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OTT video subscriptions in the Asia Pacific continue to close the gap with traditional pay TV subscriptions. IHS Markit forecast the average of 2.5 pay TV homes for every online video subscription in 2018 will narrow to 1.5 in 2022. However, in spite of their rapid rise in subscriptions, online video providers are still way behind pay TV operators in terms of revenue generation, accounting for just 33% of pay TV ARPU in 2018. The Asia Pacific subscription base is led by Chinese and Indian operators, but their relatively inexpensive services means this dominance does not extend to revenues which are led by services in Japan, Australia and South Korea respectively.

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The Asia Pacific video subscription base is led by Chinese and Indian operators but their relatively inexpensive services means this dominance does not extend to revenues which are led by services in Japan, Australia and Korea.

These findings and more feature in the IHS Markit TV & Online Video Intelligence Service, which leverages long-standing relationships with operators in all of the 70+ markets that we cover, resulting in the only truly comprehensive source of TV and OTT video market intelligence available anywhere in the world. 04

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FEATURE A In vin Pi ter aa ct na sh ur ti Ju eW on m or al A an ks c i qu isi tio ns

INDIA TAKES THE REINS fast becoming a favoured entertainment destination for youth. In fact, currently, 80% of the OTT content consumers are under 30 years old and are starting to pay a premium for their choice of content.

Ali Hussein Chief Operating Officer Eros Now

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Saugata Mukherjee Editor & Head Creative Hotstar Originals

There’s an explosion of new content in India. The OTT game is heating up between three main players (Hotstar, Netflix and Amazon). There are some regional players as well, so overall a great boom in content production, says Mukherjee Saugata, Editor and Head Creative for Hotstar Originals. Indeed, there’s great appetite for new kinds of stories, distinguished from the regular TV soaps. The tremendous growth opportunity comes from people moving to mediums that stay with them, irrespective of the time and place. However, the digital audiences are under served, and hence, for Ali Hussein, Chief Operating Officer of Eros Now, he is looking for more relevant and quality stories for this TG, which for Eros Now, would be oriented towards the slightly younger, largely male in the 18—30 bucket. “With the emergence of multiple domestic and international players, the content ecosystem is also experiencing a thrust, leading to content collaborations with competitors,” said Ali. “This is also an early indication of the collaborations that will take place between stake holders to drive more consumption and uptake.”   Viewers are starting to realise that if they want to have the advantage of watching quality or exclusive content they will have to pay for it. With falling smartphone prices, reduced data costs, increasing mobile data speed and launch of 5G, consumers will be getting hooked on to streaming content available on VOD platforms. With the flexibility of viewing content at any hour of the day, OTT platforms are


In recent years, the content/genre that has been most successful for Hotstar has been Thrillers, Crime, True Crime, Comedy and Dramedy, but today, Saugata is looking for scripted formats and miniseries. “I have previously optioned and adapted formats from the US, Netherlands, Israel, Turkey and Korea,” offered Saugata, who describes his general customers as being youths, 18—35.   The trend seems to have settled on this segment, For Mansi Shrivastav, Head of Acquisitions for Times Internet, their core audience starts younger but end with the youth as well. “Millennials and the Youth – both Urban as well as Tier 2 towns/cities.” Times Internet describes themselves as a new platform that is yet to launch. They have a wide range of content across channels, TV shows, music, movies, short films, news and lifestyle, but intend to focus on series that can be localized across Hindi and regional languages. Looking forward, Mansi stated that what India needs today is infrastructure,  category awareness, in-depth data availability, deeper understanding of the Indian consumption patterns and behaviours, better  payment mechanisms for consumers in the SVOD business,  as well as great stories that can be customized for the needs of the various regions that are ready for better content.  “Our data reflects a taste for series across dramas, comedies, love stories, horror and thrillers, across both acquired, as well as originally-produced content,” Mansi concluded.

Mansi Shrivastav Head of Acquisitions Times Internet



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WATCHING FACEBOOK Facebook as stepped further into the realm of entertainment content, this year taking to the stage at ATF during Tuesday’s Leaders’ Summit. According to Saurabh Doshi, Facebook’s Head of Entertainment Partnerships, he’s seen video explode on Facebook’s platform with their two billion members devouring more and more of it on what pundits are calling, the world’s most addictive drug. “And in the next few years, we expect a lot of our continued growth to come from video,” said Saurabh. “At Facebook, we believe video is a powerful medium for bringing people together and our vision is video viewing that ignites conversation and creates togetherness rather than just passive consumption.” To do this, the company is focused on building products that support community building, but also monetization opportunities to support their partners and allow creators to build sustainable businesses on the platform. “To support this, we have launched a number of social components and tools intended to make it easier to connect over video including, Watch Party, Premieres and Groups. These are building value for publishers and creators alike. Watch Party allows people to watch videos on Facebook together in real time and since launch, there have been 12 million Watch Parties in Groups, garnering eight times as many comments than non-live videos in Groups,” Saurabh recapped. By participating in ATF, Facebook will be looking at content and creators who are building new ways for people to connect

meaningfully and engage around videos. “We are excited to share updates on new shows launching soon in the region, including Confetti – a live interactive game show that airs daily and challenges people to answer pop culture trivia questions, which we have launched in Thailand and will bring to Philippines and Vietnam soon, as well as our re-imagined version of MTV’s The Real World, which we will bring to Thailand in 2019. “A big priority for us in APAC has been to also support the creator community in the region,

We are pleased to be a part of ATF and share our vision on how we are thinking about entertainment on Facebook.” – Saurabh Doshi Head of Entertainment Partnerships Facebook

where established creators like Sordor Stylez & Duncan from Thailand, Ms Yeah from China and Yang Soobin from South Korea are great examples of the diversity and creativity. We are excited to build a strong ecosystem of creators from APAC to the world,” Saurabh stated. Ultimately, the best strategy for bringing great content to Facebook is to help creators and publishers make money for their videos. Over the past year, the company opened their Ad Breaks program to over 38 countries. They continue to provide innovative new ways for publishers and creators to build their businesses on the platform, including expanding new monetization products like Brand Collabs Manager and testing ways for creators to earn money directly from their biggest fans through fan subscriptions. With all these new elements, there is certainly a lot to do, and Saurabh knows the company is just getting started. “2018 has been a great year on our journey to build social, interactive experiences around videos and we will continue to explore both product and content opportunities into 2019,” Saurabh concluded.


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FEATURE market, in particular, fast-growing services for Internet-delivered content to the home and mobile screens open up the opportunity to cater to “Next-gen” markets and consumers. Our goal is to make our programming available to viewers, however they want it. For example, we’re thrilled to partner with Singapore’s StarHub for both a linear HD channel and SVOD service provided in partnership via multiple ways.


category factual programming that the established brands used to represent. Viewers are severely short-changed and looking for alternatives. CuriosityStream satisfies the demand for authentic factual content. How do you see the global media landscape? CuriosityStream is in 175 countries, and global expansion is a priority. In the Asian media

Tell us about CuriosityStream. CuriosityStream is the premiere destination for award-winning documentary films and series. We have over 2,000 titles covering the full range of factual programming – science, nature, history, technology, society and lifestyle. We reach viewers several ways – through our own streaming service and apps and with partners around the world, which can also include a linear HD television channel. Our founder is media visionary John Hendricks, who also founded the Discovery Channel over 35 years ago. His mission now is the same – to bring viewers the world’s best factual programming. What trends are you seeing in the factual content space? During my career, I’ve seen television go through several programming stages, ultimately ending up with the explosion of reality and scripted fare we see now. That creates an opening for the type of full-


Steve speaks to a full house at the ATF Leaders’ Summit 2018

What do you look for when searching for new programming? Here at CuriosityStream, we can make programming decisions that are so much more targeted to our viewers than the traditional networks. We can take more risks. I’ve taken a chance on shows that I wouldn’t commission on TV, but that do appeal to the factual fans who feel truly rewarded when they find their own specific interests on our service. So, the question is – will viewers be fascinated by the topic and feel it justifies a subscription fee? And, I am always looking for innovations both in subject matter as well as filmmaking. Is there new science or is there a new production technique that is good reason to revisit the topic? What does 2019 hold in store for CuriosityStream? It’s a great time to be a viewer. I’m really excited when I think about our programming slate in the next year, and the next several years. And the beautiful thing about factual content is that it transcends borders and cultures. From CuriosityStream, you can expect a growing investment in premium original content and brand-defining titles.

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*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

We believe that the time for Asia is now. As new technologies emerge, so do many more opportunities for Asian storytellers to share their stories with the rest of the world through innovative formats. The Singapore Media Festival, of which ATF is a constituent event, has been a world-class platform for such diverse content, and this year focuses on how data analytics, artificial intelligence and machine learning could aid storytelling.” – Howie Lau, Chief Industry Development Officer

JAPAN SCORES IN MYANMAR! The Broadcast Program Export Association of Japan (BEAJ) proudly announced their continuing success in Myanmar as 14 episodes from five Japanese local stations will begin airing on Myanmar National Television (MNTV) from December 2018. Attesting to the growing popularity of Japanese content, these 45 minutes episodes will feature travel documentary, entertainment and nature programs from Fukuoka Broadcasting System Corporation, CBC Television, Hokkaido Television Broadcasting, San-in Chuo Television Broadcasting and Nagoya Broadcasting Network. Dubbed “Happy Japan”, the program received the support of Japan’s Ministry of Internal Affairs and Communications and will air for three months, premiering every Sunday.

ARAIT MULTIMEDIA EXPANDS TO ASIA With over 30 years of experience in content distribution and production, Madrid-based Arait Multimedia is widening its reach in Asia. A leader in developing entertainment programmes for children and adults, specifically in Japanese animation, Arait Multimedia opened its Tokyo office three years ago, allowing them to be closer to their Asian customers. This year, Arait Multimedia added “Heroes” to its portfolio, a fantasy and adventure show catered to the younger audience. This alongside new series such as “Rrpp”, an Argentinian-Brazilian crime drama and the award-winning Russian production, “Mathilde”.

Glamming it up at the ATF opening ceremony with Rob Gilby of Blue Hat Ventures, Debbie Evans and Paul Beh of Reed Exhibitions, Sim Ann Senior Minister of State, Tan Kiat How of IMDA and Michelle Lim of Reed Exhibitions



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MARKET ONE LIFE STUDIOS UNVEILS NEW MEGA-SERIES Leading content company, One Life Studios, is the first in India to own the intellectual property rights to content created by them. The second addition to their portfolio, “Chandragupta Maurya”, is a continuation of “Porus”, a mega-series that previously aired on Sony TV. “Porus” which started airing on 14 Nov this year, follows the life of Chandragupta Maurya, the first ruler of the Maurya Empire.

AA STUDIO EXPANDS TO THE ASIAN REGION AA Studio participates as a standalone company for the first time this year. One of the leading animation films studios in Russia, AA Studio specialises in creating 3D series and feature films primarily targeted at children and their families. AA also co-produces projects together with other film studios not just in Russia but also from other countries.

widely-received series, “Trains”, is also in development.

They bring two new highlights to the market this year. “Woof Meow” is a 3D animated series currently in production and will be available in the second quarter of 2019. It follows the adventures of two kittens and their puppy friends and is mainly aimed at pre-school children between ages of 4-6 years old. The fourth season of their

Mr Ruben Gyuzalyan, Producer, AA Studio, remarked, “The thriving Asian market is the main factor why we focused on this region with our two new shows. In this case, we are not only looking to sell distribution rights. We also look forward to grow our business by working with other film studios in producing quality kids content.”

AA Studio plans to invest 45% of the allotted budget for “Trains” and 25% of the “Woof Meow” budget in the Asian market as it recognises the region’s rapidly-growing television and film industry.

Asian market

is growing exponentially and has a strong potential. Asian formats are extremely interesting as seen with China and South Korea which are both established major international players. We’re seeing strong interest for this type of content from different FTA channels and from big international distributors.” – Anastasia Lisova, Chief Marketing Officer, NTV

Aside from historical dramas, One Life Studios also explores 2D animation and live action productions with “Kilkariyan”. The dynamic studio-based show aims to serve as a medium for parents to connect with their kids. With the belief that all Asians are connected through similar values, One Life Studios hopes to expand and distribute their original content to a larger Asian market. They aim to transcend the language barrier and allow audiences in all Asian countries to enjoy content they produce. “Porus” testifies to this expansion as it is currently being distributed to 11 countries across Asia, including Japan, Indonesia, Thailand and Laos.

Networking opportunities abound at the SMF Party. Image source: IMDA 14


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MARKET IMDA GROWS GLOBAL The Info-communications Media Development Authority (IMDA) yesterday unveiled a series of new initiatives to enhance the vibrancy of Singapore’s media ecosystem. These include introducing the Skills Framework for Media, new partnerships with global media players, and additional funds for Singapore talent to secure regional and international coproductions. The new initiatives were announced by Minister for Communications and Information Mr S Iswaran during the Singapore Hour at ATF. The Skills Framework for Media will help companies and professionals identify career progression pathways in a ever changing media landscape, while the new Public Service Media (PSM) Digital Partnership Fund seek to encourage Singapore media players to collaborate with international partners to develop public service content for digital platforms. Next year, the Singapore Film Commission launches the Southeast Asia (S.E.A.) Co-production grant to nurture film talent in Singapore and the region. IMDA will also partner Facebook on the Facebook Creator Lab to help participating creators. During the event, Singapore-based Cre8 Productions and Philippines-based entertainment company Ursa Entertainment inked a Memorandum of Understanding (MoU) to co-produce a slate of three film and television projects on the sidelines.


4-11 years old through programmes that also teach valuable life lessons.

The popularity of Taiwanese productions was infallible at the Taiwan TV Showcase as three new shows were announced by the Taiwan Multimedia Production Association. CNplus Production and Chun Ji Yun Media Co. introduced their latest drama “Best Interest”, touted to be Taiwan’s first legal drama series, while Asia Digital Media Co. presented their new travel programme “Never Ends”, which will be hosted by Golden Bell Award-winning host, Marco Liao.

They also bring to the table a library of content from Hollywood dubbed in Hindi for their Hindi-speaking audience. This move by One Take Media testifies to their commitment to innovate by allowing their viewers to enjoy Hollywood productions on their television screens.

Adding to the breadth of Taiwanese programme annoucements is “All Is Well”, an upcoming cross-border production by Taiwan’s Eightgeman and Singapore’s Mediacorp. The star-studded ensembles of “Best Interest” and “All Is Well” also graced the showcase to promote their latest shows.

ONE TAKE MEDIA VENTURES INTO KIDS CONTENT Mumbai-based One Take Media proves that its a global content hub by providing fresh and engaging content. In order to appeal to the different age groups, it recently launched two cable and satellite VAS TV channels for the younger generation. “Kiddo Rhymes” primarily shows nursery rhymes and animated programming for children aged 2-5 years old, whereas “Kiddo Toons” aims to engage children aged 16


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MARKET TACKLING SOCIAL ISSUES THROUGH DRAMAS Viacom 18’s programmes have expanded to Southeast Asian countries like Indonesia, Myanmar, Thailand, the Middle East and Africa, and they continuously aim to further widen their reach in other Asian markets. Some of their new releases include “Salim and Anarkali”, an epic love story of two people from different backgrounds and “Silsila”, which delves on extra marital affairs.


With a wide range of content offerings, ranging from drama series, kids content and Bollywood shows, Viacom 18 has gained thorough knowledge of their audience’s interests to produce programmes suited to their taste.

INNOVATIVE STORYTELLING FROM TAIWAN A full house packed the Taiwan Pitching Showcase as eager buyers and investors got a glimpse of the creativity in Taiwanese storytelling. 10 companies, including TransWorld TV Production Company and Xanthus Animation Studio, presented their original story ideas and screen plays for dramas and animation series. While the drama pitches saw central themes of comedy, suspense and sci-fi, the animation pitches were focused on animated series targeted at children and aimed at capturing their imagination through music, fantasy and superheroes. Chimestone Digital Productions also presented their new interactive OTT app that will take storytelling to a new immersive level.

Asian content, in particular Korean dramas, have been experiencing explosive growth in recent years, and this upward trajectory is unlikely to change. According to Iljoong Kim, Deputy Manager, Broadcasting Division (Global Marketing Team) at Korea Creative Content Agency, Korean content continues to do well in Asian countries due to their distinguishing characteristics that breed familiarity. Korean dramas often emphasise family values with little nudity and violence, making them family-friendly viewing options. Additionally, their popularity is propelled further by the rise of Korean pop music. Iljoong added that Asia’s fertile landscape makes it a great environment for Korean dramas to thrive.

PHILIPPINE PAVILION PARTICIPATES IN THE ATF/SS MARKET FOR THE FIRST TIME The Philippine Pavilion participates for the first time this year to showcase the Philippine film industry, which is celebrating its 100th anniversary. With 40 Filipino film companies under its belt, the pavilion hopes to show players in the international arena that the Philippine television and film industry has a lot to offer.


Through the ATF/SS market exhibition, the Philippine Pavilion aims to get more recognition for its local industry especially with the emergence of new platforms for people to watch films and television shows. It also wants to explore more avenues for co-production and development of universal content that will appeal to everyone.


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TMS ENTERTAINMENT HOPES TO CRACK INTO CHINESE MARKET AT ATF Japan’s second oldest animation studio TMS Entertainment has its sights set on several markets at ATF this year including Australia, India and Vietnam. Looking to tap on the growing fascination with Japanese animation, TMS Entertainment hopes to secure more deals with buyers from China in order to extend its global presence. Kosuke Suzuki, Director at TMS Entertainment, shared that China’s large target audience and many content platforms makes it an attractive opportunity.


I think that content targeted to the OTT operators will be more and more important in the coming years. That also means an increase in request for content coming from producers in the western world. The diverse requests (across different markets) creates more possibilities and allow us to be more creative with the slate of content available. It is the essence of our job to understand “what is for who.”

With big names in the over-the-top (OTT) landscape, it is no wonder China’s growing OTT market is highly competitive. As such, it was key for online video platform iQiyi to not only offer its users free content, but also the option of upgrading to a paid subscription account in order to increase its market share. “By establishing the paid subscription model, we were able to observe consumer behaviours and habits, and offer the biggest collection of premium content,” said a representative.

– David Fabio Bogi, Head of International Distribution, Marketing and Business Development, RaiCom

Specialising in the conception, production and distribution of cinematic Virtual Reality (VR) content and experiences, German company expanding focus is on the hunt for new opportunities to market their content in Asia. Co-founder Alex Herrmann shares that the VR medium has grown significantly fast in the last six years and shows no sign of stopping. With the trend moving towards location-based VR experiences and volumetric VR, he is excited to see the opportunities that lie ahead in Asia for the company.

THE ARTS OF SCIENCES NHK Enterprises’ new catalogue of Science & Technology documentaries are taking centre stage this year. With increasing demand for informative content told in creative ways, its science formats are set to attract viewers’ attention thanks to the compelling CGI graphics. “Traditionally, our edutainment programmes have been our strengths and over the years, we’ve grown sophisticated in the way we produce such content,” said senior manager Hisako Fujioka. 22

#METOO Australian-based distribution company Looking Glass International (LGI) concluded a raft of sales in Asia. These include “Beyond Boundaries: The Harvey Weinstein Scandal” that was sold to NHK. NHK World also bought two The Asian Pitch (TAP) winning projects: “Travelling Talkies”, and “24th Street”. PCCW, Hong Kong-based ICT company, acquired “Adele: Someone like You”, “Amy Winehouse: The Final Goodbye” and the emotional series “Silent Screams”. AETN-18 India bought history and science series “Deep Time History”, “Digits”, and TAP winning documentary “An Engineered Dream”. Cineplex Thailand also picked up, among others, the factual series “The Netherlands from Above”.


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BEIJING TV PROGRAMMES TAKE ON THE WORLD Exhibitors and guests gathered for an afternoon of pleasantries at the Beijing Pavilion Cocktail Party where three new programmes were showcased. Dazzling Star, a leading Chinese animation company, introduced “JingJu-Cats” which has been widely acclaimed since its first season was broadcasted in 2015. It is broadcasted on more than 100 TV channels in China and distributed to more than 60 countries worldwide. DreamEast Group’s “Valt the Wonder Deer”, which will be developed for 10

seasons with one season airing each year starting 2017, was co-produced and created by two symbiotic offices located in Los Angeles and Beijing. This integration of global quality resources and talent paved the way for a highquality Chinese original animation that DreamEast Group is proud of. Beijing Hualu Baina Film & TV Co. also highlighted their dramas “Flipped in my Youth” and “Cinderella Chef” which started airing on January and April this year, respectively.

Rive Gauche Television is taking the opportunity to grow with the Asian market and expand their knowledge of what the region is looking for at this year’s ATF/SS market exhibition. Known for its expansive portfolio of non-scripted programmes and documentaries, Rive Gauche Television launches two new medical mystery dramas that will keep viewers on their toes.


– Petra Schneider, Director of Distribution & Sales, DW

NIPPON TV SNAGS TWO DEALS AT ASIA TV FORUM 2018 Following a new partnership between Mediacorp and Nippon Television Network Corporation (Nippon TV), Singaporean fans can look forward to the local adaption of “Old Enough!”, a popular and unscripted series that will be available on Mediacorp Channel 5 and over-the-top streaming platform Toggle in 2019. “Old Enough!” centres on an incognito camera crew as they follow preschoolers running errands alone for the first time. Early this week, Nippon TV sold the scripted format rights of its serie “Abandoned” to Thailand’s JSL Global Media.



“My Diagnosis” recounts the stories of patients who were misdiagnosed, culminating in a final reveal to each mystery and solving what the medical condition really was. This series has a universal appeal as it could happen

Asia is extremely diverse when it comes to media markets and the consumption behaviour changes from market to market. However, content bundling seems to remain a constant despite these changes and are only going to become smarter and better curated to the needs of users. Therefore, it is the challenge of content producers to create content that can be placed in highly curated bundles.”

to anyone in the world. “Something’s Killing Me” is a well-made series that delves into the puzzling behaviours and diseases that result in near-death struggles.

ITV Studios Global Entertainment (ITVS GE) has recently renewed its exclusive output agreement with Korea’s leading IPTV platform KT Corp. The extended deal comprises 180 hours of exclusive ITVS GE scripted and non-scripted content including Mammoth Screen dramas such as “Vanity Fair”, “Victoria” and “Endeavour”, and factual titles the likes of “Life Cycles” and “How To Get Rich Quick”. In a separate deal, Channel A has pre-acquired the forthcoming “The War of The Worlds” that already has been sold to over 80 territories.


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FEATURE Autentic GmbH has also had successful collaborations with LIC, enjoying international top-selling status for their Hot Roads The World’s Most Dangerous Roads, and Discovery Asia, with whom they have concluded some very good deals.


The company has betted on some sure wins in genres like Nature and Wildlife that are working pretty well all over the world, travel programmes that are giving insights to different cultures, as well as Science and Environmental topics. Julian Althaus Junior Sales Manager Autentic GmbH

The demand for content that is filmed in 4K has been remarkably high among the Asian buyers and companies like Autentic GmbH are undeniably getting much more requests for 4K programmes from Asia than from Europe. And so for the first time at ATF, Autentic GmbH has come bearing a broad range of factual programmes throughout all genres. “One of our personal favourites for this season is the stunning 4K-series, The Wild Andes, by Christian Baumeister from Light&Shadow, which is a cinematic journey that takes the viewer through the nature and wildlife of the longest mountain range of the world located

in Central America. Many broadcasters like Smithsonian, WDR, NDR, arte, ORF, SRF and SVT are already partners and now we want to also bring this beauty to the Asian audience,” said Julian Althaus, Junior Sales Manager at Autentic GmbH. And Autentic GmbH has been conversant enough to enjoy working closely with NHK on the production, as well as the distribution side. “We have been co-producing on numerous programmes such as Human Body, Leaps in Evolution and our latest collaboration, Out of the Cradle, which is about to be released in 2019,” Julian added.

FROM PRE-SCHOOL TO TWEENS & TEENS Mondo TV has signed contracts and agreements with almost every country in the region in the past 12 years. In fact, the Asian market has been the focus of a lot of attention from Mondo TV for a while. “We’ve managed, for example, to structure strategic deals with Mediacorp in Singapore, RTM in Malaysia, and various buyers from Brunei, Indonesia, Vietnam, Thailand, Taiwan and China,” said Micheline Azoury, Head of Acquisition & TV Sales at Mondo TV. With a very strong offering in pre-school and 4—7-year-old entertainment, Mondo TV, who is no stranger to ATF, will continue to offer shows that are universally appealing: fun, learning, romance, adventure and magic, combined with likeable and highly individual characters. The company is however building their tween and teen offering through Heidi Bienvenida, Mondo’s first live-action show, about the 26

adventures of a happy, carefree girl who leaves her beloved mountain home to live in the big city. This is in tandem with the expansion of their production base – including Mondo TV Iberoamerica’s new production studio located in Santa Cruz de Tenerife, Mondo TV Producciones Canarias. “Edutainment will still be a strong part of many of our shows and co-productions, including Robot Trains season two, which combines adventure with a focus on energy and the environment, YooHoo to the Rescue, where a group of friends confront threats to nature and wildlife and meet many different endangered animal species, and Invention Story where we learn about science and inventing. “A little further into the future, there’s also the climate-change-themed MeteoHeroes, for which we have very high hopes,” said Micheline.

“Moving forward, we are hoping to get a better idea of what is currently requested in the Asian market and especially get a chance to meet new clients that usually do not attend the fairs in Europe,” Julian noted. BOOTH #K29

Peek into an Autentic Line-Up of Programmes • Asia - Secret Lives, Hidden Places:

Produced together with Eikon • 2077 - 10 Seconds to the future: RTP’s four part series • German Secret Aircraft: Part of a selection of history programmes

We have built up a strong co-production business, which both ensures that the budget can be better financed through sharing the cost and gives us access to more, and more diverse, skills, ideas and creative contributions.

– Micheline Azoury Head of Acquisition & TV Sales, Mondo TV

“Our aim at ATF 2018 is to build broadcast partnerships across Asia for our properties, and in particular, Invention Story, Sissi the Young Empress, MeteoHeroes and Heidi Bienvenida,” she declared. It is worth mentioning that a number of these programs are in fact co-productions with leading Asian companies. Invention Story is a co-production with Henan York Animation of China, while Mondo TV will be co-producing season two of Robot Trains with South Korean content and marketing giant CJ E&M. And YooHoo to the Rescue is co-produced with Aurora World Corporation of Korea. BOOTH #G34


06 Dec 18 DAY 2

NETWORKING Man and His Machines

Maximum Impact “Just like you, I hate the Internet,” says Nuseir Yassin, CEO & Director of Nas Daily, “because it’s full of bad content.”

Facebook – avoiding complicated sentences and focusing on the human element in his videos.

The travel vlogger explains his pet peeves about attention-grabbing content, like ad campaigns that only serve to objectify genders or disrespect cultures.

Nuseir talks about his target audience – an imaginary 15-year-old Mark Zuckerberg of the future, who hails from Columbia and is not a native English speaker. This persona is what drives the decisions behind the topics and issues that he chooses to make videos about.

Instead, Nuseir shares, people should focus on creating meaningful social interactions when it comes to content creation, rather than prank videos or video thumbnails. He talks about the two guidelines he has for making videos on

His parting question for content creators was whether they wanted to maximise views – or maximise impact.

From OTO to OMO

“Do you want virality or somebody who creates because it’s at their core?” asks Jim Louderback, General Manager, VidCon. Fame is what influencers want – but creators have an innate fire in them that drives them to create. Creators are the ones who have true influence among their followers. When you want to build and reach an audience, he says, it’s about that creativity and passion you’re looking for in creators. Regardless of whether it’s for branding or selling, creators have this upwelling of passion. This is what separates humans from computers – passion.

The market for online streaming services in China has seen fierce competition, but iQIYI is still number one in terms of market share with its audience base of 600 million users. Vice President Chen Xiao shares his insights about the Chinese online entertainment industry as the first speaker in at the SMF Ignite Media Conference. The market size for China’s entertainment industry will also grow from USD $154 billion in 2016 to $403 billion in 2022, he says. 28

Penetration rates for online entertainment are projected to grow from 15% in 2016 to 25% in 2022. He predicts that the current OTO, OnlineTo-Offline trend will be replaced by OMO, Online-Merge-Offline, the key difference being that OMO functions will not be accessible individually. To capitalise on this, iQIYI’s business model is a combination of SVOD and AVOD functions.

On the flipside of the coin, AI can be useful in finding meaning in data, says Alex Smith, Area Lead (APAC), Microsoft. The four chief areas are: content creation and being able to automatically generate impactful and engaging based off news articles; navigating sensitivities and hotspots for diverse groups and cultures through content optimisation; better content utilisation through the classification of existing, possibly massive content libraries; and content distribution that is tailored to specific demographics and audiences. Underpinning all this, Alex states, is the need for ethical AI.


06 Dec 18 DAY 2

CONFERENCE Pride of Thai Excellence Thailand is ready to go global. Proud of the high production quality, wellwritten scripts and all-star casting, Jakkaphong Jakrajutatip of JKN Global Media, says they are ready to provide, “not alternative but core content” to global distributors. The world is also ready for Thailand — the ‘Thailand: Fresh Content 2019’ session during the second day of the ATF conference, Content Connection, was the most well-attended. Attendees were treated to an exciting sampling of the 70 drama series available, including “Switch”, “Love Beyond Time”, “Waves of Life”, “The Loyal Wife”, and of course the most successful title in Thailand, “Nakee”, where 80% of Thailand tuned in to watch the final episode. After the success of the drama series “Nakee” in Thailand, the movie “Nakee 2” was made. The movie proved as well-loved as the series and grossed 10.5 million USD just seven days after it launched on 18 October 2018. “Nakee 2” tells the story of Sroi, from Don Mai Pah village in northeastern

Ken Phupoom and Taew Natapohn brought down the house with their surprise duet

Thailand. She grows up with a belief in Jao Mae Nakee, a mythical giant snake. Mysterious happenings draw the attention of the police, who send police captain Pongprap to the village to investigate. The villagers believe that Jao Mae Nakee is responsible for the unexplained events and that Sroi is

Fresh formats from South Korea Many fresh and exciting formats have sprung from the South Korea entertainment industry. The Korea Creative Content Agency (KOCCA) brought in five Korean powerhouses: KBS Media, MBC, SBS, CJ ENM and JTBC, to showcase a sampling of their popular shows. A good format often draws cues from current social issues resonate with audiences. KBS’s sci-fi romance “Are You Human?” explores what it means to be human in the age of AI. “Oops! We Forgot Your Order” (KBS) takes the perspective of people who have been diagnosed with early stage Alzheimer’s as they learn to run a restaurant. “My ID is Gangnam Beauty” (JTBC) examines the social expectations of women and their looks, and how obsession with beauty can hold women back from exploring their potential. “I’ve Fallen for You” (JTBC) shines a innovative lens on teenage romance. As fan power increases in South Korea, a popular format is that of celebrity fans. Three shows, “The Fan”, 32

“Big Picture Family” (both by SBS) and “300: War of United Voices” (CJ ENM), focuses on this very trope. In “The Fan”, rookies recommended by celebrities fight it out through singing competitions. It is a fan-centric format that focuses on the BNF-celebrity relationships, where BNF refers to Big Name Fans. “300” is similar, where 300 fans team up for their artist in a large-scale battle of the fans. “Big Picture Family” takes four celebrities and places them in a small beautiful

It’s a common trend: celebrities meeting their fans. Such formats highlight the importance of the fan base for celebrities, and the relationships between celebrities and their fans. These days, with social media, celebrities are closer to the ordinary people than ever. … Shows like “Big Picture Family” also celebrate the stories of the town residents — the ordinary person.” – Keri Lewis Brown, Founder & CEO, K7 Media (UK)

connected to Jao Mae Nakee. Taew Natapohn and Ken Phupoom, the two Thai superstars of the blockbuster, added glamour to the packed session. The audience was treated to a lovely dance by Taew before the two stars sang a lovely duet together. Only at the ATF Conferences.

town, where they open a photo studio for a week. The celebrities move from working in front of the camera to being the photographer. All of these shows reflect the trend of increasing interactions between celebrities and ordinary people. Variety and game shows remain highly popular, evidenced by the success of shows like “The King of Mask Singer”, “Mystery Ranking Show 1,2,3” (both by MBC), and “Cooking Box” (CJ ENM).

(L-R) Dongcheol Moon of KBS Media, Ella Song of MBC, Helena Chang of CJ ENM, Minju Kim of JTBC and Seungha Heo of SBS are all about fan power


Feature Film



© & TM Green Gold


Booth # K 06 5-7 December 2018

06 Dec 18 DAY 2

CONFERENCE Turkey: Global Appeal The Turkish television industry has been successful in exporting Turkish content to global markets. Can Okan, founder and CEO of Inter Medya, talks about exporting content. Can founded Inter Medya in 1992, starting with distributing foreign content within Turkey. In 2009, they expanded to include other countries, and in 2017, they made a dramatic change to distribute only Turkish content. Since then, they now reach 140 countries. Can notes that the critical factors in their success are firstly, strong storylines, and secondly, production value. “Create the best stories with the best production values,” he advises. George Levendis, Chief Operation Officer of Acun Medya Global, highlights the things that impressed him about the Turkish market and producers. Firstly, their ambition. Secondly, their clarity. And thirdly, their willingness to expand globally. “They don’t see barriers,” George remarks. Dilek Telkes, founder and CEO of Videomite, talks about the importance of working with digital platforms. For instance, when people watch a movie now, they might want to search online for a song from the movie, which underscores the importance of

including digital content in planning. She notes wryly that it was initially hard to convince production houses to include digital content, but now, as soon as a series is aired on TV, it can be found on YouTube. Dilek points out that “most of the digital content in Turkey (70%) is consumed on mobile phones, which is similar to the situation in Asia Pacific.” Emirhan Emre, Business Development Manager & Producer of Mavi Baykus Produksiyon, describes how they are moving from producing animation local content to content that will be distributed internationally. They are looking to co-production opportunities, and cites the “great price-performance scale” advantage of Turkish content producers.

Judges deliberating: The ATF Chinese Pitch 2018 saw so many impressive entries, two additional awards had to be given out

George adds that another of Turkey’s strengths is that they have “one foot in the East and one foot in the West”, and the way the country straddles such different places gives Turkey content producers the ability to understand the global marketplace. This is also how Turkey is able to produce quality content that appeals globally, at competitive prices, and in formats that can be plugged into any market.

Three Winners Bag the Inaugural ATF Chinese Pitch Mystic Asia 2018 sees a total of seven finalists presenting their stunning ideas to a panel of Chinese media luminaries. The three esteemed judges for the inaugural ATF Chinese Pitch are Chen Xiao, Vice President, iQIYI, Guo Jing Yu, Creative Director & Chairman, G.H.Y. Culture & Media (Singapore) Pte Ltd, and Xiao Ji Xiang Tian, renowned screenwriter of the online drama series “The Ferry Man” and “The Ferry Man II”. With three categories this year – film, online movie and web drama series – the judges had to deliberate over seven excellent pitches, which spanned the supernatural, horror, science fiction and romance genres. The contestants came from across the continents – China, Malaysia and even Singapore – many of whom held a background in production. The three winners of the online movie pitch each get to take home a cash prize of SGD $3,500. They are “Please Do A Favour for This Piece of Land” by Liang Sheng Fa, “One Night in Geylang” by Tang Jia Jia and “Mulan, The Robot Girl” by Lee Chee Tian.

Representing the wave of Turkish obsession in Asia, a large delegation has descended upon ATF 2018 to meet the high demand for Turkish content 34

However, the judges were so impressed by the quality of the ideas that they also conferred two special awards to “She Forgot To Drink Granny Meng’s Soup” by Ying Sheng and “Eyes of Dreams” by Hong Yi Xian.

06 Dec 18 DAY 2

CONFERENCE Shedding Light on the Mystery of Indian Desires India’s biggest buyers gather to shed light on one of the biggest mysteries of the country – what sort of content are the major players looking to buy? The first and foremost thing Mansi Darbar, Head of Content Business & Operations, Applause Entertainment is looking for is the ability to buy unencumbered rights. After that, she looks for universal appeal and the human connection. It’s a factor that also influences the decisions of Monika Shergill, Head of Content, Viacom 18 Digital Ventures. To add on to Mansi’s comments, she says it’s about the universal appeal and emotions and stories that cut across borders and cultures. On a personal level, as a creator, Monika seeks ideas that penetrate the zeitgeist – ideas that won’t just be liked, but will be loved. This need for universal appeal is also echoed by Anil Khera, Founder & CEO, One Take Media, because of the diverse tastes of Indian consumers. He goes on to elaborate about the importance of catering to the country,

A full turnout at ATF’s Content Connection day: Led by Editor in Chief of IndianTelevision Dot Com, Anil Wanvari, ATF delegates were treated to an impressive line up of Indian buyers

especially since India has nine distinct language zones, with different content requirements. For Ali Hussain, Chief Content Officer, Eros Digital, they are looking at how

they can collaborate with partners to fulfill their content pipeline of 100 original shows next year. They’re also looking for a more cinematic quality in shows, in line with their company’s heritage.

of Kinsane Entertainment, talks about the importance of deeply developing characters and storylines, regardless of the age of the audience. Moreover, apps and games are additional ways of connecting to a generation raised on mobile devices. Uttam Singh, Head of Discovery Kids, comments that they “add the flavour of Bollywood”, which will appeal not only to kids but also to global audiences who are already familiar with Bollywood fare. Highlighting fresh content coming out of India (L-R) Chandradev Bhagat of Greymatter Entertainment, Pranab Punj of Kinsane Entertainment Inc., Rahul Kumar Tewary of One Life Studios, Rahul Sarangi of The Viral Fever, Uttam Pal Singh of Discovery Kids and Anil Wanvari of Indian Television Dot Com (Moderator)

India: Untapped Stories India is an incredibly culturally diverse country with a rich history, and a deep wellspring of potential stories. For instance, One Life Studios tells the story of “Chandragupta Maurya”, arguably the greatest emperor of India. Based on true history, the show is a take on the life and legacy of the eponymous protagonist as he unifies India, under the mentorship of his teacher Chanakya. However, while Indian writers have a fertile cultural history to draw ideas 36

from, they are also coming up with fresh ways to tell stories. Animations such as “Chhota Bheem” by Green Gold Animation, “Fruits vs. Veggies” by Kinsane Entertainment Inc., and “Little Singham” by Discovery Kids are all hugely popular children shows. Bharath Laxmipati, Vice President of Content Sales at Green Gold Animations, notes their popularity on leading kids TV channels worldwide, with an active viewership of over 60 million kids. Pranab Punj, Chief Marketing Officer

Investment in television is not going to stop. Storytelling continues in India in a very strong way and the paid channels, the OTT players will continue spending a lot in India.” – Anil Wanvari, Founder, CEO & Editor-in-Chief, Indian Television Dot Com Pvt Ltd

In addition to Bollywood movies and animations, there is also digital content. The Viral Fever (TVF), an online YouTube channel, produces the hugely popular webseries “ImMATURE”. Considered one of the Top 10 digital series globally, “ImMATURE” was the only Indian selection at the recent Cannes International Series Festival. Rahul Sarangi, Global Head of Business & Content at TVF, says that to make content stick, writing is especially important. “ImMATURE” celebrates “the regular Joe” and appeals to a wide audience. “Screen Stars” by Greymatter Entertainment is another digital offering, which provides a social media platform for great street performers to showcase their talent.


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06 Dec 18 DAY 2

CONFERENCE The Road Ahead The format business is something that has become more important for us, says Richard Samuels, Executive Vice President (APAC), Twentieth Century Fox Television Distribution, as it plays an increasing role in their overall business with their Asian clients. They have ramped up their efforts over the last twelve months in this space, as compared to before. He also talks about how they plan to do “How I Met Your Mother” in China and “Last Man Standing” in Vietnam and India. A huge strategic initiative that Warner Bros is taking is the move into local productions, both scripted and unscripted, says Senior Vice President & General Manager Malcolm Smith. They are currently producing in Korea, Japan, New Zealand and Australia. Like Fox and other studios, they have also sold and licensed formats in most territories across Asia.

Malcolm Smith of Warner Bros and Richard Samuels of Twentieth Century Fox. Two heavyweights weigh in

The Battle Between Digital and Traditional Media Studios have to reconsider their future and reinvent themselves, says Sunder Aaron, Co-Owner & Partner, Q India & Locomotive Global Inc./Locomotive Films India. He moderates a panel discussing the clash between digital media companies and traditional media players. Malcolm Smith, Senior Vice President & General Manager, Warner Bros notes that there’s a definite blurring between traditional and digital media companies – but it depends on perspective and definition. Traditional media is moving into digital media and evolving. Richard Samuels, Executive Vice President (APAC), Twentieth Century Fox Television Distribution, emphatically agrees that traditional media has to evolve. There is a recognition that the existing business model cannot continue unfettered. Hence traditional media companies are now investing in content and UI for their digital services. This buttresses their more traditional free-to-air services and allows a greater set of contact points with their consumers. It’s now a battle of established players versus disruptors, says Malcolm,


rather than traditional media versus digital media. Key challenges for the established companies will include how to work with platforms and how they will evolve. Regardless of brand, Richard says, the linear component is just the front door to let viewers in to look at content, ondemand, in different ways. However, the MVPD must be able to support the on-demand component as the gateway to the content. He cautions that that is not the be-all and end-all of how content is consumed. Instead, it forms a starting point for consumers, after which they will enter an environment where the rest of the content opens up.

Studios have long been the principal player when it comes to media and entertainment around the world, while other local companies, producers and distributors are catching up. The entry of the FANG (Facebook, Amazon, Netflix and Google) players around the world has created a great dynamic energy that’s created a lot of change.” Sunder Aaron, CoOwner & Partner, Q India

The Netflix effect has also had an impact on OTT players in the region, says Sunder Aaron, Co-Owner & Partner, Q India & Locomotive Global Inc./Locomotive Films India. Richard observes that Netflix has become the gold standard for OTT players has to aspire to, in terms of interface and user recommendations. He also notes that Netflix has managed to maintain its value proposition, as it doesn’t believe in giving content away as a long-term strategy. Malcolm agrees with Richard’s observations, as Netflix has proven that the pay model is not dead – and has enhanced it in many markets.

Free-to-air content still provides the impetus to sell to ancillary markets, says Richard, because that content has recognition at that point, as demonstrated by the exhibition on linear channels. When it comes to the primary or highest rated content of free-to-air channels, regardless of whether it is in China, Japan or Australia, Malcolm states that local content is still king. Sunder Aaron of Q India shares his view on the future of OTT

06 Dec 18 DAY 2



The regional, if not global, charm of such storytelling is what Debkumar hopes to maintain. “While, our content is symbolic of the core culture and diversity of India, our approach has always been global. “’Indian-ness’ appeals magnificently across Southeast Asia and we seek to captivate audiences from all walks of life, in India and overseas by our compelling storytelling. “India and the countries of Southeast Asia share a lot of cultural similarities,” said Debkumar, a declaration now exceedingly reiterated by a slew of content strategists as India wakes to the booming call of content cravings of its people. “Like Indians, the people of SE Asia value familial system, respect traditions, and revolve their lives around their families/kids. SE Asia like Indians have a strong sense of community pride and believe in celebrating festivals and occasions together as a family and community.

Debkumar Dasgupta Senior Vice President International Business & Syndication Viacom18 / Indiacast

Viacom18/Indiacast has made inroads in the Southeast Asian market and at ATF this year, the company is now exploring business in new territories across the continent. “We are looking at introducing our series in China, Philippines and Japan,” said Debkumar Dasgupta, Senior Vice President – International Business & Syndication at Viacom18 / Indiacast. As it is, the company’s drama series have proven to be exceptionally successful in every market that they have licensed to especially in Southeast Asia, MENAP / African nations,

across the CEE, the CIS countries and the Americas. As well, a couple of their series, such as Balika Vadhu (The Young Bride) and Uttaran (Second hand) have been syndicated in over 30 languages across 35 countries. This year, Viacom18 / Indiacast lands in Singapore with a slate that brings unique stories of love, relationships, drama and mystery. It includes a saga of love and revenge, a modern take on complexities of relationships, a romantic thriller mystery of their spouses’ betrayal and a magical animation series.

“Our shows capture the celebrations, the trials and tribulations and the joys of our culture really well and we are sure it would resonate well with the audiences in SE Asia,” Debkumar added. And with the diverse region comes varied needs. The company now caters to clients who are now seeking multiple rights along with FTA and pay TV, Everywhere, Catch Up, Digital, the list goes on. “The endeavour is also to tap into the VOD / OTT platforms that are as integral to the ecosystem as traditional TV,” Debkumar said. BOOTH #J19


Looking for New Areas of Content: More Kids, More Asian & Some Independent Films HOOQ Thailand has its own strategy as it serves a matured market of discerning consumers. The need to increase variety has seen documentaries do well on its platform, apart from feature films and drama series. As well, while Korean is a given Kookie Tantacha, Content Manager at HOOQ Thailand is up for 40

Kookie Tantacha Content Manager HOOQ Thailand

considering Chinese and/or Japanese in the mix. Naturally, as HOOQ goes, co-production is definitely part of the strategy. “2019 is set towards HOOQ Originals and we will meet some of Asian film or series,” said Kookie, some people about this in ATF,” Kookie offered. seeing how the most successful Asian content has been Japanese Anime. From outside of Asia, “We are looking for more interesting content, programs that do well in Thailand for HOOQ includes Superhero or Action & Adventures. mostly the focus will be on kids & anime, and


TURKISH TRIUMPH TELLS OF TANTALIZING TALES MISTCO, appointed as an exclusive sales agent by Turkish Radio and Television Corporation (TRT) for selected TV series, mini-series and movies from its library, returns to ATF with a new slate of offerings from drama to animation. Among the latest, MISTCO is most proud of Hold My Hand, a drama series that adopts both a romantic and tragic main story. “The success it reached in Turkey is reflected globally and the series is receiving great interest from all around the world,” said Aysegul Tuzun, Vice President of Sales and Marketing at MISTCO. In fact, right after the launch of the show, the company closed nearly 10 deals, including territories in Croatia, Georgia, Bosnia, Montenegro, Kazakhstan, and Albania. Within the massive domain of Asia, MISTCO has had success in China, currently the top region for them. “We licensed 3 of our successful animation series for kids to China. All 3 of them are pre-school titles namely Little

Lamb, Pepee and Ege and Gaga. One of these sales was for a VOD platform and the other for Linear TV. And we are aiming at expanding our penetration in APAC this year at ATF,” continued Aysegul, who is not sold on distractions and trend in marketing.

And this focus is indeed why MISTCO has been closing deals. “2018 has been very fruitful year for us. We are starting 2019 the same way,” Aysegul concluded.

In the end, it is about the content itself. “As long as the content on the table doesn’t appeal to the buyers, they won’t be interested.”


New from MISTCO DRAMA • Hold My Hand: The number 1 TV show on Sunday nights in all target groups. • Two Parts One Love: Proven to be one of the best family drama series with its ratings results so far

KIDS • Momo: A hit on TRT Cocuk (TRT’s kids’ channel) • Aslan: To be launched for pre-schoolers

SUPER SERIES PAVES WIDER PATHS FOR TURKISH TALES The Turkish TV drama wave that hit Asia more than a year ago has confirmed the region as a profitable market to be at for Turkish content sellers. Newly founded in 2018 and first time exhibitor at ATF 2018, Madd Entertainment aims to be a one-stop-shop for international content buyers for the best Turkish drama series and content rights, and Asia has become the next territory on their invasion map.

We will expand our catalog with fresh productions, which will be on air in early 2019. We are aiming to increase worldwide penetration of Turkish dramas by entering new markets and create sustainable demand for our content. – Deniz Cantutan Sales Manager of Madd Entertainment

“In our current offering, we do have Turkish dramas and also the so-called Super Series. Our premium Turkish dramas has proven success in the previous years,” said Deniz Cantutan, Sales Manager of Madd Entertainment. “We distribute the titles which are produced by Medyapım and Ay Yapım – those are biggest production houses in Turkey and their titles have already travelled around the world. “Over the years, the variety of audiences have been expanding, along with the many ways of accessing content; wherever you are, whenever you want. Therefore, short stories are easier to follow. Super Series are more edgy and modern

stories, which targets the younger audience,” Deniz explained. Since both linear and non-linear content platforms show interest in Turkish dramas, Madd Entertainment will target digital platforms where internet penetration and video on demand consumption is high, but as traditional TV viewing will never end, the company has no intentions of slowing down their FTA and Pay TV channel efforts. But Asia is not a piece of cake to penetrate or dominate. Madd Entertainment understands the challenges. “Every country is unique with its own culture, TV watching habits and macroeconomic factors,” observed Deniz. “Additionally, TV regulation differs in many countries. Therefore, it is necessary to have customized strategies for all markets on two fronts: one is content – which drama to place; and the other is a windowing strategy – it is important to find the right platform, as well as the right timing for each title.” BOOTH #F12

06 Dec 18 DAY 2


WHY YOU NEED CAKE “We are currently working with Guangdong Huawen Century Animation (China) and Pukeko Pictures (New Zealand) on the brand new animated series Kiddets, the muchanticipated sister series to the globally successful WotWots franchise,” added Julien. Of course, what many remember is Pablo, the first series to feature an autistic central character and written and voiced by autistic talent. CAKE is excited to launch series 2 at ATF. Julien Farçat Sales Manager CAKE

It’s been heartening to see such real progress taking place in Asia in terms of commissioning or co-productions that has some Asian spice in the mix. For Cake, an independent entertainment company specialising in the production, distribution, development, financing and brand development of kids’ and family properties, the dream has become a promise. Asia has always been an important market for CAKE. In the last year, the company made strategic partnerships particularly in China

with SVOD platform Tencent, where they sold over 250 episodes of preschool content. The uptick continues with Shanghai Senyu and Mango TV, in addition to signing a volume deal in Korea with pay TV channel C&J ENM. Further, CAKE is also closing deals in Thailand with True Corp and Mediacorp in Singapore. “We hope to continue to build on these partnerships, as well as expanding our collaborations and forging new relationships in the region in the future,” said Julien Farçat, Sales Manager at CAKE.

“It has been a great pleasure and privilege to work with Paper Owl Films on Pablo, which has resonated all over the world and airs on key channels including CBeebies (UK) and RTE (Ireland) who commissioned the series, as well as Universal Kids (US), CBC (Canada), Majid TV (Middle East) and Nat Geo Kids (Latin America), who really got behind the show with extensive marketing campaigns in conjunction with World Autism month in April. “While Pablo builds awareness of autism and encourages understanding, Pablo works because, above all, it is an entertaining show which has been beautifully, imaginatively and sensitively produced.” BOOTH #F32

TURN UP THE VOLUME: HERE TO BRING THE PARTY “It’s great to see local broadcasters commissioning more and more local and regional content (in APAC). As this production ramps up, there’s more opportunity for music placements, so I see Audio Network in a strong position for growth within the region,” said Jess Ossington, General Manager (APAC) of Audio Network. Having only launched their business in Asia Pacific in July 2017, the company has been delighted by the positive response they saw at the ATF conference last year. “2017 was an opportunity to introduce Audio Network to the region, and we met such a broad range of talented content creators. This year, we have increased our presence.” The rise of video as a medium in general also presents endless opportunities for Audio Network to collaborate with both traditional and non-traditional content creators across the region. 42

“We initially found success in Singapore and Hong Kong, but as our presence has grown in the region, we’ve started working with an increasing number of producers in Malaysia, Thailand, Taiwan, China, Vietnam and the Philippines,” prided Jess. This year also saw the launch of Audio Network Japan. Audio Network provides and owns all the rights to a well-curated catalogue of world-class music, making it very easy to license music for international and multi-platform distribution. The company is also delivering a selection of their artist releases to music streaming services, thus seeing an increasingly number of people in APAC discovering and enjoying music from Audio Network’s catalogue in the same places they discover and listen to other music they love. BOOTH #C20

Jess Ossington General Manager (APAC) Audio Network Audio Network supports content creators, filmmakers, broadcasters and music fans everywhere with easy licensing in one place. From Hollywood to YouTube, Audio Network helps tell some of the world’s most iconic stories. Discover our worldclass catalogue of 150 000 original, high quality tracks spanning every genre and mood, and start telling yours.

06 Dec 18 DAY 2


KOREAN-TURKISH TREND: A MATCH MADE IN TV HEAVEN As every producer would say, the main target for remakes is always the local audience. They want to produce something that local audiences will watch and be able to relate to. International audiences take a back seat because if the producers can’t make the local version a success in their own backyard, it will be difficult to do so outside their home territory.

Nixon Lim (林世顺) Head of APAC (亚太区主管) Eccho Rights

In light of new launches post MIPCOM, Nixon Lim (林世顺), Head of APAC (亚太区 主管) for Eccho Rights is excited to see how new strategies will stick – as far as alreadysuccessful remakes go – especially in markets that may not always work with an original series. With the trending Korean originals remade with Turkish flavours, Nixon knows full well that Turkish dramas cater to a different audience, so having a Korean drama with Turkish faces can now travel to places where Turkish is popular but Korean isn’t. But such remakes are not new. Turkey has already done a remake of a Korean series two year ago called Winter Sun (from KBS’ Resurrection), and another one last year called Cennet (a remake of CJ ENM’s Tears of Heaven). So why the Korean-Turkish trend? “Koreans are known for high production quality and fantastic storytelling – same as the Turkish. While Korean ready-mades per se are not popular in Turkey, Korean stories told in the Turkish way can be quite relatable,” Nixon offered. And now, the demand for original content in India is skyrocketing with the emergence of new digital players. While India is known for being good storytellers, they now need outside reinforcements to help supply the demand surge.

And so Eccho Rights has found itself in an eye twinkle, having made all the right moves. With a huge foothold in both countries, being able to depend on their offices in Istanbul and Seoul to source good titles for India to remake, is already a victory. Onwards and up, with their new titles, Eccho Rights’ priority is to reach out to existing territories with established relationships and from there, the world. But there is the content evolution to consider. At the moment, Nixon has observed a race among the platforms to beef up their library with contents, original or syndicated. “Most of them are interested in only global broadcast rights. For producers, they are turning to these platforms because they think that producing a short original is more fun and less stressful versus producing for traditional broadcasters. “As well, more and more buyers are looking to include OTT and digital rights in their acquisition. And because competition for share of pocket and share of eyeballs are getting fiercer, broadcasters (traditional and non-traditional alike) are turning towards high production quality series to entice consumers to watch their platform/channel instead of their competitor’s. Yet, it is no secret that offering high production quality does not automatically mean viewership will be high or they will make money. “At the end of the day, people are still looking for good stories in a TV show; stories they can relate to; stories that is of interest to them,” Nixon concluded. BOOTH #L20



A Focus on Finding Premium Scripted, Factual and Entertainment Series from Around the World SBS Australia’s appetite for international content is as high as ever, with their focus remaining on finding premium scripted, factual and entertainment series from around the world that will resonate with Australian audience and fit within their charter as a multicultural broadcaster. “We’ve had previous success with a number of Asian entertainment formats including, If You Are The One and Vs Arashi, and continue to experiment and look for new opportunities to bring Asian television to Australian audiences,” said John Beomh, Channel Manager, SBS Viceland. Premium English language dramas such as The Handmaid’s Tale, Vikings, The Night Manager, War and Peace, Harlots and Counterpart have been successful, along with foreign language series such as The Bridge, Greyzone and The Bureau. Factual series exploring global topics such as Great Continental Railway Journeys, Britain’s Ancient Tracks and Sinkholes: Deadly Drops also attract strong audiences.

John Beomh Channel Manager SBS Australia

06 Dec 18 DAY 2



ANI (The Harvest)

Produced by Toni Zuniga and directed by Kim Zuniga, this project is a unique take on the coming-of-age genre through sci-fi and fantasy leanings that centres on the perceptions of a young boy living in a rural farming community struck by the effects of climate change. Set in a sci-fi depiction of a future Philippines at the crossroads of technological advancements and environmental decay, the film is an attempt to question the double-edged nature of development.

Bangsa Badjao

Roselle Monteverde of Regal Entertainment

As the Singapore Media Festival’s (SMF) country of focus this year, the Philippines has taken centre-stage at the region’s largest media event. With SMF’s industry and infrastructure focus taking shape this week with the start of the Leaders’ Summit, the Asia TV Forum, ScreenSingapore, we’ll take a closer look at the upcoming feature-length projects being pitched this year at the 4th edition of the Southeast Asian Film Financing (SAFF) Project Market and Conference, as well as the country’s recent successes through Southeast Asia’s largest film financing platform. The SAFF has been hitting its mark and growing year by year, with more than half of the selected projects being produced or finding financing partners towards a greenlit production. Last year’s edition was a big winner for Filipino projects as well, with 2 of the 3 Filipino projects winning awards at the SAFF Prize Ceremony and also being produced this year. The winner of last year’s Basecamp PostProduction Award was Kerwin Go’s MINAANUD, produced by prolific producer Bianca Balbuena and her husband Bradley Liew, an


Producer Micah Tadena

established director in his own right. The film is currently in post-production and found its studio backer, Regal Entertainment – one of the Philippines most successful production and distribution outfits – through meetings at SAFF last year. EERIE, which won the RED Camera package worth SG$20,000 is directed by one of the top rising directors in the region, Mikhail Red and produced by Micah Tadena and Star Cinema. The project found international producing partners Cre8 Productions at SAFF, who brought together distribution and financing for the project. The film had its world premiere at SMF’s Singapore International Film Festival this week, and Mikhail and Star Cinema’s Malou Santos will be speaking at the SAFF Conference on Dec 7 about how the film was packaged and put together for the international market. The panel will be joined by Regal Entertainment’s Roselle Monteverde. This year, the SAFF Project Market welcomes 5 new feature-length projects from the top and rising filmmaking talents in the Philippines.

Helmed and produced by Jessel Monteverde with co-producer Suzanne Richiardone, this suspenseful drama regards Maren, a young corporate lawyer, who discovers her Badjao heritage when learning of her estranged father’s death. Forced to settle her father’s affairs, she witnesses first-hand the struggles of living amongst a nomadic tribe of sea gypsies.


Directed by Gino Santos with producers Bianca Balbuena and Black Sheep’s Kris Gazmen, Comfort is a feminist fuelled action drama set in the Philippines during World War II, and focuses on one woman’s violent revenge against Japanese soldiers who abduct and rape comfort women.


Mel Allego writes and produces this multilayered political thriller set in Cebu during a lockdown during a terrorist attack, crosscutting between five characters caught in the crossfire between violent fundamentalism and invisible hands of power.

John Denver Trending

Produced by auteur Sheron Dayoc and helmed by Arden Rod Condez, this social satire is a cautionary tale about the dangers and influence of social media on young minds in the Philippines. Make your appointments with them at booth A18 from the 5th to the 6th December!

Catch the exciting panel, Genre & Artistry: A Spotlight on the Philippines on 07 Dec 2018 @10:30am


06 Dec 18 DAY 2

PRODUCTS BOB THE BUILDER - SEASON 3 Bob the Builder, along with associate Wendy, apprentice Leo and a team of anthropomorphized construction vehicles build and renovate a variety of buildings, bridges, canals and tunnels for Spring City and nearby Fixham Harbor. Conflicts arise when the overeager, sometimes competitive and occasionally naive vehicles get in over their heads, requiring Bob to step in and teach the team lessons about responsibility, teamwork, friendship and leadership, resulting in successful builds. EXHIBITOR: DHX MEDIA

THE WORST WITCH Mildred Hubble is a student at Cackle’s Academy for Witches, and is living every child’s dream – she’s learning how to do real magic! Every day, she gets to fly on a broomstick, mix potions and cast spells. But Mildred’s place in this world is always in jeopardy – not only is she the worst witch in school, she’s constantly doing battle with formidable Miss Hardbroom, snooty Ethel Hallow, and Miss Cackle’s evil twin sister, Agatha. Magical mayhem meets the everyday world of school life in a show which will resonate with every child who’s ever dreamed of being able to change the world by magic.

THE OFFICE UK A brilliant and cringe-worthy ‘mocusoap’ set in the heart of middle England. David Brent is a lower-middle-ranking manager in charge of a lower-middleranking office. His workplace is the antithesis of TV’s glossy law firms full of bright professionals. Instead of mutual respect and intelligent dialogue, David’s office is a place of backfiring practical jokes, failed flirting and bad showing off. EXHIBITOR: BBC WORLDWIDE


PORUS THE SMURFS AND THE MAGIC FLUTE – FEATURE FILM • 1 x 70 min (1975) • 2D animation in UHD restored from the original films • Dubbed in over 20 languages • Target: Kids and family A magic flute has disappeared from the Smurf village and found its way into the hands of the knight Johan and his companion Peewit. But disaster strikes when the villain Oilycreep gets his hands on the flute and starts using it to carry out his dirty deeds. Will the Smurfs save the day? EXHIBITOR: I.M.P.S

Porus, the son of the King Bamini of Panchanad, a small province which flourished on trade, grew up against his father’s ideology, believing in one nation called India. At the end, when his best allies betray him, bowing down to the mighty Alexander, Porus, with a handful of people, fought Alexander and saved his country. The series depicts Porus and Alexander’s journey from birth till the epic battle, and how their lives were somehow connected.

LET’S GET WET A water challenge game show, that’ll make you want to jump out of your seat at home and join in.The game starts with 50 people, all aiming to get a flag in an artificial Wave Pool. They have to face tricky pool challenges and several bouncers whose job is to stop you from getting to the next level. At the Final Stage, there’ll be 7 ultimate Water Obstacles made of super slippery floating balloons that stand between you and your grand cash prize. EXHIBITOR: MNC CONTENTS

EXATHLON A sports-reality format where two teams of physically fit and sportive contestants, including Olympic athletes, football players and/or celebrities with sporting skills, compete at specially-built challenge locations. Contestants compete in highly challenging parkours to be the champion of Exathlon. EXHIBITOR: INTER MEDYA LTD.



Best International Drama at TOKYO DRAMA AWARDS 2018

06 Dec 18 DAY 2

PRODUCTS KCTV MULTICULTURAL SITCOM ‘HAIPHONG FAMILIES’ Empathize and laugh along with multicultural families as they overcome cultural conflicts, prejudices and discriminatory treatment in Korea. EXHIBITOR: KCTV

SCHUBERT 10x48’, 2018 This is the story of a modern superhero who has a unique hearing gift and solves the most mysterious crimes. Driven by encoded messages from his murdered wife, the young man has to detangle one planned crime after another. Will he avenge his wife’s death and dismantle the terrorist plots without being killed?.

TAMA AND FRIENDS This story follows the daily lives of a cat named Tama and his cat and dog friends. As their curiosity gets the best of them, they learn enduring values of friendship and teamwork. From their daily discoveries, Tama, Pochi, Tora, Momo and co share the fun-filled adventures that impart important social values. The animation series were broadcasted in 27 networks nation wide, through the popular broadcasting networks, MBS and TBS. In 1994, “Tama and Friends” was awarded the “Best Picture Award for Children’s Show” from the Japanese Ministry of Culture. EXHIBITOR: SONY CREATIVE PRODUCTS


ALADDIN- NAAM TOH SUNA HOGA Aladdin - Naam Toh Suna Hoga is inspired by the book, The Arabian Nights. An age-old tale of a young boy and his struggles around family and love. On his adventures, Aladdin retrieves the magical lamp which possesses a mysterious genie. Armed with the lamp and the genie by his side, Aladdin must overcome the devious plans of the Royal Wazir Zafar, and uncover a dark past, before becoming one with Princess Yasmine. EXHIBITOR: SONY INDIA

FAITH FIGHT NATIONAL KICKBOXING PROFESSIONAL LEAGUE Kickboxers compete for the Gold belt officially certified by the China Armed Forces Association through round robin matches. The League aspires to keep the original faith – uphold the core of the Chinese fighting spirit, spread positive energy, and present the most striking visual feast for domestic and international audience with 4K recording. EXHIBITOR: CHINA BROADCAST & TV CULTURE (QINGDAO) CO. LTD

THE HANDMAID’S TALE Based on Margaret Atwood’s classic novel, a young woman struggles to survive in a futuristic society where women are forced into surrogate motherhood. Featuring Elizabeth Moss, Yvonne Strahovski and Joseph Fiennes. EXHIBITOR: MGM INTERNATIONAL TELEVISION DISTRIBUTION

SQUAD GO WILD Three teens are sent to a scout camp. Located in the middle of nowhere, there’s no fast food, gadgets or Internet. The boys are longing to return to city life, but must first complete tasks given to them by the chief scout. Parents want them to be ready in case a global catastrophe happens. They try to learn new skills, but looks like they need to be saved from themselves. EXHIBITOR: AA STUDIO


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

06 Dec 18 DAY 2

PRODUCTS SILICON VALLEY: THE UNTOLD STORY Just south of San Francisco lies a region that has spawned not just new products, but whole new industries, from vacuum tubes to radio, microchips to personal computers, mobile devices, apps and social media. Home to Apple and Facebook, Intel and Google, there is simply no other place on earth that can rival its remarkable record of innovation. A new Science Channel 3-part doc series will provide a comprehensive look at the century-and-a-half history of this fascinating place, and reveal how and why it became such a fertile ground for technological breakthroughs. EXHIBITOR: DISCOVERY NETWORKS ASIA-PACIFIC

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.

SILSILA (UNFAITHFUL) Two best friends, one broken marriage, and a dangerously addictive affair! The show portrays the impact of an extra marital affair between a young, happily married man who is in a very happy relationship with his wife, yet falls in love with his wife’s erstwhile best friend whom they had given solace to while she was going through a bad marriage. Will friendship be forsaken for love? Will one woman’s happiness become another woman’s heartbreak? EXHIBITOR: VIACOM 18 MEDIA PVT LTD


NEW HORIZON This depicts a group of young people who dream of taking flight into the blue skies and the tests they encounter when it comes to friendship, romance and career. EXHIBITOR: FUTURE TV CO., LTD


MAD DOCTOR Running away from a dark past, Dr Liu works at a countryside hospital. She assumes the job would be nice and easy there, but instead, she witnesses and deals with various bizarre medical cases. EXHIBITOR: NEVERLAND ENTERTAINMENT LIMITED

ELEN’S DIARY The plot develops around four teens – Elen, Max, Levon and Sara. They study at the same school. Elen and Levon are newbies to the class. Elen was left alone after her father’s death. Now she is living in a place where no one likes her. Although Sara and Max have been dating for a very long time, things are changing with the arrival of Elen and Levon. Discover whether love and friendship are real or a mere illusion teens believed in. EXHIBITOR: SHANT TV


Kids/Animation | 52 X 30’ The Teenage Mutant Ninja Turtles are back as New York City’s heroes in a half-shell and this time, these ninjas-in-training master new weapons and powers, battle absurd mutants, and discover a hidden city beneath New York, all while always finding time for a slice of their favourite pizza. Cowabunga! (Nickelodeon). EXHIBITOR: VIACOM INTERNATIONAL STUDIO

Visit us at: Booth D19

Profile for Asia TV Forum & Market (ATF)

ATF 2018 - SHOW DAILY (DAY 2)  

ATF 2018 - SHOW DAILY (DAY 2)  

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