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Knowing your audience and telling good stories

Join us at the Singapore Media Festival (SMF) to celebrate the best in Asian storytelling.


The belief in markets and one hour programmes


Can’t get enough of Nas Daily? Join us at SMF Ignite, where Nuseir Yassin will speak on storytelling for digital audiences.



Growing the Chinese content market

Singapore media companies will present a wide variety of content and the SMF Ignite exhibitors will also showcase their emerging media content at the Asia TV Forum & Market (ATF). Visit us at the Singapore Pavilion (E08, H08) to network, form partnerships and more! Don’t miss the Singapore Hour for more networking opportunities on both 5 and 6 Dec, 4pm too!

AWARDS The inaugural Asian Academy Creative Awards taking place from 6 to 7 December will recognise the very best of the regional TV industry.

FUTURE OF THE PHILIPPINES Country at the crossroads


05 Dec 18 DAY 1



HIGHLIGHTS DEC 05 FIVE-YEAR FUTURES BREAKFAST FORUM 2018 08:30—10:00 Peony 4512, Level 4 By Invitation Only

OPENING CEREMONY 10:00—10:45 Roselle Ballroom Level 4 SMF IGNITE KEYNOTES 11:00—12:40 Peony 4412, Level 4 K-FORMATS NETWORKING RECEPTION 12:00—13:00 Peony 4512, Level 4

TAIWAN SHOWCASE 14:00—16:00 Taiwan Pavilion (D10), Level 5 Today’s Savile Row-inspired Session Lead (Moderator), Jonathan Landreth, experienced journalist, father and latest Men’s Club member of the Bow Wearers (who includes the likes of Winston Churchill, Frank Sinatra and Karl Lagerfeld.)


What would a gathering be without a “wefie”? A stunning ending to a spectacular ATF Leaders’ Summit 2018. From the keynote panel, At the Forefront of Entertainment Content, PCCW, Facebook, Blue Hat Ventures and Propagate Content, with the Executive Producer of ATF. EDITORIAL & PRODUCTION TEAM Editorial Director Lunita S V Mendoza On Site Editor Paul Hendricks Conference Writers Marcus Goh Serene Ong Suhaimi Saini Market Writers Hilary Espinosa Nur Atiqah Designers Zoey Lim Shellen Teh Photographers Milton Tan Dalton Tan

PROJECT MANAGEMENT Senior Project Director Yeow Hui Leng

ATF CONFERENCE Executive Producer Lunita S V Mendoza

Project Manager Joyce Chua

Producer Assistant Rachel Wong

Senior Project Coordinator Chrystia Liew

MARKETING Marketing Manager Monika Au

BUYERS Relationship Manager Lim Li Min Exhibitors & Participants Account Manager Phua Meenyi

OPERATIONS Operations Executive Felicia Wong Operations Coordinator Phelicia Ng

PUBLIC RELATIONS Ninemer Public Relations

Published by REED EXHIBITIONS, a division of RELX (Singapore) Pte Ltd

FUTURE OF MEDIA INDUSTRY MIXER @ SMF IGNITE 14:00—16:00 Singapore Pavilion, Level 5




SINGAPORE HOUR 16:00—17:00 Singapore Pavilion, Level 5

INDIA: FRESH CONTENT 2019 2.05pm–2.25pm

TAIWAN PITCHING 16:00—18:00 Peony 4512, Level 4


BEIJING PAVILION COCKTAIL PARTY 16:30—17:30 Beijing Pavilion (C10), Level 5


G.H.Y CULTURE & MEDIA NIGHT 18:30—21:00 Roselle Ballroom, Level 4


ATF OPENING PARTY 20:30—22:30 Orgo, Esplanade (Rooftop) Get your groove on with DJ Andrew Lynch, as he takes us on a trip from Ibiza to New York.

魅影传说 | MYSTIC ASIA 2018 (ATF CHINESE PITCH) 4pm–6pm


05 Dec 18 DAY 1



A-Teen from Playlist Global (1 season, 12x10mins) To see all the interest and debate regarding short-form video today, you’d be forgiven for thinking it was a brand-new invention that needs to be understood and dissected like an exotic new animal species. In actual fact, the “short” has been around for as long as moving pictures, with the very earliest examples of the medium from the likes of Lumiere, Melies and Edison rarely running longer than 10 minutes. As technology improved, and audience attention spans expanded, things settled into a more formulaic system – around 30 minutes for a comedy, an hour for drama, and between 90 and 120 minutes for a movie. That system took its first serious body blow in 2005, with the launch of YouTube, which brought with it an influx of eager new creators and – just like the cinema pioneers of the late 19th century – they cut their teeth on short material. This time, however, the format stuck. Short-form video, by its nature, has all the features that modern audiences, especially 04

the upcoming “Generation Z”, cannot live without. This is material driven by relatable stories that quickly get to the point. It’s often sharable so that viewers feel empowered to create and participate in the exciting buzz around trending shows. The low time commitment means that the audience can make the media fit around their life, watching whenever they get a spare minute – on the bus or train, waiting in line, even in the bathroom. And, with its native digital origins, modern short-form entertainment is searchable and more accessible at a deep level, compared to traditional TV programming which is still learning how to cast off the scheduling shackles. Asia Leads the Way It is therefore no surprise that in a landscape offering literally hundreds of sources of information and entertainment, it is the youngest generations, for whom “watching TV” is a more abstract concept, who are increasingly opting for the low-commitment immediate satisfaction of short-form video, and where the audience goes, the industry must follow.

In Korea, video platforms such as Naver TV, VLive, Oksusu and Kakao TV all host and benefit from short-form videos produced by independent short-form production companies such as 72 Sec TV, Playlist Global, Whynot Media, Dingo Studios and broadcaster-backed video brands, such as SBS’s Mobidic, CJ E&M’s Studio OnStyle, and JTBC’s Studio Lululala. Branded IP in Transition The involvement of linear broadcasters in digital short production is echoed worldwide, as a migration of IP is taking short-form series into bigger productions, and vice versa. Traditional TV broadcasters like RTVE in Spain, ZDF in Germany, SBS in Australia and CBC in Canada have all used digital short-form to engage youth audiences. Many have also taken to using short-form as a sort of creative incubator to test new pitches and ideas before commissioning them as full series for linear channels. Consider the UK’s Channel 4 and BBC, where hits like coming-of-age drama Chewing Gum, sitcom mockumentary People Just Do Nothing and This Country all started life online with shorter run times before being carried over to broadcast in more traditional forms.



05 Dec 18 DAY 1

Unsurprisingly, Asian media companies are already much further down this road. The Korean media industry has been flexible in terms of sourcing new programming as well as shortening the time and cost of IP collation and migration. Typical of this approach is Naver Webtoon, the digital comics’ subsidiary of the top Korean internet company Naver, which has launched StudioN, a new production unit. Its mission is to build bridges between its thousands of popular webtoon native IPs with existing TV drama and film producers. The product life cycles of short-form video are shorter and more intense, and this can’t help but speed up the competition at an industry level. Once videos are uploaded, viewers from around the world can watch instantly, individual views are often counted on-screen in real time, even as the audience is commenting within seconds of launch. New production ideas are formed with similar speed, as staff script writers get inspiration from this immediate feedback. This has always been a feature of Korea’s factory line approach to TV drama, with many shows airing even as later episodes are still being shot, with changes incorporated based on fan feedback. The Monetisation Hurdle While viewing figures are high, monetising short-form video is still an issue. According to a Digiday report in the UK, less than a quarter of producers are optimistic about turning a

How Korean Short-form Series Travels Internationally presented by Heat Map. Information provided by Korean short-form series producers.

profit from this sort of material, and the “low commitment” aspect which draws viewers in also makes it hard to get them to pay.

turn opens up funding opportunities with brands and companies eager to reach these notoriously fickle demographics.

The targeted audience, with low purchasing power, is resistant to paying for entertainment that has traditionally been free on other platforms. In that sense, even YouTube’s paid service, YouTube Premium, is in direct competition with the YouTube platform itself.

“After the planning stage, we usually contact brands for collaboration which we think will match the content,” says Mira Lee of 72 Sec TV. 85% of 72 Sec TV’s revenue now comes from advertising and branded income.

In contrast to the problems facing the shortform market in the west, Korean producers are thriving by riding the wave of popular K-Pop music acts and by being flexible in terms of IP and funding. Mah Jooyeon, the marketing lead of Playlist Global, reveals that they have succeeded by targeting a young female audience with shows about friendship, work and romance. 72 Sec TV leads with comedies for millennials and Generation Z. This in

While overt product placement and sponsorship is still rare in traditional TV shows in the west, it has long been the norm in Korean broadcast drama – and as that material spreads online, global audiences are now also warming to the idea. As they grapple with ways to retain audiences and still make money from free video, maybe it is time that the global media industries did the same.

It’s Okay to be Sensitive from StudioOnstyle (1 season, 12x10mins)

Banana Actually from 72 Sec TV (2 seasons, 8x2 mins, 12x2 mins) 06

Secret Crushes, from Whynot Media (3 seasons, the third season 22x10 mins)



Changing what the

world is watching.

insights 2018

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Source: TotallyAwesome APAC Kids Digital Insight, n= internet users aged 4-16 yo, n= 4935; Markets: AU, CN, HK, ID, IN, ADS JP, KR, MY, NZ, PH, SG, TH, TW, VN | Copyright TotallyAwesome, October 2018 Source: TotallyAwesome APAC Kids Digital Insight, n= internet users aged 4-16 yo, n= 4935; Markets: AU, CN, HK, ID, IN,


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05 Dec 18 DAY 1



Catherine Charmet of TVFI has passed away at the age of 53. Many remember her unparalleled enthusiasm, devotion and loyalty both as colleague and friend. She will be missed.

THE KIAI (気合) OF COLLABORATION After the struggle of accepting the likes Ariana Miyamoto, Priyanka Yoshikawa and Naomi Osaka, those with real vision would come to realise that fusions can create beauty and power. And so begins another adventure as TV Asahi and Shin-Ei Animation collaborates with Green Gold Animation to create all new episodes of Ninja Hattori, the comedy action animation franchise that has garnered a strong following in India and many other Asian countries.


“Being one of the first Japanese companies who started marketing animation shows to India, we are glad to continue our India story with this project and aim to explore new possibilities,” said Takahiro Kishimoto, producer at the Programming and Entertainment Division of TV Asahi, whose wholly owned subsidiary and production arm for animation is Shin-ei Animation. Shin-ei’s experienced team of writers and directors, in collaboration with the team

of core animators from India’s biggest trail blazing animation studio will be creating the new Ninja Hattori episodes in 2D-HD through a digitally mastered process. The animation’s popularity across Asia is attributed to the much relatable kid, Kenichi Mitsuba and his everyday stories, said Bharath Laxmipati, Vice President – Content Sales at Green Gold. Takahiro concurs, expounding the shared values and sense of humor between India and Japan, and really, across Asia, also citing examples of taking off the shoes at home, respect to teachers, parents, and customs, all of which appear in the show. “It is much easier for Indian kids to relate to Ninja Hattori than western shows,” professed Takahiro. Of course, the collaboration would most likely not stop here. The idea of a cross universe or even the creation of a new one makes this liaison a dangerously intriguing one.

Netflix is set to release Season 1 and 2 of the reboot series early next year in India, Southeast Asia and additional countries such as the US, Canada, the UK and more starting early next year.

10 *Médiamétrie / Médiamat, Day + 8, January-October 2018, Monday to Sunday From 6 a.m. to 8 p.m. : 19.3% average audience share among kids 4-10 – Best year to date For the whole day (3 a.m. to 2:59 a.m.) : 16.6% audience share among kids 4-10 – Best year to date


Over 70,000 hours of great content now available from 11

05 Dec 18 DAY 1



Talpa and Star India have signed a multi-season, multi-year deal for The Voice franchise, comprising The Voice and The Voice Kids. This deal is the base of a bigger partnership with Star. After two successful seasons, the 3rd season of the regular version will air in February 2019 on Star Channel, which reaches an average of over 500 million households in India. The new series will all be produced by Banijay Asia, a Banijay Group company. “As a world-renowned and highly successful franchise, The Voice has huge potential to perform incredibly well in India. We have the perfect partner in Star and are confident we can take the show to new audiences and new heights,” said Deepak Dhar, Co-Founder and CEO at Banijay Asia.

DEAL MARKS FIRST TIME A NIPPON TV SCRIPTED FORMAT IS BEING ADAPTED IN SOUTHEAST ASIA A scripted format rights to Nippon TV’s poignant one-hour drama series Abandoned has been sold to JSL Global Media, one of Thailand’s leading production houses. The deal marks the first time that a Nippon TV scripted format is being adapted in Southeast Asia, as well as the first format deal ever for Abandoned. The Thai series of Abandoned will be named “พรุง่ นี.้ .. จะไม่มแี ม่แล้ว”, meaning “Tomorrow, My Mother Will Not Be Here”. It is currently scheduled to start airing on LINE TV in the spring of 2019. The announcement was made by Atsushi Sogo, President of International Business Development for Nippon TV.

LATEST NEWS: LAUNCH OF THE IFLIX CREATORS HUB iflix and Next 10 Ventures, a venture group focused on the Creator economy has launched the first of its kind Creators Hub to fund and accelerate the development of new online video creation in Southeast Asia. As part of the 12-month program, iflix will commit significant investments of up to US$5 million with 30 select content creators across Indonesia, Malaysia, Bangladesh, and the Philippines, to facilitate and advance

their story-telling and film-making capabilities. Next 10 Ventures will oversee the program and support the creators as they grow their careers and bring their creative visions to life. The search for participants, whose work spans comedy, lifestyle, and entertainment content, among other categories, begins today. Creators interested in learning more or applying to the program can visit: https://www.

Catch Craig Galvin in his Keynote Session on Dec 6, 2018 @ 5.10pm (The Importance of Local in a Global World) and the Fireside Chat Keynote with Ben Grubbs @5.25pm (Igniting the Creator Community in SEA) 12

“This type of series is one of a kind and totally different than any other series currently available in Thailand, said JSL Producers, Thiti Sutthikulphanich and Piangpaitoon Satrawaha. “We love the fact that the story not only focuses on the entertainment side, but it also reflects the issues in society. While it’s a challenge for us to replicate the great work done by the original version, with a strong cast we are confident that the project will also be a success in the Thai market.”


05 Dec 18 DAY 1


INDIA TAKES THE REINS Asia’s new Golden Child runs with ATF

Jayesh Ranjan, Principal Secretary (IT) of the Telangana Government gives the Opening Address at the inaugural ATF Kids’ Summit 2018.

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2018 saw ATF launch a full-day summit in India, pioneered to capitalize and break new grounds for the entertainment market in India.

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Its timely début was a welcomed effort as the sunrise sector for the economy is making high growth strides driven by digitisation and rising consumer demand. With a huge population of children and young adults, the inaugural Summit dedicated efforts towards the emerging kids’ entertainment market in India; a springboard initiated to tap into India’s booming market potential. Forty-four speakers, including key local companies and major networks spoke.

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“It was my great pleasure to be a part of the ATF Kids’ Summit 2018 in Hyderabad,” said Takahiro Kishimoto, Head of Animation, International Business Department of TV Asahi Corporation. “I found it to be a very good event to have all the key players in the market being together at the same place/same time.”

One of the most beneficial segments of the Summit was the matchmaking portion that comprise foreign delegates from Netflix, TV Asahi, Doo Nee, and Hulu Japan, in addition to buyers from Kazakhstan, Vietnam, and Indonesia, as well as content investors from Singapore and from within India. “The 2018 kids animation summit in Hyderabad presented a great opportunity for me to meet with content creators and platforms who were open to investment or coinvestment from media investment company like ai love to help scale their ideas and/or businesses,” said Guna Kaliannan, Monetizer & Director, ai love, who recently noted that they are in talks with several Indian companies since the meet up at the Summit. “This year’s event brought us several potential deals that are in progress.” A neutral platform that aims to grow the industry, the Summit in India was a learning experience on how much more potential the Indian market holds within its vast embrace.

Good networking and entire industry attending at one place. Hyderabad was a great place for the event. The overall was very good.” or ct re Di n, ve na lo lia , ai Ka zer na eti Gu on M

Srinivas Chilakalapudi, Chief Strategy Officer, Green Gold Animation Pvt Ltd


This is a good platform for making contacts. As this is a thematic summit, it gives more opportunities for finding content and partners.” Sandugash Kenzhebayeva, General Producer Channel for Kids “Balapan”, “Kazakhstan” Republican TV & Radio Corporation JSC

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Great opportunity to network. Met prospective stakeholders.” Shaik Khaja Vali, Head of Department, Telangana VFX, Animation and Gaming Association (TVAGA)


05 Dec 18 DAY 1

CONFERENCE The Biggest Buyer of New Content - AI Ju Jian, Head of Global Content Cooperation, Huawei Technologies and Karan Bedi, CEO, MX Player share their content strategies for two of the biggest markets in the world, China and India. The two companies started life as technology companies before pivoting to provide video streaming services. MX Player’s 270 million monthly active users, 170 million of them are based in India, says Karan. Being a single TV household market, India has a lot of representation from audiences that are not traditional television watchers, such as the young male demographic. Therefore, a lot of their content will cater to that. MX Player’s advantage is that that their content coverage goes beyond traditional TV markets and networks. Karan says that with 200 million single TV household and 400 million broadband subscribers, it provides them with access to twice as many screens as TVs. It is a huge consumer base that they have not tapped yet. On the original content front, they are planning for over 20 shows over the next year and a half, spanning the gamut from biopics and kids’ content to more unique fare like cultural-specific programmes and biopics. For Huawei Technologies, their content partners are dependent on territorial

requirements for consumers and subscribers. Hence, says Ju Jian, they have different content partners for specific business scenarios. Huawei Technologies is taking a partnershipdriven approach, working with both international and local content partners, and they will launch their video services territory by territory. However, their focus for the next few years is on content aggregation and improvements to the platform, rather than on original content. Machine learning and AI will play a big part in how both companies determine the audiences they should target and the content they should get. Given the amount of data from their massive user base, it is a constant battle over what to feature on MX Players, says Karen. However, they are following the mandate of being dataled but programming-driven, to ensure that their data about user viewing habits are properly utilised by the programming teams.

Ju Jian of Huawei Technologies gives his views on how to drive development in the video industry

Huawei Technologies announced a very clear AI strategy this year, says Ju Jian, consisting of their chipset, terminal and cloud. Embedded in each Huawei device is a chipset that enables AI technology and cloud services platform. This will allow them to customise their services for individual users.

(L-R) Rob Gilby of Blue Hat Ventures, Karan Bedi of MX Player and Ju Jian of Huawei Technologies talk artificial intelligence 16

Building a Unified Platform for Global Video Content While Huawei is the world’s largest telecom equipment maker, it is a relative newcomer to the video content market. Ju Jian, Head of Global Content Cooperation at Huawei Technologies, explains, “We entered the video content market three years ago because we wanted to improve carrier efficiency and video business development for their carrier clients.” Premium content is critical in attracting IPTV viewers, and Huawei describes their global content strategy: Firstly, establish long-term strategic partnerships with content producers and aggregate high-quality content. Secondly, build stable relationships with content distributors, licensors, service providers and carriers. Thirdly, establish a 2B+2C content ecosystem, and finally, innovate traditional content licensing models. Huawei is looking to acquire and subsequently distribute the aggregated content to their carrier database and video streaming platform via a unified platform for global content acquisition, distribution, and monetisation. Further, they have localised their operations to support different territorial project and streaming needs. Huawei recently launched a OTT service in Italy and Spain, and are looking to launch more in other countries next year.




05 Dec 18 DAY 1

CONFERENCE Shifting Trends in Documentaries

Yang Xianghua explains how long term value, technology and quality content sets iQiyi apart from the competitors

iQiyi: Leading the Industry Through Innovation iQiyi was founded eight years ago, at a time when distribution services, mobile smartphones and 4G was starting to sweep across China. Dr Gong Yu saw an opportunity and founded iQiyi with the support of Baidu. Yang Xianghua, the Senior Vice President of iQiyi, joined Dr Yu. Xianghua quipped that he “liked being on the cutting edge, and innovative things.” iQiyi has been compared to Netflix, but with over 80 million subscribers and over 600 million users in China watching content monthly, that comparison does not do the largest online video platform company in China justice. When asked how iQiyi distinguishes themselves from other competitors, Xianghua noted that they focus on long term value: on technology and quality content. They aim to provide the best service to their users. Such a mindset leads to more flexible company operations, and explains how iQiyi can lead the video industry through innovation. For instance, iQiyi was the first to launch a paid subscriber service in China. Previously, users were used to free content on the internet, and iQiyi had to come up with innovative ways to attract paid subscribers. In another first, iQiyi recently opened the first offline “Yuke” on-demand brick-andmortar movie theater. 18

Documentaries are increasing in popularity. David Weiland, EVP and GM (Asia) of BBC Worldwide, opines that while this trend is due partly attributed to improvements in storytelling techniques and equipment capabilities, there is an increasing thirst for knowledge, as the world becomes more uncertain, particularly among the younger audiences. Lexian Zhu, Editor-in-Chief of Tencent, agrees. He notes that Tencent has over 62 million subscribers, and their largest age group of subscribers is between 18 and 29 years (70% of viewers). He further explains that there are two main genres of documentaries popular with this age group: cultural (e.g. food, travel, trends), and scientific. A landmark big production, falling the in the latter category is the immensely popular ‘Blue Planet II’, which was jointly produced with BBC. That said, David notes that “if you get it right, stories appeal to all age groups”. He talks about how big shows have the potential to reach across the demographics. When ‘Blue Planet II’ was released in the UK in 2017, it had the largest young audience but was also the most watched show on British TV for that year. ‘Blue Planet II’ also underscores another trend in documentaries: that

of co-production. Lexian says that Tencent takes a globalised approach to their content production, and all three panelists agree that coproduction is also important in funding documentaries. While documentary content have traditionally come from the West, that is also changing, as content is increasingly arising from Asian sources, resulting in a globalised approach. Tencent, for example, encourages “collaboration with other agencies to present an Asian story from a Western perspective”. In another example, Lexian cites ‘Once Upon a Bite’, a food documentary series that, while produced in China, incorporates Western elements such as perspectives and storytelling, to appeal to both Asian and Western audiences. David and Beatrice Lee, CEO of Blue Ant Media, echos Lexian’s comment about the increase in such partnerships. David adds that traditionally, documentaries are shown on TV, but SVOD has democratised the access, and allow consumers to discover content that they may not normally see. He notes that Asia is a “mobile first market”, and documentaries lends itself quite readily to this media as they are quite modular, a feature that is resonating with audiences in China.

(L-R) David Weiland of BBC Worldwide, Beatrice Lee of Blue Ant Media and Lexian Zhu of Tencent discuss the draw of documentaries

05 Dec 18 DAY 1

CONFERENCE Transcending Traditional Models in Live Sports Phillippe Bernard, CEO and Global Chairman of Globecast, and moderator for the panel session, started the discussion by setting the backdrop. Sports broadcasting is a growing sector and is curated for live content. Phillippe notes that new entrants are changing the landscape of this competitive environment, he cites two examples: Facebook partnering with Fox Sports to stream UEFA Champions Soccer League for free and Amazon paying 50 million euros to stream NFL games. There is a core change in the industry, to maximise the monetisation of rights. There is also a dramatic increase in sports content to satisfy the expanding range of platforms and devices that viewers use to access content, and an increasing cross-platform distribution requirement. Growth in live streaming is also opening opportunities to more niche sports. Social media has made quite a notable impact on sports coverage, resulting in

(L-R) Mike Kerr of beIN Sports, Italo Zanzi of FOX Networks Group Asia, Aneesh Madani of Twitter and Philippe Bernard of Globecast (Moderator) sit down to talk sports.

complex relationships between sport broadcasters and major social media platforms. The latter encompasses roles along all parts of the spectrum, from distributor of content, to advertising sellers and rights buyers. At the same time, there is still a need to be consumer focused, thus broadcasters have to be selective in

Marrying Science and Storytelling Over 40 members representing key brands from different industries gathered to debate The Convergence of Big Data, AI & Storytelling as part of the Changemaker Series at SMF Ignite. Held under the Chatham House Rule, the no-holds barred discussion was both passionate and insightful. In an interesting analogy, Big Data was likened to a one-ounce gold coin, useful and valuable only after a ton of raw material is crunched, sifted, refined, melted down and shaped into something actionable and useful to many. Members were reminded though, that prospecting remains important in the search for gold. Big Data is akin to the fuel that powers today’s organisation to achieve their objectives. Yet, many companies make the mistake of not putting Big Data efforts under the purview of executive leadership and instead are assigning it to functional departments, marketing, operations, IT and sales. Big Data needs to be championed by someone with sufficient authority 22

and visibility across the entire organisation. AI is another area that many organisations today are excited about and are keen to explore, yet, many are unclear what AI is and what it can do for an organisation. Few realise AI can be “creative”. An example was shared where AI was fed hundreds of classical portraits and then designed its own painting that was later sold for hundreds of thousands of dollars.

There is a dramatic increase in high quality content from each event to satisfy the expanded range of platforms and devices that viewers use to access content. There are also increasing cross-platform distribution requirements. In addition to these drivers for high quality and innovative coverage, there is growth in live streaming, opening the live coverage market to more niche sports. ” – Phillippe Bernard, CEO and Global Chairman of Globecast

how they partner with social media, as the acquisition, distribution and addition of value to sport content still remains a challenge today. For instance, Twitter is a public platform. It was originally not a platform to deliver live sports, but during the 2018 FIFA World Cup, every goal scored was tweeted out.

Does that mean a storyteller must fully rely on Big Data and AI to be successful? It was agreed that a reliance on data can help storytellers. By knowing what is in trend today,storytellers can stay on top of their audience. Nonetheless, sometimes having the data and going against spotted trends itself is what a storyteller needs. If Picasso had relied on “trends”, we would never have had the Blue Period, as sombre, monochromatic paintings never sold well during his days.

CMOs of the FMCG industry meet C-suites from the media industry behind closed doors to discuss the convergence of Big Data, AI and storytelling

05 Dec 18 DAY 1

CONFERENCE Secrets of the Philippines Revealed! With a population of over 100 million and a fast-growing economy, the Philippines is currently in the midst of a rapid transformation. A panel of the biggest players held a no-holds-barred discussion about opportunities and challenges in the country, moderated by CEO of HOOQ, Peter Bithos.

Carlo Katigbak of ABS-CBN

Guido Xavier R.Zabakkero of Cignal TV

The Philippines has two major strengths – strong GDP growth of more than 6% in the last three years as well as a largely English-speaking market, says Carlo Katigbak, CEO, ABS-CBN. On the flipside, a lot of the economic growth has not yet filtered down to the lower income bracket. Guido Xavier R. Zaballero, Chief Marketing Officer, Cignal TV, agrees with this analysis, and notes that the top 5-10% of their population is financially more capable and has significant purchasing power. He also points out that it may be challenging for foreign companies to invest fully in the Philippines. Even though the English-speaking population makes it easier for them to relate to the rest of the Western world, it’s a double-edged sword, he says. It weakens their Filipino identity in a region where cultural identity is important for each country. The Philippines is the social media capital of the world even if they are not digitally on par with their other neighbours in the region, notes Vincent Reyes, CEO, TV5. Although that can be considered both a strength and a weakness. The strong Filipino diaspora is also another boon for the Philippines.

Vincent Reyes of TV5

TV5 being primarily a sports and news network, Vincent observes that another

Peter Bithos of HOOQ and the panelists had a very lively discussion regarding the Philippines 24

strength is that the population is crazy about basketball, but they are also the only country in the region that does not have football as a main sport. This prevents them from capitalising on football events in the Philippines. The three major media companies unanimously agree that social media platforms like YouTube have complimented them, rather than cannibalising their audience. ABS-CBN is one of YouTube’s top 25 content suppliers, says Carlo, in terms of growth, traffic and revenue. The relationship is reciprocal, as YouTube has been a substantial source of eyeballs and revenue for ABS-CBN. Guido does not see Facebook and YouTube as competition, but as strengths to be harnessed. In a recent major basketball tournament, Vincent saw concurrent views on social media platforms and the TV5 network, so he views them as partners rather than competitors. To round up the discussion, the HOOQ CEO posed a cheeky question to the three panelists: Is there still room for a premium independent service in the Philippines? This garnered a big laugh from the audience. Carlo affirms that there is still room for such a platform, so long as it offers relevant content that resonates with the audience. The audience must also be clearly defined, since what works for the mass market may not always work for the upscale market. Guido agrees, adding that it should be content that cannot be found elsewhere.

05 Dec 18 DAY 1

CONFERENCE Content Distribution: The Next Five Years A fireside chat between Andy Kaplan, Media Industry Advisor & NonExecutive Chairman, QYOU India and Curt Mavis, CEO, QYOU Media yielded some interesting predictions about the future of content distribution. The competitive global media landscape is not so much a game of chess, as it is Risk or a war game, says Andy. Right now, companies like Netflix, Amazon or Youtube, are the only ones who truly have global instantaneous distribution with the flip of a switch, as opposed to other media companies which may seem to operate globally, but actually operate in different countries on an individual basis. Curt Marvis of QYOU Media knows what the younger generation wants

Connecting to Millennials and Gen Z Millennials grew up with the ubiquitous presence of the internet, while mobile devices such as the smartphones shaped the media and tech habits of the Gen Z generation. There are distinct differences between millennials and Gen Z, and as Curt Mavis, CEO of QYOU Media, points out, “they do not want to watch the same content”. How can the industry customise programming to these important and diverse audiences? What both generations share is their love for video, particularly short form video. Curt notes that YouTube reaches more Millennials and Gen Z than any other broadcast platform. One myth he debunks is that these generations do not watch television. They do, just not on the TV screen. They watch it on other platforms, which affects how scheduling and commercials should be considered, Curt advises full multiscreen offerings across all screens equally. The length of content should also no longer be restricted to the traditional 30 minutes or one hour models; instead, ‘short form premium’ content should be emphasised. A problem that often arises is the Millennials do not like to pay for content, yet they do not like ads as well. Curt suggests the creation of more ‘ala carte’ bundles, comprising of offerings such as prepaid options and 26

micro payments. Further, advertisers should move away from pre-roll/ mid-roll/post-roll mindsets and move towards embedded advertising, branded messages and product placement. Curt explains how QYOU creates content specifically for these generations. The company creates and curates only shorter form content from digital first creators, with a particular focus on local content in each territory, leveraging these ‘creators’ or ‘influencers’ as their ad sales engine. While QYOU builds globally, they programme locally; the packages should always be driven by local content.

To be perfectly honest, I don’t necessarily know if the world needs one more SVOD service. I think we’re all finding ourselves subscribing to so many services, whether it’s $2 a month or $10 a month, because it’s so easy to subscribe to. At the same time, the frictionless-ness of subscribing and unsubscribing makes the switching in and out of these things so tumultuous. – Andy Kaplan, Media Industry Advisor & Non-Executive Chairman, QYOU India

He points out there has been a lot of conversation about too much content being produced, with recent statistics putting it at 450 to 500 million original series being made. But we may be seeing the start of companies pulling back from content creation, as evident by the recent YouTube Red/Premium service. After all, it is very expensive to create original content on a competitive platform basis. Andy also observes that in many places, operators have hit a wall in terms of growing the subscriber base and raising prices. Since many of them are publicly listed companies, they may be forced to find ways to generate profits by cutting costs. It’s going to be a war of attrition, where the strong ones survive and the weak ones don’t, says Andy.

Thai PBS’ Dr Sudarat and Nielsen’s David Peatrarut discuss Andy Kaplan and Curt Marvis of QYOU Media had a very frank discussion about the future content distribution Thailand’s media landscape andof mind-set




05 Dec 18 DAY 1

CONFERENCE Changes in Story Content Creation Founded in 2015 by Ben Silverman and Howard Owens, Propagate develops, produces and distributes programming built upon great stories spanning all genres. They tell stories for every platform, and some interesting work they have done include ‘Lore’ for Amazon, and ‘Haunted’ for Netflix. Howard says that a great challenge is “not to just tell stories from your native home but to tell stories for the world”. There is Asian influence outside of Asia, for example, the top show broadcasted in the US was ‘The Good Doctor’, which is based on a Korean drama. Propagate is in Asia because they believe there is a wealth of storytelling that is untapped in this region. Howard also describes the changes in the content industry. It used to be intellectual property (IP) that people invested in, but now global distributors are creating, buying and owning IP. How might one insert themselves into the system and add value to those global players? Propagate believes that the answer is to invest in the people who are in front and behind the

Howard T Owens of Propagate Content believes there is a wealth of untapped content in this region

camera, who are influential to getting audiences to tune in. Previously, they would develop content with an idea (such as Biggest Loser) or acquire a format (such as Masterchef), and adapt it for the US market. However, the

audience now is more narrow. Companies like Apple or Netflix now want a very specific approach to global storytelling, each filling a different need or reaching a particular audience.

Partnerships, Facebook (Asia Pacific), since it is so technology-driven. At the same time, they do use humans for things like content moderation and keeping the platform safe. Ultimately, community is supreme, says Saurabh, so content partners should focus on building communities on specific interest areas.

Howard T Owens of Propagate Content, Saurabh Doshi of Facebook (Asia Pacific), Helen Sou of PCCW Media Group and Rob Gilby of Blue Hat Ventures (Moderator) are all about the balance.

The Strategic Balance of Data Analytics with Human Curation for Content Helen Sou, Senior VP of Digital Media, PCCW Media Group, says that Viu’s approach is both an art and a science. They use the data analytics to understand consumer insights, but they also prize creativity and intuition when it comes to decision-making. When it comes to collaboration, Helen says that three years ago, many would not have believed that an OTT platform would work with a 30

TV station – but Viu has done exactly that in their Hello K Idol collaboration with Globe, a telco in the Philippines. Helen extends an invitation to all industry partners to work together for future collaborations. She advocates transparency, passion and economic viability in partnerships. For Facebook, the algorithm is literally the lifeline of their platform, says Saurabh Doshi, Head of Entertainment

We hope to give our partners and content curators good, deep analytics to be able to create content and then be able to target people on the platform.” – Saurabh Doshi, Head of Entertainment Partnerships, Facebook (Asia Pacific)

Howard T Owens, Founder & Co-CEO, Propagate Content says that there is a desire from the creative community to have access to some of the data to mould the storytelling for the audience. However, he does see the data connect at two stages. The first stage is at the acquisition level, when the networks determine the price of the programme using data. Data is also used to dictate how much they are willing to invest per show. The other place he sees it used is in the marketing of the programme, where they share information such as the potential audience and the different ways to reach them. Thanks to the rapidly changing media landscape, Howard is looking for content partners who are curious and open to change and growth.


Feature Film



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Booth # K 06 5-7 December 2018


05 Dec 18 DAY 1

CONFERENCE Tremendous Opportunities Amidst the Shifting Sands of the Media Market Howie Lau, Chief Industry Development Officer, IMDA, shares his views on the changing media markets from a regulatory perspective. He recognises that the sands are shifting in the market, but he also acknowledges that this has provided a tremendous opportunity for companies to transform and reinvent.

(L-R) Jonathan Spink of HBO, Ricky Ow of Turner Asia Pacific and Howie Lau of IMDA (Moderator)

The Explosion of Asian Content in a Changing Entertainment Landscape Amidst a changing entertainment landscape, what can the industry expect over the next few years? Industry giants Ricky Ow, President, Turner Asia Pacific and Jonathan Spink, CEO, HBO Asia weighed in on a panel moderated by Howie Lau, Chief Industry Development Officer, IMDA. Consolidation and transformation will grow at a faster pace led by global players like us, says Ricky. The other thing we see is an explosion of Asian content, with movies like “Crazy Rich Asians” traveling the world. This rising Asia theme means that Asians stories are being told and consumed on multiple platforms around the world. In addition, the sheer volume of viewer choices has a big effect on traditional pay TV businesses, Jonathan observes. It’s not just the amount of content, but the number of ways that people can access content, including free options and piracy out there. International companies like HBO are realising that Asia is where their audience and market is, he explains. Even though Asian content is not new, says Jonathan, people are getting more access to it because content travels more easily and freely now. That is showing itself in viewing figures and responses they’ve had to original productions. Ricky concurs, stating 32

that that content flow is now going through television, with stronger engagement levels. His sense is that we are seeing the beginning of more Asian stories going across the world. Ricky also notes that the usual production cycle for kids’ content, like that seen on Cartoon Network, is being reversed – with content being produced in short form first as a test or promo, while the long form version is being produced. In the old days, they would produce the long form content first, before cutting into short form format and promoting it. Even though the traditional monetisation model has not ended, companies with a traditional business like HBO will need to grow the opportunities too, says Jonathan. Going direct to consumer is a difficult business, and we are going to see casualties in the coming months and years. There’s a lot of consolidation at the top end, such as Disney and Fox, which will become a very strong competitor. There’s also Facebook, Amazon, Apple and Netflix. It’s an interesting time, he laughs. You can live on dreams for a while, but at the end of the day, it all comes down to cold hard cash, a statement that was met with applause from the audience.

Ultimately it’s about finding new growth areas. The simple principles we use from an agency standpoint are: things that will help the industry on a longer term basis, things that would potentially change the thinking and formats of the way the media industry will go. The short answer is that we are looking at ways to help the industry and we are taking a positive approach.” – Howie Lau, Chief Industry Development Officer, IMDA

As a result, there are different ways to unlock such opportunities on the backs of the growth of the market in Asia, he says. It is about relooking at the monetisation model, creating relevance for the Asian market and content that works. To make this whole new system run smoothly, however, requires connecting the dots between the different moving parts, such as the various companies, storytellers, formats and the use of technology. Jonathan Spink, CEO, HBO Asia praised IMDA’s support of HBO Asia’s production efforts in Singapore, encouraging more companies to approach the agency for assistance. Turner Asia Pacific has also held workshops with IMDA to reach out to the industry, says its President Ricky Ow, with joint efforts to look at new pitches and get new IP out there. So despite the disruption to the markets, says Howie, IMDA is taking an optimistic view to the industry, with many opportunities to be had. Whether it’s in terms of talent or projects, it’s about looking at the right places to support the media industry.

Howie Lau adds his perspective to the panel between Jonathan Spink and Ricky Ow


05 Dec 18 DAY 1


Steve Burns of CuriosityStream offering up some sage advice for content creators

Commissioning for the New, Worldwide Streaming Service

CuriosityStream’s programming is no different from television programming. We are all looking for high quality programming. It’s just that we are after high quality science, history, tech, engineering, wildlife and cultural programming. So we’ve gone around the world, and we’ve been lucky to work with a lot of the world’s best filmmakers. In the early days, most of our productions were acquisitions. But now we’re in this phase where we’re doing more and more co-productions and original productions. – Steve Burns, Chief Content Officer, CuriosityStream

A worldwide SVOD channel that is about four years old, CuriosityStream has already won an Emmy Award and has been nominated for another four. Chief Content Officer, Steve Burns describes CuriosityStream as “documentary Netflix”. Having worked at Discovery Channel and National Geographic before coming to CuriosityStream, Steve leverages upon both his experience as a TV veteran and in the SVOD market. He shares that before pitching, one must know the audience of the target network. For example, the demographics are skewed older at Discovery Channel and National Geographic, but it’s a 34% millennial audience at CurosityStream. This has affected not just their digital marketing strategy but also helped them spot new, younger talent for their programs.

One advantage of a SVOD channel like CuriosityStream is that one can take risks when commissioning shows because viewers are able to find shows they are really passionate about and keep subscribing to the network. However, when you commission shows at a TV network, one has to think about whether an idea appeals to a broad spectrum of the audience, especially with overnight ratings coming in every morning. Steve cites

When it comes to determining whether to accept a pitch or not, Steven always asks the following questions: Is it a good story? Are the characters interesting? Would you want to spend an hour with them? Regardless of whether it is for TV or streaming, the same questions alway applies. A common pitfall he has observed is that content creators don’t know what


the network is looking for and pitch ideas that they want to do, rather than proposing ideas that the network wants to see.

A full house for speaker Steve Burns

the example of a documentary on fungi that he was able to commission on CuriosityStream, which would have gotten him laughed out of the building had he suggested it at Discovery or National Geographic. Apart from intuition, data analytics also play an important factor for making smart decisions, he says. As they are able to parse out information about viewing habits, searches and even scrolling behaviour. CuriosityStream’s highest viewed programme? A documentary named Secrets of Quantum Physics. It currently airs on Starhub.


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05 Dec 18 DAY 1


TWENTIETH CENTURY FOX: THE BELIEF IN MARKETS AND ONE HOUR PROGRAMS “Each year, ATF becomes more and more vibrant, and valuable, to our sales division,” observed Greg Drebin, Executive Vice President, Worldwide Marketing, Twentieth Century Fox Television Distribution. His presence at the ATF market this year serves to fortify this. Greg understands the age-old practice of building relationships and champions the need for real world meet ups. “Every market is an opportunity for us to spend time, face to face, with our clients. Even in this age of technology and virtual interactivity, there is nothing more valuable than meeting with our clients in person.” And as that ritual surpasses borders and cultures, Greg is confident content from Twentieth Century Fox Television Distribution will too. “Our strategy isn’t that different across regions. While there are certain tastes or preferences – even within the Asian marketplace country to country – we try not to paint any region with a single brush. We try to customize and fulfill on what the individual buyer is looking for. “In some cases that means the needs are territory-based and in other cases, it means needs are specific to the type of platform. For example, even in the same market, a broadcast channel’s needs may be very different than a cable network’s needs,” Greg explained.

7 Signs of Success Compelling story arc, suspenseful, fan love, character-driven, original story and some plain old great drama, Twentieth Century Fox holds its ground on content not to be missed. • In their second season: 9-1-1, THE RESIDENT, THE GIFTED, THE ORVILLE • The next chapter of longrunning successful series: MAYANS M.C. • Promising brand new series: THE PASSAGE, PROVEN INNOCENT

In the end, as television becomes an increasingly compelling medium for great storytelling, seeing some of the best work come out of it, Greg accentuates that wherever possible in the development process, the company tries to ensure that story arcs and plotlines appeal to a global audience. “We want our stories to transcend markets and cultures.”

Greg Drebin Executive Vice President, Worldwide Marketing Twentieth Century Fox Television Distribution

And so with that, Greg brings with him a robust slate to ATF this year, containing many of their latest one-hour programs, which have historically done very well in the Asian territory. “Fox has upped its game with strong onehours and procedurals which play very well internationally,” Greg declares, noting that such a format has proven to be much more successful and in-demand across territories in Asia, compared to their half-hour series. SUITE #5103


Exploring More Foreign Companies with Interesting TV Programs Radio Televisyen Brunei will be at ATF for the first time this year, looking for TV shows ready for broadcast. The catch is, they want something interesting. Hjh Hasiah Ali Head of Planning & TV Broadcasts Radio Televisyen Brunei


“The Asian content that has been the most successful to date include movies, telemovies,

TV dramas of the Korean and other Asian kind, documentary (wildlife, nature and the likes), travelogue, reality/game shows and comedy,” said Hjh Hasiah Ali, Head of Planning & TV Broadcasts of Radio Televisyen Brunei.

05 Dec 18 DAY 1


WHAT’S TRENDING? WHEN CONTENT IS MORE THAN MERE AMUSEMENT Focused mainly on preschoolers 4 to 7 years old, brand4rent takes on ATF with content that speaks volumes in the realm of raising better children in a broken world. Elevating kids’ TV, the company has approached this age-old genre with greater depth. “We invest a lot of time into market research targeting both parents and children,” said CEO of brand4rent, Denis Kulakov. “Modern parents want the content to be meaningful. The reason is that the importance of soft skills, compared to hard skills, is on the rise, as soft skills (including emotional intelligence) are essential for happiness and success in society.” Enter Monsikids. A fresh project that was announced at MIPCOM this year, the company is now excited to herald it in as a programme at ATF, being in negotiations with partners from China, South Korea, and Indonesia. Suitable for boys and girls with an astounding level of CGI, the series is being produced by Riki Group – one of the leading Russian animation studios – and created with the help of leading child psychologists and specialists in EQ development.

Modern parents want the content to be meaningful. The reason is that the importance of soft skills is on the rise. – Denis Kulakov CEO, brand4rent

“For international adaptation of the project, we’re going to work with a multicultural team of professionals with an expertise in big worldwide projects,» Denis continued. He believes that while there’s room for everyone, such projects as Monsikids have an advantage with a good mix of emotions and edutainment. For the ATF market, brand4rent hopes to establish new relationships with buyers and

distributors worldwide. They will also be looking for co-production and co-investment partners, while searching for prospective projects to be distributed in CIS, both for media licensing and merchandising. No doubt they’d find heightened interest as Asia leans towards kids’ content with all the goodness of soul-searching fortification.


Hunting for Programs Related to e-Sports Hendy Lim Head of Content Vidio Premier


Hendy Lim, Head of Content for Vidio Premier, an industry veteran, is now on the prowl for something new – programs related to e-sports. As something interesting to be explored, Hendy sees e-Sports growing significantly every year, but there seems to lack TV programs on it. Today, Hendy is buying for an OTT platform, “but as a media group; we will always combine

the rights with other platforms.” Vidio Premier is a sister company of IEG, a subsidiary of Emtek Group. Other than their own local content, Asian content that do well in their market are Korean series and Bollywood. Outside of Asia, Hollywood movies and series are considerably popular amongst the OTT audience.


05 Dec 18 DAY 1



Gary Pudney General Manager Asia Keshet International

2018 saw the launch of International Content Fund, which has spurred investments in two exciting new projects aimed at global markets. This, with a global deal with Netflix and a number of high profile projects that have been commissioned or are in paid development for various American studios, has set 2019 to be an exciting year across the board for Keshet International and their hubs around the world. Asia, of course, is in the midst of this stimulation. Several highlights include the company’s India operation, now established and is quickly moving to the next stage in its development: production. “India is a very exciting and dynamic market and I have big hopes (and expectations) in the coming years,” said Gary Pudney, General Manager of Asia at KI. Apart from the co-development with YTV Japan, which is seen as a highpoint, the company’s Rising Star series 3 that is happening in both India and Indonesia has been a testament to the success and longevity of this format.

“Likewise, our game show Boom! Has seen every version produced, from 30 minutes to an hour, from daily stripped to prime time,” Gary declared. “However, over the summer, it went one step further by being broadcast live on Eat Bulaga! on GMA7 to huge ratings.” The company started to co-develop nonscripted aspects with YTV at the start of the year and the first results should see light in Q2 2019. Gary expects to see other countries such as India and Korea joining this list too.

Looking for Indian, Indonesian and Chinese telenovelas, soaps and sitcoms We have seen good traction for reality shows and short dramas. However, with change happening fast in terms of consumer likes and tastes, we strive to keep our options open in terms of new genres, ” said new buyer to ATF, Zihar Zuhair of Dialog Axiata PLC. Mobile video consumption is picking up month on month in Sri Lanka. General customers of Dialog Axiata PLC are currently in the youth segment and beyond. For Zihar, the target is to cater more for them, while opening an OTT arm to facilitate the new millennials.

Keshet International has proven that there are always opportunities for new and innovative content, citing their new format from Rumpus Media’s called Personal Dater that pits a singleton’s best buddies against a computer algorithm in a head-to-head challenge to find “the one”. But the company is not blind to the fact that skill to survival is to also have a quality catalogue of successful existing formats that continues to sell. BOOTH #J08

Catch Keshet International’s CEO, Alon Shtruzman, on Dec 6, 2018 @ 4.20pm—4.45pm: Content Angels: What Do Investors Want? 40


Zihar Zuhair Head, Content Management Dialog Axiata PLC

05 Dec 18 DAY 1


A GROWING ONLINE MARKET LURES ASIAN BUYERS “Asia was the region we chose for our beta testing of TRX back in 2016 – so the territory is absolutely key and leads the world for us,” said Matthew Frank, CEO of The RightsXchange (TRX). “Since we launched TRX, we have had more engagement with buyers in Southeast Asia than anywhere else. We’ve also steadily increased the number of buyers on TRX from Asia so today we have over 225 registered in the region.” The company has opened an office in Singapore, their only one outside of London. Their buyer activity from Q2 to Q3 2018 has been rising dramatically where program page views by buyers were up 831%; screener views by buyers were up 783%; and the value of deals negotiated on TRX increased by 1719%.

For TRX, the most popular content with Asian buyers is defined by how new it is rather than by where it originates. “So we’re looking to offer buyers content that is new, exciting and relevant to them. Local content is clearly part of this offering and we know is very desirable for Asian buyers,” Matthew offered. In any case, the company has increased the amount of Asian content significantly since they launched and are continuing to work with more and more Asian distributors, “as there is clearly strong demand for local content within Asia.”

Our aim is to have all Asian buyers on the system – both big and small – so that our distributors know that their content is in front of all potential clients in the region. We’ve worked very hard to register as many Asian buyers as possible, from free-to-air channels all the way through to new OTT and VOD platforms. – Matthew Frank CEO The RightsXchange (TRX)

Zee Entertainment is a good example of this; it recently listed over 1,000 hours of its content on TRX and will be onboarding additional drama series before the end of the year. In total, TRX now offers over 4,000 hours of locally produced Asian content. ATF has become a key market for TRX as they continue to raise awareness of the company among new clients and engage with existing clients face to face. “Our ambition is to become the go-to place for buyers and sellers of content to engage and do deals. “Three years ago, very few people had heard of TRX. Today, we have a product and brand that is well-known in the Asian region and ATF has been instrumental in helping us achieve this. No other market provides us with the same level of opportunity in Asia as ATF. And of course it is always a pleasure to visit!”


Interested in Buying Digital Rights for Feature Films and TV Series VOD Platform buyer, Video Market Corporation, visits ATF for the first time in search of feature films of American, European and Asian library titles that were released in Japan in the past, and for which localized 42

versions have already been made; and TV series focusing on Asian series. New buyer to ATF Eiki Matsui of Video Market Corporation also plans to continue acquiring TV series titles from China and Taiwan. “Currently, we are buying for our own platforms (Video Market, COCORO VIDEO, DMM Video and Music.JP Video), but we also offer aggregation services for licensors who are interested in expanding their reach, but who do not have local contacts,” said Eiki. Their most successful Asian content so far are the Korean TV series, especially romantic comedies and costume dramas, followed by Chinese TV series with the same type of genre.

Eiki Matsui Buyer Video Market Corporation

Outside of Asia, “Hollywood blockbusters, and other titles that work well in Japanese theaters are usually successful on VOD as well,” offered Eiki. “With regards to titles that do not get theatrical releases, genre movies such as horror and thrillers have good results.”

05 Dec 18 DAY 1


AMERICANS LURED BY THE SPARKLE OF ANOTHER KOREAN FORMAT “I think fresh, non-derivative formats that make me personally excited and want to be part of, is what I’m looking for (at ATF),” said veteran unscripted TV executive Craig Plestis of Smart Dog Media. “It’s hard in today’s environment to find anything different and this is one of the few markets that I know I’ll see something magical,” Craig elaborated, hyped by the recent signing of an overall development deal that will see the launch of his latest series, Masked Singer with Endemol Shine North America on FOX this January.

For the longest time, the APAC region imported their formats from around the world, but now their own internally developed creative ideas are taking root in their homelands and finding there’s a market outside of the region for fresh ideas. There’s inventive thinking going on and I’m looking to tap even more non derivative formats from the region that will break through the clutter here in America. – Craig Plestis Veteran Unscripted TV Executive Smart Dog Media

Craig reflected that it was not a matter of selecting The Masked Singer over other Korean/Asian formats. “The Masked Singer came to me by serendipity, as so many good projects do,” told Craig. “I was dining at a neighbourhood Thai restaurant in Los Angeles with my wife and daughter. There was a television in the corner of the room and my daughter told me I should check out what was on the screen. “I looked around and all the patrons were mesmerized by what they were watching. In fact, they were not eating their food. That

was my focus group, and I knew something special was being shown.” It is said that Craig knows unscripted programming unlike many in the industry. As the former Executive Vice President, Alternative Programming, Development and Specials at NBC, he helped develop and launch such hits as America’s Got Talent, The Biggest Loser, The Apprentice, and many others during his tenure at the network. He also oversaw production of the Golden Globe Awards. As the second prominent format from South Korea to cross the Pacific, one would imagine an easier ride to the top, with an inkling that the creative shimmer of Korean unscripted concepts can lure Americans in. For Craig, however, if a format is good – innovative, exciting, compelling – it doesn’t matter where it comes from. “That said there are certainly countries that excel more than others at formats, whether scripted or unscripted, and certainly South Korea looks to be one of those countries,” concluded Craig.


The Search for New Animation and 4K Content Home Choice, a new buyer at ATF this year has flown in from Korea to meet with existing partners and major studios and will be searching for new content providers.


Looking for all-rights content, this buyer will buy beyond Cable VOD needs. To date, the sort of Asian content that has been the most successful for Home Choice includes Chinese heroism series.

This works for our subscribers. ”

For content from the West, Home Choice has noted that big studio films have done well for them.


The Unscripted Search: Looking for Formats, Talent Search, Game Show

BLUE MAGIC Can you believe that it is exactly 60 years ago to this day that blue, human-like creatures who live in mushroom-shaped houses in the forest were first discovered. And it’s no debate that real values way back when played a prominent part of everyday life.

Lily Suhardiman International Program Acquisition Dept. Head Indosiar

We hope to find programs that fit the current trend in our market, and fulfils our broadcasting needs. ” Indosiar, an Indonesian television station, broadcasting nationwide on UHF, is another new buyer brought to you by ATF this year. Apart from a huge interest in unscripted, the company is also looking to buy TV series and Variety Show programs. So far, Indosiar’s most successful content includes Mic On Debt Off, Korean and Indian drama series, and special programs such as the annual music awards. They have also had success with Just For Laughs, buying from outside of Asia. In addition, Indosiar will also be buying for their OTT Platform,

And so when Tim Verschure, Head of Sales / International Commercial Director at IMPS (Smurfs) emphasized this fact, it gives pause, and allows one to evaluate, as The Smurfs are all about friendship, respect for nature, respect for mankind, tolerance, faith in the future, education and having fun.

If you grew up adoring the Smurfs on TV, it should then be heartening to know that its IP has done extremely well. From an online game called Smurfs Village, attracting millions around the world, to theme parks (Motiongate in Dubai, Maps in Malaysia, Comicstation in Belgium and next year, Dreamisland in Russia), it looks like these blue beings will be around for a long time to come. My hero? Smurfette of course! BOOTH #E30

“We want to keep this spirit alive in all the products that we are creating with our partners,”Tim added. The new TV series of the Smurfs will be released at the tail end of 2020 and the company has invested in ATF to meet with FTA channels, pay TV channels and all other platforms in the OTT space. “Apart from that, we are still selling the ‘classical series’, and we are always looking for new distribution partners to broadcast our 272 episodes of the Smurfs,” Tim offered. IMPS will create 104 episodes of 11 minutes for the new series. This is a lot shorter than the original ones and more adapted to what IMPS believes to be their current target group – boys and girls between 5 and 10 years old. In addition, the company also plans to create webisodes for the new TV series. After all, with the Smurf movies, they have garnered 13 million Smurf friends on Facebook.


05 Dec 18 DAY 1


GUSTÓ MUCHO! Bigger chefs, better eaters

ATF asked: Do you think all these cooking shows have made the world better chefs, or just bigger eaters? Chris answered: “Interesting question. More likely bigger chefs and better eaters.”


Looking for Exclusive Content that will be Japan’s Next Big Hit Boasted as the fastest growing videoon-demand company in Japan, U-NEXT’s current strategy is to scour the international markets for what they feel could be the next big hit in Japan. If there are opportunities to create original content that could be beneficial to their platform and entertaining to their members, U-NEXT says it is open to consider such prospects.

When StarHub went looking for an exceptional, high quality food channel, Gusto TV came a’stirfryin’ with their celebrations of cultures from all around the world through woks and wonder pots. To date, Gusto TV has more than 20 launch initiatives currently in the works across the globe. And now that they are established in Singapore, Gusto TV will be looking to localise production and begin shooting in Asia in 2019. “We have had many discussions with Asian basedproducers and will have more meetings while in Singapore,” said Chris Knight, President & CEO of Gusto Worldwide Media. “As we expand in Asia, we expect to either acquire or establish a production foothold in either Hong Kong or Singapore by 2020.” While the genre of lifestyle, and more specifically food, is wide and varied, Gusto aims to set itself apart by evolving its programming strategies to appeal to a global market. “Our hosts are young, passionate, and articulate,” boasted Chris. “Unlike our competitors, we are not jingoistic,” he further offered, speaking from a 20-year experience in television as a 46

Gusto TV was designed to be a global brand… and we look forward to many new partnerships in the months to come,” said Chris …, inevitable that they will also have their own OTT offering in numerous territories, along with the more traditional distribution channels in other markets. – Chris Knight President & CEO Gusto Worldwide Media

“Our focus is on building up our new high-quality, exclusive film and television drama channel within the platform. We are targeting content unique to Japan and only available on our service. Content in many different languages is also a priority for our team,” said new buyer to ATF, Jeffrey T. Shimamoto, General Counsel, Head of Corporate Legal & Int’l Business Development, U-NEXT Co. Ltd. So far, U-NEXT’s most successful content has been with the Korean drama genre, especially content exclusive to U-NEXT. Jeffrey noted a very strong following in Japanese anime, as well as domestic films and dramas. “We are constantly looking for new inroads to content in other parts of Asia that may be attractive to Japanese viewers.”

creator, writer, producer, distributor, and broadcaster. At ATF 2018, Chris reveals that he has brought with him “the most innovative food format”; a series called DNA Dinners, which is a fresh new take on storytelling. Here, their subjects’ previously unknown genetic heritage is revealed by way of DNA analysis, which catapults them on a journey of cultural and culinary discovery. In terms of business models, using their Canadian base as proof of concept, where Gusto TV has been on for 5 years, they receive multiple ancillary revenue streams, including cookbooks, merchandise, and meal kits. BOOTH #K32

Jeffrey T. Shimamoto General Counsel Head of Corporate Legal & Int’l Business Development U-NEXT Co. Ltd

05 Dec 18 DAY 1

PRODUCTS MESSY GOES TO OKIDO - SEASON 2 When you need to know, go to OKIDO! Curious and unruly Messy with his best friends Zoe and Felix bring science to life through their escapades in the extraordinary world of OKIDO. The brave trio go on journeys of discovery and, with help from Zim, Zam and Zoom, find the answers to their big questions. The show puts fun and creativity at the heart of learning about science, through stories, comedy and adventure. EXHIBITOR: MESSY GOES TO OKIDO - SEASON 2 | DHX MEDIA

12 NIGHTS How long does it take to fall in love? A woman from New York and a man from Tokyo meet in a guesthouse in Korea, and dramatically fall in love. Three different time sequence are displayed in the drama, which shows the start, the progress, and the end of their relationship. Would their love end “happily ever after”, or would they end up turning their backs against each other?

74 x 11 minutes, plus 1 x 55 minute special Xavier Riddle and the Secret Museum is an animated adventurecomedy based on Brad Meltzer and Chris Eliopoulous’ best-selling kids book series, Ordinary People Change the World. Follow the adventures of Xavier, Yadina, and Brad, as they travel back in time to meet famous heroes of the past and learn how to be their own heroes of the present!




WOOF-MEOW Its never boring when friends are around. This series tells the story of the adventurous life of two kittens Vasya and Musya, their puppy friends Rex, Barbos and Sharik, and the rabbit inventor. Each episode illustrates how being together and united you can solve any problem, big and small, which the fluffy friends overcome together, creating so many new games, like travelling for real or in your imagination. EXHIBITOR: AA STUDIO

The remake of the 2008 hit Singapore drama, The Little Nyonya. The storyline, which circles around the biographical flashback of an extended Peranakan family in Malacca, is set in the 1930s and spans to over 70 years and several generations of three families. EXHIBITOR: GHY CULTURE & MEDIA

GRANNY, BUTCH & WAFFLES Granny, Butch & Waffles series presents unusual adventures of mild-mannered old lady, Granny, the best cook in the world, and her pets, Doggie and Piglet. These are the tasty tales for children, promoting healthy cooking and friendship. The new season of 13 episodes will be delivered very soon. EXHIBITOR: GS ANIMATION



The series covers a wide range of science topics, helping nurture kids’ natural curiosity about the world. It stars the three characters in our feature film: Axel, Jono and Gaga. Stories are told in a way that children find fascinating. By offering high-quality content of all kinds Q&As, this series can be regarded as a video version of Hundred Thousand Whys, performing as perfect formulas for children’s learning. EXHIBITOR: ZHEJIANG VERSATILE MEDIA CO., LTD

05 Dec 18 DAY 1

PRODUCTS DAISY & OLLIE Daisy & Ollie is a classic and very sweet pre-school series encouraging young children to be curious and question the world around them. Two best friends with their extraordinary toys, Boo the Monkey and Whizzy the Robot, discover the answer to their sometimes sublime, sometimes serious and occasionally ridiculous questions. How typical of pre-schoolers! Produced in 2018.


GASPARD AND LISA Gaspard and Lisa are two six-year-old best friends, who experience the wonders and challenges of school, family, friendship in their Paris neighborhood. Outgoing, curious and devoted to each other, Gaspard and Lisa are the centers of each other’s lives and the rest of the world usually finds itself caught up in their adventures. The animated series is based on the books by Anne Gutman and Georg Hallensleben. EXHIBITOR: SONY CREATIVES

In this character-driven mysterydrama from executive producers Robert Zemeckis and Jack Rapke, a commercial plane inexplicably disappears on a trans-oceanic flight and, more mysteriously, returns five years later after being presumed lost at sea. While no time has passed for those on the flight, years have gone by for their loved ones at home who have learned to live with their loss. EXHIBITOR: WARNER BROS. INTERNATIONAL TELEVISION


ONCE UPON A BITE Once Upon A bite tells the stories about the delicious food and cultures around the world. The documentary explores the uniqueness of Chinese dishes from a global perspective, and probes into the evolution of Chinese food during its historical evolution. It makes in-depth discussion of the relationship between Chinese people and their food, and outlines the grand map of Chinese food. EXHIBITOR: TENCENT TECHNOLOGY (BEIJING) COMPANY LIMITED

VAGABOND After a mysterious plane crash that kills his beloved 11-yearold nephew, Dal-gun Cha (Seung-gi Lee) searches for the truth behind the crash. While official investigation reports mechanical failure, Dal-gun believes the crash was an act of terrorism. Digging deeper alongside his unlikely partner, National Intelligence Officer Haeri Ko (Suzy Bae), they find the crash is just the beginning of a massive conspiracy involving the government. EXHIBITOR: SONY PICTURES TELEVISION


ALTAR’D Their wedding day may be approaching fast, but these overweight couples are determined to make one big change – lose weight – before walking down the aisle. Twelve weeks before their nuptials, the future bride and groom are paired with trainers and begin their transformation. But of course, there’s a twist that no one will see coming! EXHIBITOR: ZEE ENTERTAINMENT ENTERPRISES LTD

DAASTAN E MOHABBAT SALIM ANARKALI (THE LOVE SAGA OF SALIM & ANARKALI) An epic love story of Salim, a young Mughal prince who falls for a court dancer, Anarkali, but things become complicated after he faces opposition from Emperor Akbar, his father. EXHIBITOR: VIACOM 18 MEDIA PVT LTD

Driving the content economy

8-11 April 2019 Cannes, France

6-7 April 2019 - Cannes, France


5-7 June 2019 Hangzhou, China November 2019 Cancun, Mexico

14-17 October 2019 Cannes, France

12-13 October 2019 Cannes, France

Interested in our events? Contact us for more information VISITORS: EXHIBITORS: BUYERS:

MIPTV®, MIPDoc®, MIPFormats®, MIP®China, MIPCOM®, MIPJunior® and MIP®Cancun are registered trademarks of Reed MIDEM - All rights reserved

05 Dec 18 DAY 1

PRODUCTS BIZARRE FOODS DELICIOUS DESTINATIONS Chef Andrew Zimmern explores the delectable and iconic foods that define a location. Traveling the globe has never been more mouthwatering, and culinary classics have never been more comforting as he discovers the secrets and stories behind these legendary meals.

KALARI KIDS 74 x 11 minutes The animated revolves around the village of Kalaripuram – which preserves and practices the ancient martial art of Kalaripayattu – and follows the day-to-day lives of two competing gurukuls. EXHIBITOR: GREEN GOLD ANIMATION PVT LTD


CHALLENGE 4 ELEMENTS A reality show competition where celebrities and public challengers battle for mastery over the four elements of nature. The participants will form teams of men and women that will compete in multiple endurance challenges divided into four tracks: water, air, earth, and fire. EXHIBITOR: TELEVISA INTERNACIONAL

STHLM REQUIEM KRISTINA OHLSSON Stockholm Requiem follows criminologist Fredrika Bergman, a new recruit of the special investigation’s unit. With her unconventional talent she proves herself an invaluable asset in solving cases. EXHIBITOR: ZDF ENTERPRISE

BLUE TICK Ten strangers, a funeral and one mysterious message. Get all caught up in the twists and turns in this mystery thriller, based on Hong Kong author Ray Leung’s bestselling novel, where unsuspecting funeral attendees get murdered one by one, after a message sent to their deceased friend is marked as read. EXHIBITOR: MEDIACORP TV SINGAPORE PTE LTD


LOVERS OR LIARS Whether their love is genuine or not, three couples must prove their relationship is a true-to-life real romance, as they challenge a celebrity panel and the audience to play true love detectives! A line-up of comedians, celebrities and relationship experts have one task: choose which of the three couples they meet is real, and uncover the two that are faking it. EXHIBITOR: KESHET INTERNATIONAL

FRUITS BASKET Fruits Basket, based on which the animated series is produced, is recognized as the “best-selling Manga for girls” by the Guinness World Records. Fruits Basket follows the mystic experience of Toru, a high school girl who has just lost her beloved mother. After being temporarily homeless, Toru is welcomed as a lodger at the Soma family mansion, whose son is the most popular boy at her school. Soon, Toru discovers a disturbing secret about the family; they are all possessed by the spirit of zodiac animals, but reveal their true selves when embraced by the opposite sex. Toru swears to secrecy, otherwise her memory will have to be erased. EXHIBITOR: TV TOKYO CORPORATION





Visit us at: Booth D19