies worldwide”. He presented clippings of some “gold-standard series that worked internationally” and disclosed a desire to take more shows from Asia and make them work for other regions. One

of the successful examples showcased was I Wouldn’t Go In There, which was commissioned in Singapore and has done well in Asia, Europe and Latin America. In the afternoon session, more than 50 top names from the film industry discussed possible collaborations. Lee Han Shih, founder/CEO of Matlock Stone, shared his insights on connecting social media and films. To present films as a holistic experience, he suggested creating an emotional connect through social media; using e-commerce and virtual currency effectively; bringing movies out of the cinemas using other distribution platforms; and integrating social media engagement to crowd-fund and co-create content. That way, the audience can be a part of the movie. Industry experts from Singapore International Film Festival, Ochre Pictures, Salto Films, Shooting Gallery Asia and Tai Pan Films moderated the networking sessions across five round tables, where participants enthusiastically exchanged ideas and proposals to work together in producing content that works across markets.

CALL FOR ENTRIES TO EMMY AWARDS COMPETITION The International Academy of Television Arts & Sciences is inviting market participants to submit entries for the International Emmy Awards Competition next year. Into its 43rd edition, the competition’s call for entries will close on 18 February 2015. Judges from all over the world will then select the final list of nominees. The 2014 International Emmy Awards Competition saw multiple nominations from markets in Asia Pacific such

as Japan, China, Korea and the Philippines. A cocktail event yesterday saw several past judges of the acclaimed competition joining the event to share their positive experiences in being a part of this prestigious competition.

Visit us at ATF Suite 5101 bbcworldwidesales.com

DAY 03 FROM THE MARKET

JAPAN PAVILION HOSTS SUSHI AND COCKTAIL PARTY

BHP INKS MR MIDNIGHT DEAL

The Japan Pavilion’s sushi and cocktail party drew crowds and buzzing conversations among attending buyers, sellers and representatives from major Japanese media companies, including TV Asahi Corporation, Fuji Television Network, NHK and Nippon Television Network Corporation (Nippon TV). Ms Yuko Maeda, deputy director of IPR and Content Division at The Japan Commercial Broadcasters Association, and the organiser of the event, said that the event was an opportunity to showcase Japanese culture or what she termed as ‘cool Japan’, and the diverse genres of entertainment offered by exhibitors.

Beach House Kids, a division of Beach House Pictures (BHP), has secured exclusive rights to the popular Mr Midnight series of horror books written by James Lee. Mr Midnight novels, now totalling 85 titles and more than 160 stories, have sold more than 2.7 million copies across the region, including Singapore, Malaysia, Hong Kong and Indonesia. It has been translated into over six languages, and is rolling out to other markets, including Australia and North America next year.

Category winners of the 2014 Tokyo Drama Awards were also screened during the cocktail. These include Naoki Hanazawa by TBS Television Inc; Bon Appetit! by NHK; Women – My Life for My Children by Nippon TV; and Border by TV Asahi Corporation.

Beach House Kids is developing an initial 13part television series aimed at tweens. It is also discussing co-production partnerships with several international broadcasters. Award-winning Australian director Tony Tilse, who most recently worked on HBO Asia’s Serangoon Road and supernatural thriller Grace, is already attached to the project.

TENCENT TO FEATURE NAT GEO BRANDED BLOCK In a strategic pact, Fox International Channels (FIC) will be making more than 300 hours of National Geographic Channel (NGC) programming and documentaries available on Tencent Video in 2015, as part of an NGC branded block. Tencent Video and NGC have also agreed to coproduce China-focused programmes.

JUKIN MEDIA UNVEILS REAL-TIME VIDEO TOOL Jukin Media has made The Wire, a ‘real-time viral video licensing’ tool for TV and media professionals, available at jukinmedia.com/thewire. The company has been providing production companies and networks with fresh, trending

viral video content since 2009. Today, it adds hundreds of new user-generated videos to its licensable video library every month. The Wire displays the newest content in real time. “Finding great clips easily and quickly is a huge time saver,” said Jonathan Skogmo, founder and CEO of Jukin Media.

“One of our priorities is to introduce premium content in China,” said SY Lau, senior executive vice president of Tencent and president of Tencent Online Media Group. “With NGC’s expertise in documentaries, we will co-develop programmes focusing on this fast moving society.”

In addition to licensing, Jukin Media also produces projects for TV and the web. Fox recently ordered a series, set to debut in January 2015, based on Jukin’s owned and operated YouTube channel FailArmy.

“We are excited that with Tencent’s extensive and innovative network, we will be able to bring NGC content to an even wider audience in China,” said Tony Qi, territory head for China at FIC.

DAY 03 GREAT MINDS SHARE

GREAT MINDS SHARE GREAT CHARACTERS LEAD TO GREAT STORIES At the ‘Animation Master-Class’ session on creating characters that kids love, experienced children’s scriptwriter Rachel Murrell shared her wealth of knowledge in animated series that comes from having written 140 episodes for young audiences. These include the award-winning Little Princess and Bob The Builder. William Simpson, internationally renowned comic, TV and movie storyboard artist, US

WILL SIMPSON ON STORYBOARDING GAME OF THRONES Game of Thrones fan or not, attendees were treated to an insightful session with storyboard artist, William Simpson, as he shared about his work as the show’s storyboard artist. Much of Simpson’s work on the fantasy drama TV series created for HBO involves sketching out scenes from a director’s vision into an initial comic-strip version for visual reference. He has also contributed to the concept design of various things in the series, such as the creature design for the White Walkers, dragons, direwolves and most notably, the three-eyed raven. Based in Belfast, Simpson’s typical workday starts at about 8am and ends at 7pm, and one of his biggest challenges working on a huge production like Game of Thrones is the lack of time. He quipped that he sometimes questions why he does not have two more arms. Simpson’s Game of Thrones journey began whilst he was working on the film Your Highness.

At that time, he had 25 years of experience as a comic-strip artist and was approached by a producer friend to do a bit of work. Although he had no clue what it was for, Simpson drew some castles, beheadings and knights in armour, and the drawings were packaged and sent to HBO. They got the job and he went straight into doing concept ideas and storyboards for the Game of Thrones pilot when Your Highness wrapped up. Simpson’s favourite work on Game of Thrones is the gripping opening shot of the first season where the White Walkers first appear. The scene had to be worked out meticulously with director Tim Van Patten because Van Patten was going to show it to the HBO executives, and it needed to prove how the show could work. So what does it take to become a successful storyboard artist in Hollywood? “Twenty five years of experience as a comic-strip artist and a degree in psychology,” Simpson joked. He explained that a storyboard artist has to desperately try to interpret the director’s ideas and that it is crucial to understand what a director wants before going to the drawing board.

FUNDAMENTALS OF DIGITAL PROGRAMMING With a proven track record in the digital space, especially in establishing content partnerships, YouTube Asia Pacific’s Gautam Anand has many valuable and practical tips to offer on digital programming.

The London-based writer said that great characters are not simply found but rather, carefully formed through an extensive creative process. It takes time to create and form a character, which also includes any necessary redesign to balance out the group dynamics of the whole cast. This was the case for the ongoing series Zoo Station by Belgium’s Skyline Animation, where characters were artistically reworked to not only better reflect their personalities but also in relation to one another. Murrell uses a unique character mapping method called ‘biograms’ where attributes developed are placed in three main categories – head, heart and hoof. For Murrell, it is important to write in a positive and upbeat way, avoiding elements like negativity and gender stereotypes.

Rachel Murrell, children’s scriptwriter specialising in animation, UK

WHO, WHEN AND WHERE: 12 December 2014, 1:30pm – 2:00pm, Level 4, Roselle Ballroom

Gautam Anand Director, YouTube Partnerships & Operations, Asia Pacific, Google / YouTube, Singapore

DAY 03 GREAT MINDS SHARE 13

MR. BEAN TO MAKE HIGHLY ANTICIPATED RETURN NEXT YEAR After a ten-year break, one of the world’s best-loved characters, Mr. Bean, will greet audiences across the world once again next year – just in time to celebrate his 25th anniversary. A largely non-verbal and visual form of comedy that transcends language and age, Mr. Bean continues to be a global phenomenon in both its live-action and animated forms. Tom Beattie, head of Animation and Children’s Programme at Tiger Aspect Productions, revealed some of the fun and magic behind the second Mr. Bean animated series during the Kids Animation Keynote. The man himself, Rowan Atkinson, is as involved in the character-led production as ever. Beattie shared that both Rowan and Tiger Aspect were keen to explore other avenues for Mr. Bean, and animation was a natural progression to give the beloved character longevity.

(From left) Tom Beattie, head of Animation and Children’s Programming, Tiger Aspect Productions, UK; Gary Finnegan, content director, Kids, Southeast Asia, Turner International Asia Pacific Limited, Hong Kong SAR

Beattie gave participants a glimpse of Rowan behind the scenes, and it’s evident that he truly is Mr. Bean. From acting out key scenes such as dancing and fumbling with a broom as his partner, to driving a Mini, to recording sound effects for the animated series, Rowan’s dedication to communicating the essence and heritage of Mr. Bean comes shining through. Also speaking at the keynote was Gary Finnegan, kids content director for Southeast Asia at Turner International Asia Pacific Limited. The Mr. Bean animated series is slated for broadcast on Turner’s channels, including Boomerang and Cartoon

Eric Lentulo, international senior sales manager of Eurodata TV Worldwide, shared this and other insights on children’s consumption habits in his ATF presentation yesterday.

Shedding light on why Mr. Bean is a hit with broadcasters like Turner, Finnegan said, “Most importantly, Mr. Bean is driven by visual comedy, which reduces complications, time and cost, because there are no issues with dubbing.” The second animated series of Mr. Bean has to court and entertain young audiences today. To Finnegan, this means going beyond TV, and exploring different avenues of promotion including mobile apps and games, ultimately driving children back to the channel to experience shows like Mr. Bean.

The mass appeal of animation has made some programmes very successful in other markets, Lentulo shared. For example, the well-loved Japanese animation series, Doraemon, has been adopted in countries like Indonesia, the Philippines and Italy, while Dreamworks’ Dragons: Riders of Berk has been adopted in South Korea, Australia and Germany.

ANIMATION MAINTAINING MASS APPEAL WITH KIDS IN ASIA In Asia, children spend about two and a half hours a day watching TV. This is higher than the average television consumption by children in Europe and Australia, who watch two and a quarter, and close to two hours a day watching TV, respectively.

Network, in the first half of 2015.

Eric Lentulo, international senior sales manager, Eurodata TV Worldwide, France

Globally, 66% of children’s favourite shows fall under the animation genre. The preference is higher in Asia with 85% of children’s favourite shows being animation.

Finally, Lentulo shared that internet penetration and advances in technology are giving way to new consumption habits such as multi-screen content consumption and the usage of over-the-top (OTT) platforms. Clearly, it is crucial for players in the market to continually adapt to maintain appeal to their younger target audiences.

WHO, WHEN AND WHERE: 12 December 2014, 2:00pm – 3:00pm, Level 4, Roselle Ballroom

DELIVERING STORIES IN THE DIGITAL AGE

Moderator:

Gautam Anand

Director, YouTube Partnerships & Operations, Asia Pacific, Google / YouTube, Singapore

Find out how to make it big online from successful YouTube content producers Andrew and David Fung (FungBrosComedy) as well as Ryan Tan and Sylvia Chan (Night Owl Cinematics), who will share their secrets to delivering captivating content that go viral!

Andrew and David Fung

Online content producers, FungBrosComedy, United States

Ryan Tan & Sylvia Chan,

Online content producers, Night Owl Cinematics, Singapore

DAY 03 GREAT MINDS SHARE

DIGITAL FOR KIDS – A SURVIVAL GUIDE The rise of digital media and on-demand streaming platforms like Netflix and YouTube globally has affected many aspects of the animation content industry for kids. With the increasing usage of mobile devices and tablets, and a growing trend towards multiple screen usage among kids, content producers are increasingly looking at ways to reconnect with this audience. Commenting on the trends that are shaping the way kids content are being produced and consumed, Andy Fry, an accomplished freelance trade magazine writer, presented a survival guide. It addresses two crucial factors that content owners have to consider when producing content for kids.

ADDRESSING THE COST OF VIDEO DELIVERY

“The first and most important factor is to make a great show where the central character has a strong appeal to the audience,” Fry shared. “However, with the rise of digital media and how kids are consuming media online, it is increasingly more important for content producers to look into creating great websites and showrelated mobile apps for digital presence and deeper engagement with them.” By doing that, content owners can give a traditional format the best possible chance of success in the digital world. The second factor is to look into where the opportunities are for traditional kids’ content or new forms of digitally targeted content. While there has been a boom in content across all broadcast channels, the platform that presents the biggest opportunities is YouTube. “This is because in the online world of

People in Asia are increasingly accessing entertainment content via their mobile devices. Vincent Martin, Dailymotion Asia Pacific’s executive vice president, revealed that 55% of network usage in the region is spent on YouTube videos – a figure projected to multiply tenfold by 2020. Already, the Asia Pacific is home to 644 million or 41% of the world’s total internet users as well as 738 million smartphone users. Martin shared these figures in his presentation on how businesses and content creators could potentially launch their own video streaming platform without incurring high fixed costs.

Vincent Martin, executive vice president, Dailymotion, Asia Pacific, Singapore

The challenge for independent video services, Martin said, is that despite certain economies of scale, delivering video content is expensive, especially when compared to the potential revenue returns. For many who start out wanting to set up their own over-the-top (OTT) platforms, this is a major stumbling block.

HOW DO YOU PROLONG A SUCCESSFUL & LONG RUNNING FORMAT? – THE 10 GOLDEN YEARS OF REAL VARIETY The massively popular Korean reality-variety show Infinite Challenge celebrates its 10th anniversary next year. Let Kim Tae-ho, its creator and producer, enthral you with his know-how in maintaining the format’s success in ratings and its amazing longevity amid ever-

Andy Fry, freelance trade magazine writer, UK

YouTube, we are starting to see an explosion of experimentation and eccentricity of content,” added Fry. “The three themes that make YouTube a good starting point is the rise of YouTube stars, the increasing number of show-led channels and the growing trend towards original animation production.”

This is where Dailymotion comes in, offering customisable technology, content production capabilities and flexible revenue models without the need for any upfront cost, Martin added. With 260 million unique viewers, 102 million mobile users and 2.5 billion video views each month, Dailymotion’s core business is centred round its video player, which supports mobile devices, tablets and TVs, and can be tailored in terms of look and feel to suit individual clients. While Asia is evidently a very mobile-centric region, Martin also pointed out that people in many countries still do not have access to high-speed networks and so, they may be device ready but not network ready. Next year, though, he said that this would change with network improvements in the pipeline.

WHO, WHEN AND WHERE:

12 December 2014, 3:00pm – 4:00pm, Level 4, Roselle Ballroom Moderator:

Marianne Lee

Vice president – Content, General Entertainment, Turner International Asia Pacific Limited, Hong Kong SAR

changing audience demands and viewing habits. Get anecdotes from Kim – known for his adventurous and experimental spirit – on how he turned Infinite Challenge into one of Asia’s most renowned branded formats!

Kim Tae-ho

Producer, Munhwa Broadcasting Corporation (MBC), South Korea

Savor the jour

Tasty Tales lets viewers find out what â€“ a

Deutsche Welle | cees.baars@dw.de | T +49.228.429-2715 | www.dw-transtel.de

DAY 03 GALLERY

GALLERY

DAY 03 PROFILE 17

PROFILE V I S I O N A R Y ’ S

V I E W :

THE POWER OF REALNESS For Park Joon Hwa, producer/ director at CJ E&M’s entertainment network tvN, what started out as a childhood dream of becoming an actor eventually turned into 16 successful years behind the camera instead. His unique approach to storytelling resulted in one of the longest running reality TV dramas Ugly Young-Ae and the popular slice-of-life drama Let’s Eat, which also led to the singles-oriented TV programming boom in South Korea. “All I want is to tell real life stories of people in a way that is different,” shares Park, who produces and directs Ugly Young-Ae and Let’s Eat.

have been cut off; and people have started ‘sharing’ their sensibility with cell phones and televisions.” Park has tried to capture this “humane sensitivity” in Let’s Eat because “no matter how developed society becomes, people will always yearn for human relationships”. He thinks this universal need enables Korean productions to resonate across borders and cultures.

In an industry that favours pop culture celebrities and fairy-tale storylines, Park’s perspective and creative approach is uncommon. Yet, it is this very element of reality and humanness in his shows that resonates so strongly among so many viewers. He explains, “Human relationships are my source of inspiration.” With every story, he starts by gathering life experiences of people to develop content that not only entertains but also engages audiences on an authentic and emotional level. For both Ugly Young-Ae and Let’s Eat, Park prioritises working with writers and crew whose lives provided him with inspiration and material for the shows. “As a producer-director, I focus on creating the ‘sympathy code’,” says Park. “The ‘sympathy code’ is a sense that you are able to hear your own story or the story of the people near you. The most important element I think of when making a programme is how well viewers will empathise with the characters. I listen to the people’s experiences and try to come up with a story that can gain ‘sympathy’ from [a wide range of] people.” Ugly Young-Ae, for instance, depicts the story of a fat and single woman.

The emotions and prejudices she faces with the people she meets daily create the authenticity of the plot and honest portrayals of the characters that won over viewers’ hearts. Ugly Young-Ae also builds on Park’s belief that content, which is radically different, will eventually find acceptance and become more mainstream. Unlike other typical Korean dramas, the show features an unconventional main character – a fat and ugly spinster. This was deemed daring and risky in the beginning but to Park’s relief, it ended up well accepted by viewers. Park’s Let’s Eat has triggered the singlesoriented TV programming boom in Korea. “I just wanted to tell stories of people in general, not specifically about people living alone,” he explains. “Due to digitalisation, people are always lonely; people have found things they can do by themselves; conversations

Still, he recognises that some degree of make-believe is necessary to “help people when they are extremely worn out”, says Park, who deliberately adds a tinge of fantasy into his storylines while maintaining its realism. “This way, viewers will think, ‘If the ordinary character of the drama can [fulfil her dream], so can I’.” Park applied documentary methods in Ugly Young-Ae because “I wanted to tell detailed realistic stories in a spinster’s life.” “In the case of Let’s Eat, I tried to dramatise the loneliness and uncertainty of people living alone, by applying differentiated scenes of people building relationships over meals, and a ‘thriller code’ which captured [their insecurity].” These helped to ensure that the audience can easily identify with the shows’ concepts. “The most crucial thing is the story itself, and how it is described to the viewers,” he says.

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PROFILE V I S I O N A R Y ’ S

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LIVING ON THE ‘EDGY MAINSTREAM’ Alon Shtruzman, CEO of Keshet International, is widely respected as one of the founding fathers of Israel’s multichannel industry. With an accomplished career spanning close to two decades, this changemaker is responsible for growing the group’s footprint around the world, overseeing both local production outposts as well as its global distribution arm. Shtruzman has a simple but powerfully inspiring philosophy when it comes to creating great TV content. “First and foremost – I think you need to believe in your ideas,” Shtruzman says. “Create shows that you love and believe in, things which make you proud and that you would want to watch yourselves. Concentrate on making them the best they can be and the rest will follow.” Buoyed by the success of shows like In Treatment and Prisoners of War, Shtruzman believes in thinking bigger than the present and taking a chance on the unconventional or what he calls ‘edgy mainstream’ instead of sticking to what is commercially tried and tested. This approach comes at the right time since people are now more open to ideas in general. “We’re always looking for voices that resonate,” he points out. “We like to innovate, be daring and take calculated risks to bring new ideas and stories to life both locally and around the world.” Shtruzman is excited about the progress that Keshet’s content has made across the international media landscape and has no qualms about granting creative

freedom to external collaborators. He says, “We are happy to let each version flourish internationally in the way the local producers see fit, as long as they retain the essence of what made the original brilliant.” He reveals that any production that goes on air is developed to maximise its transferability without losing any of its unique flavour, regardless of screening platform, culture or territory. In reality singing competition Rising Star, for instance, Shtruzman believes Keshet has one of the few TV formats that is truly game changing, “because it really disrupted the marketplace with its interactivity and boldness in making live voting and performing in real time possible. But we might not see another format like that for some time”. New launches of the format are expected throughout Asia in 2015. Shtruzman’s uncanny ability to balance commercial viability, creative freedom – both internally and externally – and the quality of content produced are factors driving the group’s growth. Right now, it is Asia that has Shtruzman’s attention. “For the first time, at this year’s MIPCOM, I really noticed how

much the market buzz was focused on Asia compared with the US and Europe,” he says. “We have some very exciting new co-development projects in discussion with partners in Asia, which we hope to be able to talk about more openly very soon.” In addition to Rising Star, Keshet has recently launched reality talent show Not Yet A Star in partnership with Zhejiang Satellite TV. Earlier this year, it sold kids singing format Master Class to China’s Jiangsu Satellite TV. Indeed, under Shtruzman’s leadership, Keshet has been punching above its weight on the global stage. “The most important factor is a strong solid idea or story which is so poignant that it can thrive across different cultures and territories – that’s the difference between ‘good’ television and the ‘best’ television in the world,” Shtruzman says.

35 min x 100 episodes / HD / Drama

VISIT US AT ATF STAND #L10 Distributed by CJ E&M CORPORATION © CJ E&M CORPORATION, all rights reserved Based on “Donde Esta Elisa” written by Pablo Illanes © Televisión Nacional de Chile & Telemundo Internacional

DAY 03 PROFILE

PROFILE V I S I O N A R Y ’ S

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TO INFINITY AND BEYOND Kim Tae-Ho is best known to fans as the creator of wildly popular Korean reality television show Infinite Challenge, which has entertained audiences for close to a decade. For the Munhwa Broadcasting Corporation producer, what started out as a desire to help promising comedians fulfil their dreams eventually pioneered a new genre of content that transformed the country’s entertainment landscape.

Inspired by The Truman Show, Kim wanted to showcase the real lives of those in his programme, which is mostly unscripted and follow the format of challenge-based reality television. According to him, formats popular in Korea today such as the ‘traveling reality shows’ were based on the episodic style of Infinite Challenge. When he first started producing the programme, he certainly did not envision the mega success it has since become. He simply saw it as good training for himself as a young producer and a personal aspiration to provide a platform for comedians with potential to make a name for themselves. In his view, what made Infinite Challenge different in the beginning was that it did not feature prominent celebrities. “Because of this, I had to work much harder to develop content that was compelling and that really engaged viewers,” he reveals. “I put my heart and soul into creating a programme that is authentic, one that strikes a chord among people who follow the show.”

Kim’s effort has certainly paid off. Now in its ninth year, the show’s immense success encouraged him to start the biennial Infinite Challenge Music Festival in 2007, where local musicians such as Dynamic Duo, G-Dragon and BoA collaborate with members of the show on original songs and perform them live. The 2013 edition reportedly attracted 35,000 participants who braved intense cold weather to attend the event. To celebrate the 10th anniversary of Infinite Challenge in 2015, the everpassionate Kim is busy creating more themes and challenges while toying with more ambitious ideas, including a musical featuring all the songs of the show as well as a ‘theatrical version’ with the potential to air on the big screen. Very much a man on a mission, he adds, “I think it is time to take the show onto the international stage and introduce this successful entertainment format to a global audience.” Kim believes that Korean variety shows have a lot to offer in terms of quality

content that not only entertains but also engages audiences on a deeper emotional level. In addition, cultural similarities contribute greatly to making Korean formats relevant and very well received among Chinese audiences. Despite his hectic schedule, Kim makes time twice a year to go travelling with his wife as a way of gathering fresh inspiration for the show. He supplements this with weekend camping trips in the forest and a meticulous coffee ritual every morning, which he describes as ‘a comma’, a quiet moment when he collects his thoughts and readies himself for the day ahead. Producing 50 weekly episodes every year for the last 10 years has not been easy but Kim enjoys the process that has enabled him to grow both personally and professionally. “I think I might be the only happy producer in Korea who feels this much excitement coming up with the weekly episodes.”

DAY 03 FEATURES

FEATURES WHAT’S NEXT FOR ASIA’S TV BUSINESS? A wealth of business opportunities awaits broadcasters, content creators and distributors in Asia, where television viewing and video consumption via internet or mobile devices already surpass those in Europe and America, according to The Nielsen Company. With rapidly growing mobile video usage, high penetration of internet-enabled devices and shifts in viewing patterns, the stage is set for Asian TV businesses to reinvent themselves. To that end, they can ride on three industry trends in the next year or so.

Where Are We Going, Dad? (Hunan Satellite TV)

BRANDED ENTERTAINMENT In a highly saturated marketing landscape where brands are increasingly hard pressed to differentiate themselves from the competition, branded entertainment provides an alternative playing field that offers a more enduring and enriching way to engage consumers. As an offshoot of the much lauded content marketing approach, it marks a move

away from conventional advertising towards a less intrusive and much more appealing experience centred around consumers’ personal interests. Sponsorship and naming rights have been popular with consumer brands. Yili Milk, for instance, invested RMB310 million (USD51 million) to win the 2014 naming rights to Hunan Satellite TV’s broadcast of Korean format Where Are We Going, Dad? Season Two. The sponsorship was part of Yili’s bid to break into the school milk market. Season One of the show reportedly featured product placements

of frozen goods, toothpaste, milk, bedding and cars. Along a similar vein, top entertainment programmes like The Voice of China and I Am A Singer are backed by sponsors like Hong Kong-based herbal tea maker JDB Beverage Co Ltd and Hangzhou Wahaha Group, respectively. The sale of naming rights has also helped online video sites recoup some of their huge investments in top shows. Earlier this year, video streaming portal iQiyi sold exclusive naming rights for its online

CMY

DAY 03 FEATURES

Variety Channel to sportswear brand Erke for a massive RMB50 million. This came close on the heels of a similar RMB66 million sponsorship deal between Yinlu Foods and iQiyi for the internet broadcast of Where Are We Going, Dad? Season Two. iQiyi had spent RMB200 million on the exclusive online broadcast rights to Where Are We Going, Dad? and other shows from Hunan Satellite TV, according to media industry consultant China Media Management Inc. Beyond naming rights, India’s Zee TV has also invested in digital product placement technology, with its chairman, Subhash Chandra, spearheading a deal to pump in GBP3 million (USD4.8 million) in Londonbased Mirriad. Using Mirriad’s technology, Zee TV has seamlessly integrated Tilda, a packaged rice brand, on the kitchen shelves of the protagonists in the popular Indian soap opera Pavitra Rishta. “The technology offers a great opportunity to integrate locally relevant brands across all our territories,” commented Chandra on the deal. “Who knows, we might even be able to create an ad-free channel before long.”

FROM-ASIA-FOR-ASIA PROGRAMMES Increasingly, producers in the region are taking up from-Asia-for-Asia formats due to the similarities in culture and local relevance. This is likely inspired by the phenomenal success of I Am A Singer and Where Are We Going, Dad?, two South Korean shows reproduced by Hunan Satellite TV, China’s leading entertainment broadcaster. Other from-Asia-for-Asia adaptations include Indonesia’s SCTV remake of the Philippines’ long-running and best-known variety show, Eat Bulaga! and the newly launched Run, Brother!, China’s localised version of the popular Korean TV series Running Man. Run, Brother! is a coproduction effort by South Korea’s national TV and radio broadcasting network Seoul Broadcasting System and China’s Zhejiang Satellite TV, reflecting an evolving trend in audience preferences, which has prompted Chinese TV stations to buy more South Korean programme formats instead of those from Europe and the US.

Run, Brother! (Zhejiang Satellite TV)

But in some countries, escalating cost for rights to foreign productions, the need to fulfil local market needs, or regulations that limit foreign content on local TV, has made in-house productions a necessary business initiative. Malaysian digital TV broadcaster Astro Malaysia Holdings Bhd, for example, has established itself as a content producer, aggregator, creator and distributor. In addition to distributing content to overseas markets, it will continue to develop local content, including Malay,

Hokkien and Islamic productions. “Astro original content is resonating well with our customers,” says Dato’ Rohana Rozhan, CEO of Astro. “The number of shows with over one million viewers tripled to 15. Our hit comedy show, Maharaja Lawak, had close to 2 million viewers, surpassing even primetime free-to-air programmes on the Astro platform.” Indonesia, meanwhile, presents an interesting juxtaposition. International content remains in demand as pay-TV

DAY 03 FEATURES

penetration continues to grow from a low base, but more local shows are needed to sustain growth outside Jakarta, Indonesia’s biggest and richest urban centre. MNCTV, for instance, has been a prolific producer of local shows. Soap opera Cakep Cakep Sakti, a collaboration with local production house MD Entertainment, made its TV debut recently and it has been hailed for its unique storyline. And after a long selection process, MNCTV recently crowned 10 inspirational figures as Heroes for Indonesia 2014 in its popular reality show that recognises individuals who made inspiring and selfless contributions to their community. “This is the third year of presence for Heroes for Indonesia in the community,” says Kanti Mirdiati, managing director of MNCTV and a member of the judges’ panel. “We hope this programme will continue to provide inspiration for the community.” This year also saw the first collaboration between a Chinese online video platform and a Japanese TV network. The tie-up between iQiyi and Fuji Television Network (Fuji TV) on the production of drama series Mysterious Summer, which features a Japanese director and a Chinese cast, is a win-win partnership. Fuji TV gets to grow its distribution network while iQiyi gets access to high-definition and original content. Producer Satoshi Kubota has revealed plans to create a follow-up series or even a film version of Mysterious Summer if it proves to be a hit.

Mysterious Summer (Fuji Television Network)

NON-LINEAR TV Be it recorded, catch-up, time-shifted or on-demand, viewers today are no longer constrained by linear programming schedules. The combination of TV everywhere and video on demand (VOD) has enabled Asian TV and entertainment players to sell the power of choice to new generations of tech-savvy, affluent consumers. Notably, Asia Pacific’s terrestrial broadcasters have been quick to augment linear programming channels with VOD, catch-up and time-shifted services, and to launch digital initiatives, including internet-based VOD and OTT interactive services. Malaysia’s Astro, which also offers IPTV, VOD and mobile TV services, is expected to reach 80% of Malaysian households by 2017, according to RHB Research Institute. Its Astro on the Go subscribers can watch up to 30 linear channels, ‘live’ sports events, catch-up TV and VOD on their mobile devices. “Weekly viewing time increased by 144% to 88 minutes from 36 minutes [in 2013],” says Astro’s Rohana. On another non-linear front, getting on to the OTT platform enables broadcasters to deliver TV everywhere services and wholesale services via their platforms to other service and content providers, and free OTT multi-screen services that complement pay-TV offerings.

“Over the last two years, MediaCorp has been undergoing a transformation to become more relevant to audiences who are more diverse than ever in terms of interests and identity,” says Shaun Seow, CEO of Singapore’s MediaCorp. The broadcaster has invested significantly in content, production capabilities and products. The Toggle multi-screen internet video service, for example, complements its free-to-air broadcasts. In India, Tata Sky’s mobile ‘Everywhere TV’ service has been delivering ‘live’ TV, catchup TV and VOD since late last year. “Over 60% of [our subscribers] use the internet to view videos on their smartphones and tablets either at home or at office,” says Vikram Mehra, chief commercial officer of Tata Sky.

EYE ON THE HORIZON To capitalise on emerging opportunities in Asia’s TV business, contenders will need to tailor appropriate strategies to address the demand for quality content across multiple platforms and deliver to subscribers a satisfying viewing experience at an affordable price. For the ones who succeed, the possibilities would seem endless.

DAY 03 PRODUCT NEWS 27

PRODUCT NEWS PEG + CAT (9 STORY MEDIA GROUP)

9 STORY MEDIA GROUP PEG + CAT | Peg + Cat is an animated pre-school series that follows an adorable spirited little girl, Peg, and her sidekick, Cat, as they encounter unexpected problems that require fun and creative solutions. HE NEVER DIED (108MEDIACORP)

108MEDIACORP HE NEVER DIED | An exceptionally prolonged life brings depression and detachment. Jack buys stolen blood from a hospital intern, plays bingo daily, sleeps 14 hours a day, watches television six hours a day, and lives alone. This is his life and he has shelled himself away from social interactions. The fuse is lit when Jack’s past comes back to rattle him. Jack must now walk the tight rope of sobriety and try to eat as few people as possible in this violent tale of personal responsibility and self-worth. As it turns out, there are very few reasons to live when you can’t die.

To solve the problems, Peg and her cat must add, subtract and apply basic arithmetic. Their adventures take them to historical far-away lands, art centres in bustling metropolises, and the colourful cosmos, all the while demonstrating that it’s never too early to start learning the magic of numbers.

DNAXCAT CAT KINGDOM TV ANIMATION SERIALS – 1 (DNAXCAT CO LTD)

DNAXCAT CO LTD DNAXCAT CAT KINGDOM TV ANIMATION SERIALS – 1 | Welcome to Dnaxcat Kingdom. Cat King Jiu Cang, a black cat with a round belly, is the King of Dnaxcat Kingdom. He is always surrounded by many lovely cats. There are always stories happening in the kingdom. Who will play the lead in the story today? Blue cat with flowers on head? Or Phantom the legendary bard cat? Let’s enter Dnaxcat Kingdom to share the happiness and sadness with these lovely cats!

THE M RIDERS SEASON 1-6 (EASTERN BROADCASTING CO LTD)

TRAJECTORY – MILESTONES IN SPACE EXPLORATION (BROKEN ARROW MEDIA)

BROKEN ARROW MEDIA TRAJECTORY – MILESTONES IN SPACE EXPLORATION | This factual series explores the magical history of man’s exploration of space, from the early Cold War years through to today, including references to how the technologies have affected our lives, and where we are headed to in the future. (13x30 minutes, HD)

EASTERN BROADCASTING CO LTD THE M RIDERS SEASON 1-6 | The M Riders is the first children’s programme acquired by CCTV of China. The story revolves around M Riders, students with supernatural abilities studying at the Magical Academy. It is here where most of the events in the series take place. The M Riders learn to overcome the problems that they encounter – magical, social and emotional problems ordinary teenage challenges such as friendships, infatuation and exams; and the greater test of preparing themselves for the confrontation in the real world that lies ahead. Meanwhile, the Earth is invaded by the Dark Legion and the M Riders take mission to fight against the evil force. Can they conquer and defeat the Dark Legion successfully? Can they protect the Earth and maintain peace in the Universe?

DAY 03 PRODUCT NEWS

OXYGEN FILM CO LTD YOU LIGHT UP MY STAR | Well Liu and Ring Zhang are superstars who spend most of their time with each other. They work together, share laughter and tears together, and even kiss all the time. The romantic movies they starred in are so popular that their fans wish this on-screen couple could be together in real life. However, Well went into severe depression and the best on-screen couple looks set to break up.

HOW TO GET AWAY WITH MURDER (DISNEY)

DISNEY HOW TO GET AWAY WITH MURDER | The brilliant, charismatic and seductive Professor Annalise Keating (Viola Davis) gets entangled with four law students from her class in How To Get Away With Murder. Little do they know that they will have to apply what they learned to real life, in this masterful, sexy, suspensedriven legal thriller from Shonda Rhimes and Betsy Beers, executive producers of Grey’s Anatomy and Scandal.

YOU LIGHT UP MY STAR (OXYGEN FILM CO LTD)

Then, Ring Zhang’s raving fan Johnson Wu, wins the chance to act with Ring in a film. While shooting a scene, Well meets Evon Yuan, the production assistant who looks identical to his first love. The result is an emotional entanglement between the four. The story between Well and Ring then becomes as exciting as the movie Mr. & Mrs. Smith. You Light Up My Star is the highest-cost Taiwanese drama produced in 2014. It is directed by well-known Taiwanese TV and film director Chu Yu-ning.

FOREVERMORE (ABS-CBN INTERNATIONAL DISTRIBUTION) HEROES: LEGEND OF THE BATTLE DISKS (MARVISTA ENTERTAINMENT)

MARVISTA ENTERTAINMENT HEROES: LEGEND OF THE BATTLE DISKS | To resurrect an ancient guardian named Red Dragon, Vulkay and a handful of other cadets are training at the Academy to become Heroes – whose sole purpose is to hunt down and collect Battle Disks. The Battle Disks, which allow the Heroes to create and summon monsters to aid them in battle, are fabled to be pieces of Red Dragon’s spirit. Vulkay and his friends must use monsters to locate every Battle Disk scattered across Planet Aernia, as they’ll need Red Dragon’s help to fight against the dark forces that are gathering to destroy the world.

ABS-CBN INTERNATIONAL DISTRIBUTION FOREVERMORE | The quiet life of Agnes, a simple strawberry farm worker, takes a big turn when a mysterious guy falls from his parachute right smack into her family’s delivery truck, which is filled with her community’s produce. Turns out, the shadowy young man is Xander Grande, a heir to a chain of hotels. The community detains Xander after he botches the only way they can hold on to their farm land. Xander causes further misfortunes but his new friends soon discover his innate goodness. He starts falling for Agnes. Agnes is also attracted to Xander she thinks he is too rich and good for her, and he will leave once his debts are paid.

THE ULTIMATE CHALLENGE (CHINA TV CULTURAL COMPANY)

CHINA TV CULTURAL COMPANY THE ULTIMATE CHALLENGE | This brand new version of The Ultimate Challenge will give you the funniest and most unexpected moments ever seen in a variety show. The Ultimate Challenge is hosted by the latest Golden Bell Awards winner Sam Tseng, and it features all kinds of games. To be the winner, all participating artistes not only use their strength, but also their brains, to beat their competitors. The Ultimate Challenge offers 120 minutes of merriment to help viewers relax every week.

DAY 03 PRODUCT NEWS 29

ESSENCE OF INDIA (LIGHTNING INTERNATIONAL) WHAT IF? (RED ARROW INTERNATIONAL)

LIGHTNING INTERNATIONAL

RED ARROW INTERNATIONAL WHAT IF? | What If? is an imaginative roller coaster of sketches that immerses viewers in life as it could be – almost! Each sketch begins with a question starting with ‘what if’. What if the new Pope was a dog? What if all cops were gay? What if everybody was blind? Outperforming its channel average by 259%, season 2 of What If? transports the viewers into a completely new and different world, showing a reality that never happened, but easily could have. Just let the real world slip away, sit back and enjoy the ride! The 16 to 18 short and witty sketches per episode are divided into three different categories: Punch line sketches, build-up sketches and street interviews. A cast of up to 10 actors performs all sketches. All situations, locations and characters in What If? are taken from real life. There are no ridiculous carnival types, costumes or settings. Because everything is real, the slight twist the show gives to every reality is even funnier and more absurd.

A.D. (MGM WORLDWIDE TELEVISION)

MGM WORLDWIDE TELEVISION A.D. | A.D. tells the story of the first followers of Jesus, bringing to life their dramatic struggle for survival in a complex and dangerous world. The Jewish nation is under the boot of Roman occupation. Some fight for freedom from oppression; others fight to maintain power and status. Revolutionary zealots battle with temple priests for the hearts and minds of the people. But Rome has lost patience with this rogue province that seems to accept no authority but God; war is brewing between Romans and Jews, a war the Jews cannot win. And yet, amidst the violence and intrigue, Jesus’ radical message of hope and peace prevails. The first 12-episode season will take us through the early days of Christianity, where A.D.’s audience will see how a small band of brothers and sisters fought to keep Jesus’ message of hope alive.

ESSENCE OF INDIA | New York-based chef and journalist, Samira Nanda, is in India to discover the origins of Indian cuisine. She travels through Delhi, gaining access to some of the most exclusive authentic Indian restaurant kitchens. She convinces chefs to part with their secrets; cooks with street cart vendors; and wanders into ancient Indian spice markets to give you a peek into the rich culinary, cultural and artistic heritage of India. Samira is trained as a chef at the Windsor Manor hotel in Bangalore, India. She has worked in six different restaurants. She then worked as a journalist travelling around the world, but maintained her culinary training by honing her skills in cooking courses in Asia. She is currently a chef-at-large for the Core Club in New York, where she has created one-of-akind dinner and special menus for its members and guests. She has appeared on VH1, Reuters TV and Huffington Post as an expert on food and health stories.

AMERICAN M.C. (GRB ENTERTAINMENT)

GRB ENTERTAINMENT

WHERE THE WIND SETTLES (RENAISSANCE FILMS LIMITED)

RENAISSANCE FILMS LIMITED WHERE THE WIND SETTLES | After the Chinese Civil War, the defeated KMT fleed to Taiwan. They settled down in a slum in Taipei. Their bonds to one another as family, which were forged during the war, developed as they went on the run and grew stronger as the economy of Taiwan took off. Their experience is the epitome of the lives of thousands of people who fled to Taiwan after the war.

AMERICAN M.C. | American M.C. follows a diverse crew on a quest to see if they have what it takes to be a real Motorcycle Club (M.C.). Led by the outrageous ‘Baker’, 17 men risk their jobs, relationships and safety as they journey across the Southwest. Along the road, the club encounters the world’s most notorious M.C., the Hells Angels, has run-ins with the police, and braves some of the roughest mountain roads to ever be navigated. Joined by Academy Award nominee Gary Busey and NFL superstar Brian Bosworth, this M.C. faces life-changing decisions with each mile.

DAY 03 PRODUCT NEWS

FUGITIVES (CARACOL TELEVISION)

CARACOL TELEVISION GEORGE OF THE JUNGLE – SEASON 2 (AUGUST MEDIA HOLDINGS PTE LTD) THE SECRET OF ANNASANDRA (GMA WORLDWIDE INC)

GMA WORLDWIDE INC THE SECRET OF ANNASANDRA | Annasandra is the beautiful daughter of Belinda and Carlos. Like a lot of people, she wishes to find true love while still being able to keep certain secrets a mystery to her lover. Long ago, a strange series of events had placed a terrible curse on Annasandra turning her into a shape-shifter. By day, she retains her normal human form, but at night, she unwillingly transforms into a wild boar! Annasandra’s family has kept her curse a secret to protect her from the ill-tempered townsfolk and keeps her completely hidden as well to prevent her from hurting other people.

AUGUST MEDIA HOLDINGS PTE LTD GEORGE OF THE JUNGLE – SEASON 2 | Hilarious, irreverent and full of slapstick action, cartoon favourite George of the Jungle returns to take viewers on a wild ride off the deep end into animated insanity. This is the George viewers always wanted to see but were afraid to bring up at the dinner table for fear that grandpa would write them out of his will and mother would call in an exorcist to expel the demon comedy seed deep within their twisted soul. With more focus on George’s astoundingly tough job and his relationship with the crazy cast of jungle kooks he calls family, viewers will get to know George on a deeper level and laugh all the harder at the pandemonium unleashed on him. But in the end, George always rises above the mayhem, rescues the day with logic that twists expectations and delights audiences.

FUGITIVES | Accused of a crime he didn’t commit, Julian Duarte is sentenced to 20 years in prison after Camila, the wife of his best friend, Ricardo Pradilla, was murdered. Even though his wife, Mariana, abandons him, what hurts him the most is not being able to see his son, Samuel, for whom he would sacrifice his life. His case falls into judicial limbo because all of the evidence points against him and the only witness of the crime disappears. Julian is detained in La Bendita, a prison for both men and women, separated only by a fence. In jail, he meets Esperanza, a woman sentenced to 20 years in prison for murdering her husband to protect her daughter from the abuses the child’s father put her through. Joined by pain and tragedy, a passionate love is born between them that is capable of restoring the wounds they have. Facing the impossibility of a fair trial and the imminent risk of dying inside the prison, Julian and Esperanza decide to escape, determined to prove their innocence. This is a production of CMO Producciones for Caracol Television.

ROBOCAR POLI (ROI VISUAL CO LTD)

ROI VISUAL CO LTD ROBOCAR POLI | There are always accidents and troubles in Broom’s town – a car sliding toward a cliff due to the slippery roads after the rain, a drowning child in a pond, etc. But, in every moment of crisis, there is the super Robocar rescue team to save the cars and people from dangerous situations. They are super police car Poli and his teammates fire-truck Roy, ambulance Amber, helicopter Helly and operator girl Jin. Through the rescue process of each episode, children get to learn safety tips, and enjoy the precious lessons when Poli and his friends of Broom’s town help others. (Season 1: 52x11 minutes / Season 2: 26x11 minutes, 3D HD)

THE BEETLE (NHC MEDIA CO LTD)

NHC MEDIA CO LTD THE BEETLE | Dang-e is an extraordinary newly born beetle in Bug forest. He meets many different bugs and makes friends with them. Lemi the smart cockroach and Gayam the ant become best friends. They introduce Dang-e to interesting bugs in the forest. Curious about every little thing, Dang-e has a good heart and really likes to help others, even Mantis girl, whom everyone avoids. Dang-e and his bug friends show us an unexpectedly exciting bug’s life that is full of surprise and adventure.

CAREME COOKING ADVENTURE (CELIO TECHNOLOGY INC)

CELIO TECHNOLOGY INC CAREME COOKING ADVENTURE | Go on a cooking adventure with Chef Eason. Explore the world of fun, healthy and delicious cooking.

DAY 03 PRODUCT NEWS 31

AEKO & FRIENDS (PICTO STUDIO CO LTD)

PICTO STUDIO CO LTD LITTLE CHARMERS (NELVANA ENTERPRISES LTD)

NELVANA ENTERPRISES LTD TRAIL OF LIES (GLOBO)

GLOBO TRAIL OF LIES | Paloma is a willful woman whose new-born baby is kidnapped by her own brother, Félix, who plans to become the sole heir to the family’s fortune. Bruno is an honest man who, during the same night, loses his wife and son in childbirth and miraculously finds Paloma’s child in a dumpster. Destiny will unite their lives in a plot of secrets, revelations, and disputes, with the unpredictable consequences of lives caught in a dangerous and surprising network of lies.

LITTLE CHARMERS | In the magical land of Charmville, three adorable little charmers are excited to break in their new magical powers! They are led by Hazel, a fearless pint-sized go-getter who flies before she looks. This spirited Charmer-inTraining (C.i.T) just can’t help using magic to explore and go on new adventures with her best friends Posie and Lavender! Little Charmers paves a fantastical path as the only pre-school girls’ brand to combine a little bit of mischief with a pinch of magic, to create a promising recipe for success. Built on a whole new world of fantasy role play, the courageous trio invites girls to play out their own charming adventures using imagination, friendship, teamwork and a sense of humour to overcome any problem.

AEKO & FRIENDS | There is a baby elephant whose name is Aeko. His name means ‘a lovely elephant’ and he has heart-shaped ears. Not like other elephants, Aeko has special abilities to run with soft steps and fly up into the sky. Furthermore, he is a magician who can blow hearts out from his nose. Aeko has three lovely friends. They are the chatty bat Jjabak who is not afraid of night, the strong naughty bear Yagom and the always cheerful and reliable whale Bongo. These four good friends always have a fun time together. One day, Aeko and the lovely friends enter the ‘Numberland’ by chance. There, Aeko meets new friends who sport numbershaped ears and horns. Sometimes, they face diverse problems but go through the difficulty with the help of their friendship and love. In the process, they discover the concepts of mathematics.

AXEL: THE BIGGEST LITTLE HERO 2 (ZHEJIANG VERSATILE MEDIA CO LTD)

ZHEJIANG VERSATILE MEDIA CO LTD RESCUING SANTA (YLE, THE FINNISH BROADCASTING COMPANY)

YLE, THE FINNISH BROADCASTING COMPANY RESCUING SANTA | Rescuing Santa is a six-episode family holiday musical. It’s a timeless story filled with hope, friendship and courage. Santa has disappeared and four children, invited as special guests to Christmas Wonderland, might be the only hope of saving Christmas! The musical is produced by Aito Media and Yle, while the finished programme is distributed by Yle Sales and the format by Small World IFT. (6x28 minutes, HD)

AXEL: THE BIGGEST LITTLE HERO 2 | Some attackers attempt to turn the Peanut Planet into a spaceship and send it off into orbit. Then, on the way to find mystical grove of cactuses that could feed the people of Baraboo for years, Axel and Jono discover that it’s the same gang that uses cactus as fuel and causes the plant to decrease and become frail. Axel exposes the plot, but can the little heroes save Peanut Planet?

DAY 03 PRODUCT NEWS

ROAD RIVALS (CINEFLIX RIGHTS)

CINEFLIX RIGHTS ROAD RIVALS | Russ Malkin is an adventurer. Having travelled the world with Ewan McGregor on the Long Way Round, he is used to the harshest terrains and sleeping in rough, remote locations. Charley Speed is the opposite. He doesn’t camp. Charley is a Next Top Model judge and was VH1 Vogue’s Male Model of the Year. Throughout the series, Charley and Russ take on a string of adventures with Russ longing for rustic experiences and Charley fighting for life’s finer things. Things get competitive when Russ leads a trip to the US. The stakes are raised and Charley and Russ are thrown into some extreme challenges!

THE HOROSCOPE WOMAN SERIES (FORMOSA TELEVISION)

FORMOSA TELEVISION THE HOROSCOPE WOMAN SERIES | The TV drama series recounts stories about the ‘12 horoscope characters’ of the urban man and woman. Against a backdrop of how the characters interact with each other, the story of the urban woman sets the starting point for exploring the modern woman’s ‘mood’.

DEUTSCHE WELLE (DW) TASTY TALES | How did Arab food find their way into Peruvian cuisine? Why do Sicilians prefer to eat their sea urchins raw? And how did the Japanese come to like poisonous fish so much? Foodstuffs and dishes divulge a great deal about history, cultural influences and traditions in their respective region. The ingredients, presentation, aroma, taste and colour of our foods are as diverse as the landscapes and climates of our world. Come with us on a culinary voyage of discovery. Bon appétit!

MARRIABLE BITCH (ETTV)

ETTV MARRIABLE BITCH | For a 28-year-old woman, love is not about fate and it is not meant to be. It’s about knowledge of numbers and possibilities! According to estimates, women usually fall in love 4.7 times before 30; however, there are 2.7 million 25-year-old single men in Taiwan. If you don’t have ‘mateselecting’ standard, the chances of meeting one’s true love is 1 in 550,000. That means you only have one choice out of 550,000 men! This possibility is even lower than that of a meteor hitting the earth (a one in 470,000 chance)! Love is rare. A woman tells herself, “You can miss anything in life but don’t ever miss a love even when you need to be a bitch to get it! Please allow a 28-year-old woman to say this – every marriable woman is a bitch.”

TASTY TALES (DEUTSCHE WELLE [DW])

HASBRO STUDIOS MY LITTLE PONY: EQUESTRIA GIRLS – RAINBOW ROCKS | Canterlot High is hosting a musical showcase and Rainbow Dash, Applejack, Pinkie Pie, Rarity and Fluttershy are going to be performing with their new band, The Rainbooms. But when a new girl group, The Dazzlings, arrives at Canterlot High, they convince everyone to turn the friendly showcase into a Battle of the Bands. As tensions mount between the competing musical acts, a reformed Sunset Shimmer realises that the Dazzlings may not be ordinary girls and are after something far more sinister than just being named Best Band at Canterlot High. The Rainbooms call on Princess Twilight to return to their world to help them perform a musical counter-spell so that they can win a battle that now determines the fate of the entire school.

MY LITTLE PONY: EQUESTRIA GIRLS – RAINBOW ROCKS (HASBRO STUDIOS)

DAY 03 PRODUCT NEWS 33

BODHI & FRIENDS – TV SERIES (TIGERBELLS ANIMATION (P) LTD)

TIGERBELLS ANIMATION (P) LTD CHAMELEON (GIGGLE GARAGE)

GIGGLE GARAGE CHAMELEON | Set for delivery in December 2015 and targeted at children 7 to 12 years old, Chameleon revolves around two late-bloomer chameleons, Cham and Leon, who finally earned their birth rights as chameleons by mastering their camouflage ability, and some! They use their camouflage skills randomly, carelessly and in any given situation, except for the one thing that matters – to stay safe. Cham and Leon used to be house pets, but because they did not show any camouflage ability, the owner decided to set them free and into the nature – an urban park in a middle of the city – so they can get in touch with their ‘wild instinct’. They learn new things every day and avoid all the predators in the park that see them as their next meal. In each episode, Cham and Leon will be presented with a random object or situation. Armed with their unique ability, exposure from their past life living with human beings and their eccentric community, they turn any plain situation into something unexpected. (78x2 minutes)

A FANTASTIC GHOST WEDDING (SCOUT PICTURES PRIVATE LIMITED)

SCOUT PICTURES PRIVATE LIMITED A FANTASTIC GHOST WEDDING | Hong Kong‘s No. 1 box-office queen Sandra Ng (Echoes of the Rainbow, Golden Chicken – Golden Horse Award Best Actress) teams up with top Singapore actor/comedian Mark Lee (Taxi! Taxi!, Petaling Street Warriors, Where Got Ghost, Money No Enough), in this unusual drama-comedy about a life-changing encounter that takes place when a mourning ex-singer/mother crosses path with a young boy medium and his father. It also stars Wang PoChieh (Bodyguards and Assassins, Life of Pi, Paradise In Service), Jim Chim, Kenji Fitzgerald, Marcus Chin, Henry Thia and introducing Keane Chan. In competition at the Hong Kong Asian Film Festival 2014, the film is being released in Singapore, Hong Kong, Macau, Malaysia, Taiwan, and Brunei.

BODHI & FRIENDS – TV SERIES | A long time ago in the far reaches of space, Krone, the King of Amita, wielded a magical energy crystal to create the Lumina Galaxy. From this crystal, Krone created three magical amulets of the sun, the moon, and the star. Each amulet was bequeathed upon three warriors to maintain peace in the galaxy: The lion king of the sun, the canine ranger of the star, and the double-headed cat-woman guardian of the moon. There are three planets in the Lumina Galaxy. Bodhi lived a happy and idyllic life with his mother on Sambolo, a prosperous, beautiful and green planet inhabited by the descendants of the canine ranger of the star. But Bodhi’s archnemesis, Pantha, longs to possess the power of the magical amulets and use them to conquer the galaxy. When Pantha invades the planet through a wormhole, Bodhi separated from his mother. Bodhi embarks on a difficult journey to find his mother and stop Pantha’s army from obliterating the Lumina Galaxy. To keep the Lumina Galaxy safe from Pantha’s evil grasp, Bodhi befriends seven companions along the way. Together, they form Bodhi’s Space Squad.

PASSION DISTRIBUTION

DYNAMO: MAGICIAN IMPOSSIBLE (PASSION DISTRIBUTION)

DYNAMO: MAGICIAN IMPOSSIBLE | This award-winning series features the most original magicians to emerge in decades. Dynamo has stunned audiences around the world with his genrebending mix of large-scale illusions, incredible sleight of hand and innovative street magic. With a list of celebrity fans that reads like a who’s who of the Hollywood elite, Dynamo: Magician Impossible is the story of an ordinary boy from Bradford living an extraordinary life. In this latest season, Dynamo travels to new parts of the globe showcasing his jaw-dropping magic to celebrities, including actor Will Smith and Chris Martin of Coldplay, and the general public. Dynamo has seen international ratings success, being a number one hit in South Africa, Poland and Denmark. It has smashed ratings in Australia. Proving its popularity, Dynamo has been licensed in over 214 territories. (16x60 minutes and 2x60 minutes of Specials)

DAY 03 PRODUCT NEWS

ZOMBIEDUMB (ANYZAC CO LTD)

ANYZAC CO LTD ZOMBIEDUMB | When the moon rises and mischievous zombie kids gather on Moon Street, super ultra-megaton-range slapstick situation comedy happens. They are zombies, but not like the zombies you know. They are stunningly dumb! However, they share the strongest friendships. Even though the process of solving conflicts may be clumsy, the result is always an accidental happy ending! Look out for an epic friendship starring dumb zombies on Moon Street. (52x3 minutes, HD)

NMV 2014 CATALOGUE OF FINISHED PROGRAMMES AND FILMS (NEW MEDIA VISION)

NEW MEDIA VISION NMV 2014 CATALOGUE OF FINISHED PROGRAMMES AND FILMS | New Media Vision’s (NMV’s) catalogue is available at www.nmv.tv. Screener links are on each page. The catalogue represents over 10,000 hours of finished content and films of every genre, including action, classics, romance and horror. Its finished programmes range from topical documentaries, engaging factual entertainment, and delightful shows.

FADING OF THE IRON CURTAIN – REVEALING THE RASON SPECIAL CITY OF NORTH KOREA (PHOENIX SATELLITE TELEVISION CO LTD)

PHOENIX SATELLITE TELEVISION CO LTD FADING OF THE IRON CURTAIN – REVEALING THE RASON SPECIAL CITY OF NORTH KOREA | In the extreme Northeast of North Korea near the borders of China and Russia, Rason Special City was among the first to become a special economic zone in 1991. Domestic economic reforms and foreign investment projects are in full swing in this special area.

VIR – THE ROBOT BOY (COSMOS ENTERTAINMENT PTE LTD, SINGAPORE & MAYA DIGITAL STUDIOS, INDIA)

COSMOS ENTERTAINMENT PTE LTD, SINGAPORE & MAYA DIGITAL STUDIOS, INDIA VIR – THE ROBOT BOY | Dr Prem Sahay, a noted scientist in the field of robotics, invents an Artificial Intelligence Robot which is more human than humans, with a strong emotional quotient and heightened empathy factor.

Aquatic product processing activity contributed much to the domestic economic development of Rason Special City. Workers of Suchobong Aquatic Products Company process the aquatic products for export in return for annual foreign earnings of USD1 million for North Korea.

However, when the Defense Department plans to induct his robot for military purposes, he escapes with it to India and lives undercover in the heart of Delhi. He lives in Chandni Chowk, which has a rich tradition of bustling bazaars and colourful characters, full of stories and age-old memories. There, every day is memorable and every situation funny. Dr Sahay further modifies the robot, gives it the form of a kid, and names it ViR.

Among foreign investors, Russia has leased a pier on Rajin Port for 49 years, while China has constructed a highway connecting Wonjeong Customs and Rajin Port. The city is undergoing economic reforms at its own pace. This programme reveals the current situation in this experimental economic zone.

Each episode has a stand-alone story wherein ViR and his friends Gintu the Jinn, Chulbul the donkey and Imli his classmate, unravel mysteries and fight their way out from everyday troubles. Mad Max, the villain, tries all possible ways to get possession of this highly desired robot boy, ViR. (104x11 minutes, Full HD)

SHORTMAN FILMS PTE LTD

1988 SEGARIS SINAR – 1988 A RAY OF HOPE (SHORTMAN FILMS PTE LTD)

1988 SEGARIS SINAR (1988 A RAY OF HOPE) | A heart-warming drama about a group of orphans meeting again after 24 years to keep the promise they made when they welcomed a comet that visited them all those years ago. At that time, they struggled with their own problems growing up in an orphanage. (8x46 minutes)

eugenelevy

catherineo'hara

danlevy

anniemurphy

now they have to bank on each other.