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Come visit the booth to meet these exhibitors and find out more about their showcase


Distinction through the roof at ATF Animation Pitch

Life and death in the world of media and entertainment

DAYLIGHT STUDIOS Find out more about the game, Holy Potatoes! A Spy Story?! and how game technologies are used to develop the game for multiple platforms.

TURNING JAPANESE Sushi, Cocktails and magic

CREADITS The world’s leading AI-powered marketplace for advertisers uses machine learning to develop and deliver the right ad to the right audience.




UNITY TECHNOLOGIES Discover the creative freedom and efficiency of a real-time workflow to CG content creators developing short, episodic, and feature-length stories. Watch some of the incredible art styles brought to life by its community.

WIKA MEDIA Enjoy movie and TV content anywhere in your own language with real-time language syncing technology.

IVIDEOSMART This embeddable video widget recommends the most relevant video content, powering over 210 million page views a month. IN SUPPORT OF




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04 MARKET 18 CONFERENCE 30 FEATURES 40 PRODUCTS Pressing all the right buttons: ATF 2018 takes the industry to the next level.



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

The ATF Formats Pitch 2018 gets its groove on: While this project didn’t win the prize, many thought they won in enthusiasm and gumption. 01

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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

Content investment in Asia Pacific continues to grow and is showing no signs of slowing down. The production of Korean dramas by foreign studios is picking up steam. With the rising success of local content in the region, it has become more critical to offer unique US-produced content. We are excited to strengthen our partnerships in the region as we continue to find creative solutions to the increasingly complex challenges.”

KOFIC’S LOCATION INCENTIVE STILL A HIT AT ATF As a specialised organisation entrusted by the Ministry of Culture, Sports and Tourism, the Korean Film Council (KOFIC) focuses on supporting film-related businesses. This is why KOFIC hopes to promote its Location Incentive for Foreign Audio-Visual Works to more foreign companies at ATF, as well as providing selected Korean companies with financial support to build their presence. “Since introducing the financial incentive, we’ve received an overwhelming response from foreign companies and are seeing the same trend again this year,” said Kim Hyejoo, Manager for the International Relations Office (Strategy & Planning Division) at KOFIC.

– Glen Hansen, Vice President, Content Sales, Asia Pacific, A+E Networks

SONY INDIA VENTURES INTO ASIA With a wider depth and range of shows this year, Sony Pictures Networks India (SPN) is looking to further its business and this includes engaging with Asia, one of the company’s most critical and profitable markets. SPN’s Head of Networks Licensing, Malvika Prabhu, says they see potential in many pockets in the region which have yet to be optimised.

A FIRST FOR GPM ETV This year marks the first time that Russia’s entertainment television market leader, GPM Entertainment is participating at ATF. “We’ve heard great things about ATF like how it’s a dynamic market and has been growing from year to year. Our meetings have been very productive and we hope to close some new deals at the end of the market,” remarked Natalia Loskunina, Head of Acquisitions & Sales. More interestingly, GPM Entertainment has set their sights on several markets namely China, Indonesia, Japan, the Philippines and Vietnam. All of whom have expressed keen interest in their comedy as well as mystery and thriller formats.


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MARKET GROWING INTEREST IN TURKISH CONTENT Ever since Turkish dramas and soap operas began making inroads into foreign television markets, Turkish content in general has been gaining momentum. According to Murat Yavan, Marketing Manager at Semerkand Production, close to 25% of movies produced are Turkish and one in four people consumes Turkish content.

SHANT TV EXPLORES THE MARKET Shant TV plans to sell more of its content to buyers at this year’s Asia TV Forum & Market (ATF). In previous years, the Armenian television broadcasting company had participated in the market exhibition as a visitor but decided to be on the selling side this year. This move was spurred by having more high quality content produced. This year’s highlight is the telenovela series “Elen’s Diary” which revolves around the story of four teenagers and their relationships. The show started airing in 2017 and is currently on its third season. The melodrama plot of this show has been well-received by the Armenian audience.

Aside from telenovalas, they also have “Outdance”, a sitcom about three students who are also flatmates. “On the Border” is based on real events and stories of army soldiers and officers on the border, while “Lost Dreams” follows the story of Levon and Sona who come from very different family backgrounds. Through ATF, they hope to understand what demands of the market are and this will help them plot what improvements need to be done to meet these demands and grow their business. Although their content are mostly telenovelas, Shant TV plans to expand their offerings to cater to the tastes of many.

There is a lot of talent in our region, and the world market is growing increasingly open to content of more diverse languages and genres. It is an opportune time for us to dare to dream bigger, and aim for the global market place.” – Chan Gin Kai, the Managing Partner & Executive Producer, Cre8

Changes in Turkey’s economic and political landscape has also propelled the country’s industry forward. “It appears that as we improve our global standing, more and more people are becoming curious as to what Turkey has got to offer in terms of culture and entertainment, and this has certainly been a huge benefit for us,” Murat added. Interestingly, Murat shared that Semerkand Production, a Turkish Islamic content producer, has seen increasing interest from Southeast Asian countries such as Brunei, Indonesia and Malaysia for rights to Islamic documentaries, dramas and kids’ shows.

The G.H.Y. Culture & Media Night 2018 was a resounding success echoing a prosperous market and pitch launch at ATF 2018. 06

Meanwhile, Goksu Akgun of Atlas Media believes that the Eastern and Western characteristics of Turkish content places them in a sweet spot, allowing them to cater to a wide target audience.


Feature Film



© & TM Green Gold


Booth # K 06 5-7 December 2018 sales@greengold.tv www.greengold.tv


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MARKET “KIKO” GOES GLOBAL MNC Group announced their collaboration with ZooMoo Networks to launch the award-winning children’s animated series, “Kiko”, on all of ZooMoo channels, including in the Latin American and Hispanic territories in the US. The two parties plan to start airing the show in 2019 via a three-year partnership deal, and have agreed to explore the possibility of co-producing additional seasons of “Kiko” in the coming years. “Kiko” currently has two seasons totalling 52 segments, each running 11 minutes. It tells the story of a fish-boy and his four best friends, living in the underwater valley, ‘Asri Town’. Apart from “Kiko”, MNC media is also producing two more animated series, “Titus” and “Dinda & Novi”. Both of which are currently in development. “Titus” is set in a Steampunk world with three ambitious young kid detectives attempting to unravel a mystery surrounding a strange technological device. When asked about their plans to distribute their content across Asia, Mrs Shierly Kosasih, Vice President of MNC Contents & Licensing, MNC Media, shared, “MNC Media is keen to expand across Asia since it is quite a big market. Through the closeness in terms of culture, we hope it would be easier to distribute content that resonates well with everyone.”

KOREAN ANIMATION FOR ALL AGES LIFE OF EARTH FROM SPACE Zee Entertainment brings us the new factual documentary “The Life of Earth from Space”. The feature-length documentary has been commissioned by Zee Entertainment and Smithsonian Channel, and produced by awardwinning producer Talesmith. With two episodes running 60 minutes each, it utilises the latest technologies including 4k cinematography, 3D datamapping and world-class CGI views from the International Space Station. 08

The documentary follows the Earth’s journey from its inception to present day. Other highlights from Zee Entertainment this year include family drama “The Relationship Conundrum”, “Cosmic Connection”, and romance drama “Love - Oh My God”. With award-winning programmes in every genre including drama, adventure, travel, kids and fitness, Zee continues to be a major programming force in the market.

Animated Korean content is growing rapidly. Under the Korean Pavilion led by the Seoul Business Agency, 14 Korean animation companies are hoping to gain a bigger foothold with the rise and growth of OTT and online platforms. The significance of these platforms can be seen in Smart Study’s “Baby Shark” which has taken the world by storm since going viral on YouTube . Aside from content targeted at young kids, more Korean animation companies are targeting pre-teens and teenagers. SS Animent’s adaptation of webtoon thriller “Beauty Water” tells the story of the miraculous Beauty Water which is applied to the skin and allows the person to sculpt their appearance.



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MARKET RAJSHRI GOES ANIMATED Known primarily for critically acclaimed Bollywood Hindi films, Rajshri has ventured into other genres to attract more buyers in Southeast Asia. Their animated educational series for young children, “The Dr. Binocs Show” started airing in 2015 and currently airs across the globe including in Russia and South Korea. Rajshri also produces lifestyle content such as “Curries and Stories”, a cooking show that focuses on Indian fusion cuisine.

STAR INDIA RETURNS YET AGAIN As India’s leading broadcaster, Star India prides itself as the nation’s storyteller. Its outstanding line-up includes a mix of contemporary narratives and costumed dramas that cut across boundaries and resonate with audiences worldwide.

To mark its fifth year at ATF, Star India brings with it a new catalogue of formats and finished shows to provide viewers the opportunity to experience India’s stories and emotions, but in their local context.

Among its highly anticipated dramas are “Kasauti Zindagi Kay”, “Kullfi Kumar Baajewala”, “Nazar” and “Karansangini”. “Star India’s content always sets new benchmarks in terms of both storytelling and production,” remarked Gurjeev Singh Kapoor, President & Head, Distribution, India & International Business. He added that Star India has received increasing requests from international markets to procure remake rights for its shows.

EDUCATION THROUGH ANIMATION A first time participating exhibitor this year, Sony Creative Products (SCP) recognises there’s room to grow together within the Asian region. Mr Takeshi Nakamura, Licensing Manager, Sony Creative Products says, they plan to increase their existence in the content industry by producing high quality animations that fits with different target audiences, from preschoolers to young adults. SCP gears their kids content to have a more educational approach and be the top preference of parents. One of their highlights, “Mofy”, is a stop motion animation that is a journey through feelings and emotions. It teaches that dealing and understanding emotions is the premise for personal growth and having a positive attitude towards other people. 12


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SHOWCASING JAPAN The Sushi and Cocktail Party at the Japan Pavilion started off with magic show to showcase the colourful and dynamic Japanese culture. Mr Shigeo Okamoto, Director for Global Promotion of Broadcasting Program from MIC welcomed the guests who attended the event. When asked about the significance of the hosting this party, Mr Okamoto remarked, “We hope to raise more awareness about what Japan has to offer - from tourism, culture, events and broadcasting content. People from different nations are here so it is a good platform to network with them and exchange ideas.”

TRENDS THROUGH CONVERSATION 108 Media’s Managing Director Ryo Ebe shared that it’s not enough to provide consumers with access to good entertainment. Instead, today’s generation of consumers need to be able to experience entertainment at various touch points including on social media platforms. Ryo added that they believe strongly in creating trends through communication, and this is done by suggesting interesting and relevant content to its consumers and providing them with topics they can leverage to create buzz.

TELEVISA STRIKES BACK Mexican multimedia company Televisa Internacional comes back for the Asia TV Forum & Market (ATF) this year with “Sin miedo a la verdad”, a drama which premiered earlier this year and has a second season scheduled for 2019. Televisa is evolving with new and diverse content offerings, characterised by innovative and dynamic formats, and a multiplatform approach. 14

the global independent film distribution landscape to continue to swiftly change. With no shortage of content being created, and more distribution windows and platforms coming online, it will be increasingly difficulty for audiences to locate the content they are looking for. The same is true for content trying to find its audience. With robust supply and low barriers to entry on the demand side, it has become more challenging to significantly monetize content.” – Didi Mukti, President Director/CEO of MOX Digital Indonesia

Following a 1-minute video workshop by Nas Daily on building digital audiences, digital storytelling for online platforms, and how audience response can shape content, the Infocomm Media Development Authority (IMDA) was inspired to create a 6-Second Cinema competition on social media to encourage participants to submit video entries based on the theme “More Reasons to Smile”. The competition, which was organised in partnership with IMPixel, saw participants submit original 6-second long videos that tell a story. But why only 6 seconds? It appears that research has shown that people generally have short attention spans and tend to move on to something else if their attention is not captured within the first six seconds. At the Singapore Pavilion’s “Singapore Hour” event yesterday, the top four winning entries from the competition were announced. Entries were judged based on the following criteria: entertainment value, storyline as well as relevance to the theme. Associate Director Man Shu Sum from the School of Communications at Hong Kong Baptist University was invited to present winners with their prizes. Coming in first was Yuki Ng. Her entry “Grateful” was inspired by her friend’s battle with cancer. Followed by Louis Fong’s creative take on “How 2 Strangers Became Friends”, and “Dare to Dream” by Lee Yun Cong.


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MARKET JAPAN’S STATIONS SHINE With Japan’s diverse regions and cultures, local stations present unique programs that carry a distinct “local insider” flavour across a wide variety of genres including nature, drama, lifestyle, food, tourism and animation. Mr Okamoto, the Director for Global Promotion of Broadcasting Program from MIC said, “This networking lunch at ATF is designed to help our local stations step into the limelight and meet with influential buyers from across Asia”. Spruce Leong from Toggle of Mediacorp was pleased to have attended and remarked that he met

several local stations that they normally might not have met. “If we hadn’t come, we may never have met. This has been a great opportunity for us to learn what can work for both Toggle and the local stations,” he remarks after a chat with Okayama Broadcasting. Squeezing 15 productive meetings in slightly over 90 minutes Atsuko Church of Goolight Co Ltd was extremely happy at how productive the lunch had been. “The buyers who came were all interested in Japanese content and we were able to feature our documentaries to buyers from many countries,” said a beaming Atsuko.

This launch is a significant leap forward aligning technology development to our vision of democratising entertainment for the mass market. Our new mobile web app will deliver great experiences for any device in any connectivity. This is enormously valuable to customers in emerging markets which are mobilefirst, but can face challenges when it comes to consistent and reliable internet access.” – Andy Paterson, iflix Vice President of Product, on the launch of its Progressive Web Application (PWA), a pure web app with a native like experience for Android mobile devices

FRESH CONTENT FOR FILIPINO VIEWERS There is no doubt TV remains king in the Philippines. As Filipinos enjoy having a good time more than anything, they generally gravitate towards love stories and family dramas, especially those with happy endings. This is why Jose Mari R. Abacan, First Vice President of the Programme Management Department at GMA Network felt it was necessary for leading TV network to continuously uncover what’s available on the market for its viewers. Jose shared that in addition to popular Korean content, dramas from Thailand and Turkey are also making waves and generating tremendous hype in the country.




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CONFERENCE Winning Formats Currently Trending in Asia A common theme overarching many exciting formats is collaboration. Keri Lewis Brown, Founder and CEO of K7 Media, notes that “the relationship between East and West is getting stronger”, citing “The Masked Singer”, a format from MBC picked up by Fox. She also points out the maturity of many partnerships like SBS Korea and Banijay Group, who produced “Fan Wars”. Keri has also noticed an increasing trend in formats where celebrities have access to their fans and the public, which can be attributed to social media. Another winning and enduring format is talent shows. Talent shows translate particularly well to SVOD, as they are able to create “a conversation in real time, about the show, and producers can respond through ‘social listening’, where comments are closely monitored and fed back to the show,” Keri explains. She cites two shows from China: “Super Vocal” (Hunan TV), and “Sing Out” (Youku). In “Super Vocal”, 36 male vocalists compete to end up

Collaborate and listen. Keri Lewis Brown of K7 Media speaks of the current trends in Asia

in the final six. With no elimination, the show feels contemporary and refreshing, and allows the audience to get to know the contestants throughout the series. Dating is another huge genre, and the current focus is on more authentic dating. Examples include “Taste of Love” (TV Chosun), and “Skulls and Roses” (Amazon Prime India). Food and travel remain popular themes as well, and one

Bridging the Formats Gap Between East and West - It’s All About the Relationships Major players from around the globe discuss the localisation of formats in a conference moderated by George Levendis, Chief Operations Officer, Acun Medya Global. Having turned 30 international formats into Korean shows, Hwang Jin-woo, Director of Content, Media Solution /U (Global Business Division), CJ ENM says that there is more to localisation than content and format. It is about creativity and competency, which must be earned.

Michael Peter Schmidt, Chief Creative Officer, Red Arrow Studios. But what he has learnt is that you need to peel away the cultural imprint and get down to the mechanism of the format. Once you have found what makes the format relevant, you can wrap the cultural layer around it. Generally speaking, broadcasters are renewing tried-and-tested formats,

The international relationship is important, as are the benefits it brings to both parties. It all boils down to the trust and the relationship that the two parties have. It doesn’t just happen in one day. So you need to respect the other company’s country and culture. Don’t give up on your format if you think the idea is great – it took a couple of years for “Dragon’s Den” to happen.” – Fusako Nagashima, Head of Format, Nippon TV

format that combines the two is “Hog” (Pilot and Victor Tango Entertainment). Keri suggests that tourism boards might be a source of potential funding, as countries are often keen to promote themselves. Finally, children on screen is always a popular format, as audiences love ‘kids unfiltered’. Two fun series are “Little Presenter” (Fuji and Freemantle) and “Children’s Talk Show” (Mango TV). “If 2018 was ‘authentic’, 2019 would be ‘heartwarming’,” Keri concludes.

and not necessarily buying that many new shows, says Pascal Dalton, VP Global Formats Sales, ITV Studios Global Entertainment as he addresses the state of the industry. He adds that despite buzz in the industry that linear is dead and digital is growing, there are still examples of growth. He speaks about how dating reality show “Love Island” grew linear audience four times and created a 60% subscriber uptake on their SVOD platform.

Fusako Nagashima, Head of Format, Nippon TV speaks about the success of the business reality show “Dragon’s Den”. When It first aired in Japan in 2001, it was not even a primetime show, but when BBC adapted it in 2005, they added a business negotiation feel to it, and eventually each territory localised it to fit their audience’s tastes. When it comes to taste and cultural products, there is no a huge difference between the West and Asia, says 18

We’re all friends here at the panel to discuss bridging the formate gap. (L-R) George Levendis of Acun Medya Global (Moderator), Pascal Dalton of ITV Studios, Fusako Nagashima of Nippon TV, Michael Peter Schmidt of Red Arrow Studios and Hwang Jin-woo of CJ ENM


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CONFERENCE Judges Spoilt for Choice at the Third ATF Formats Pitch More time for deliberation was required thanks to the quality of the entries this year. Not only was there a winner, but the judges decided to confer an honourable mention award to one of the participants. Korea’s Cenmedia presents “$10 to Chef”, a competitive cooking show where contestants must cook a breakfast, lunch and dinner – on a budget of just $10 for all three meals. The first entry from Malaysia is Wildsnapper TV Sdn Bhd’s “Dare”, a game show with a home audience participation element. It revolves around a futuristic vehicle, the Dare Truck, which will transform into the gaming platform for each setting. The second is the brainchild of Doghouse 73 Pictures, “Battle to the Dead”. It’s a zombie-themed survival game show which pits teams of two influencers against each other as they race to defeat zombies and their opponents. Honourable mention goes to Hunan TV’s “Post Box of Miracles”. The Chinese reality show sees young children listening to the unfulfilled

Let’s hear it for phoSumpro who were the winning entry at this year’s ATF Formats Pitch

dreams of seniors and co-operating to grant those wishes.

crushes through different types of performance art.

The winning prize of SGD $5,000 went to Malaysia’s “Serenade”. Created by phoSumpro, the studio-based variety show which sees fans competing to win the hearts of their celebrity

One of the judges, Sabrina Duguet, EVP Asia Pacific, all3media International remarked that all five finalists have on-air worthy ideas.

“Cootie Academy” is Floating World Animation’s offering. Based on a popular comic in China, it follows the adventures of ragtag group of mismatched bug friends as they go to school. Turkey’s Anima Istanbul has “Robot Mobot”, which features the adventures of the eponymous robot and the family that owns it. It integrates a strong coding element, which allows for children to code as the show progresses. “Galli Leo Lei” a story about 3 small mice takes home the big prize

42 New Ideas at ATF Animation Pitch 2018 The ATF Animation Pitch goes into its second year with a “bumper crop of 42 entries”, says Rajiv Chilaka, Founder & CEO, Green Gold Animation Pvt Ltd, one of the four judges of the pitch. It was difficult to whittle down the entries to five finalists. What stands out in the pitches for judge Vijay Subramaniam, Head of Content, Amazon Prime Videos is the marrying of traditional ideas with questions on everyone’s mind today. Yoshiya Ayugal, Manager of Kids.& Family Content 22

(APAC), Netflix, really likes how the Asian culture comes forth in these ideas, as well as the relatable and universal characters he sees. For some of the pitches, the concept and premise were lofty and very much epic, says Leslie Lee, Executive Director of Media Networks, Disney Southeast Asia. “Jack of All Trades” by Cirkus of New Zealand is a comedy that centres around a former clown who takes on many different jobs, such as an astronaut, carpenter and butcher.

OTT has changed the way kids view content. Kids today are looking towards OTT platforms to view their favourite content, because they’re looking at watching it at their own time. They are no longer worried about missing their favourite shows.” – Rajiv Chilaka, Founder & CEO, Green Gold Animation Pvt Ltd

Singapore’s very own Infinite Studios has come up with “10 United”, based on the classic Chinese legend “Ten Brothers”, a story about ten siblings with superpowers. It aims to kickstart the series with an animated feature about three of the characters, before moving on to expand on the story about the other seven. Clinching the top prize and taking home the USD $2,500 prize is “Galli Leo Lei”. The title is a combination of the names of the three principal characters in the series. The show is about three mice who always ask questions and learn to solve problems through the power of Science. The Indonesian series is created by Kumata Animation Studio.


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CONFERENCE Willingness to Invest, but a Word of Caution English used to be the only lucrative language for content – but that has changed, says Alon Shrutzman, CEO, Keshet International. You see more and more big platforms commissioning and buying shows that are not in English. To give an example, they are currently making a show in Hebrew for HBO. Alon discusses what investors want at a panel along with Justin Deimen, Managing Partner, Aurora Global Media Capital and Simon Nichols, Managing Director, ai love. The panel is moderated by Ingrid Silver, Partner, Reed Smith Global Entertainment & Media Group. We used to say comedy is big business, but not anymore. There is a much bigger appetite for big shows says Alon. You don’t need to have a very specific American drama with a particular narrative anymore. Platforms are looking for massive commissioning opportunities – and it’s become a commodity. For Simon, he’s not just about the money – but the creative development business. They’re about empowering storytellers and founders, so what they’re looking for are passionate founders and content creators who understand stories. All stories are global stories, he says, and we’re not restricted

to one channel any more – because it’s online, it can go anywhere in the world. Alon agrees, saying that when it comes to content the world is supposed to be global, but it’s actually the opposite. We talk about globalisation and the disappearance of borders, but when it comes to content, it’s very local. He talks about how he can sell a Turkey show in India, but up till a few months ago, gay relations were forbidden in India. However, it has been legal in Turkey since 1858. On the funding front, Justin explains that the selection process is not just about money. His honest opinion is that money is everywhere. Where he comes into play is the value-add aspect and he looks at whether the content works for different regions.

Caroline Cochaux of Lagardère Active TV, Leslie Lee of Disney, Takehiko Ohya of Sony and Avril Blondelot of Eurodata TV (Moderator) come together for the next generation

But how should those who are first starting out go about submitting an idea to buyers? Justin shares some valuable advice. The first step is to partner with a producer and share resources and IP. The producers will have the means to get you through the door, then you can build on that. To cap off the exciting discussion, all three panelists agree about the importance of diversity.

Creating Content for Kids Educational content that teaches social values such as responsibility and family values is popular. Caroline Cochaux, Managing Director, Lagardère Active TV, points out that educational content works because it supports everyday life, in moulding future responsible citizens. Leslie Lee, Executive Director of Media Networks, Disney Southeast Asia, adds that Disney has a social responsibility “to be a safe place for the kids and a brand that parents trust”, and that it is important to protect their brand name equity. Takehiko Ohya, Licensing Manager, Sony Creative Products, notes that when conveying educational content, it is important to consider sociocultural aspects. He cites the example of how Sony adapted “Mofy”, which was initially targeted to an adult audience in Japan, for the international young audience. Takehiko advises, “It’s the parents you have to reach out to.” Caroline adds that children must have fun as they learn.

Money men weigh in on investing in content today. (L-R) Simon Nichols of ai love, Justin Deimen of Aurora Global, Alon Shtruzman of Keshet International and Ingrid Silver of Reed Smith Global (Moderator) 24

Leslie also talks about the importance of local representation in educational content, which is important for authenticity, empowerment and diversity. Finally, Takehiko reminds the audience that despite the rising popularity of digital platforms, it is a label of trust for a format to be on linear programming, a factor that is important in parents’ decisions on education content.


The only KIDS channel to present 100% INDIAN content

• S1: 52 eps (11min. each ep) • S2: 52 eps (11min. each ep) • S3: 52 eps (11min. each ep) ( Under Production )

• S1: 52 eps (11min. each ep) • S2: 52 eps (11min. each ep) • S3:52 eps (11min. each ep) ( Under Production )

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• S1: 52 eps (11min. each ep) • S2: 52 eps (11min. each ep) ( Under Production )


49 min.

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For Licensing queries please contact: Ms. Malvika Prabhu +91 9820644450 / Malvika.prabhu@setindia.com

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© 2018. All rights owned by Sony Pictures Networks India Private Limited

• S1: 13 eps (22 min. each ep) • S2: 26 eps (22 min. each ep) ( Under Production )

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iflix man of the hour: Craig explores the death of legacy-structured relationships, exploring new paradigms in a consumer-driven world

Beware the Temptation of Legacy Revenue To succeed in the markets we’re currently in, you can’t just plant a preexisting business model in emerging marketplaces like Indonesia, Malaysia, Thailand, Bangladesh, Pakistan and other countries. You just have to adapt, and the organisation must be completely open to reinventing itself. Part of that idea of innovation does mean that you have to take these ideas and run part of it, and give it a good shot. Then adapt again and adapt again.”

Piracy is the common enemy. In a keynote address by Craig Galvin, Chief Content Officer, iflix, he says that piracy is not only his enemy, but his content partners’ enemy as well. To win against piracy, one needs to understand the audience – and that the viewer is the one in control.

– Craig Galvin, Chief Content Officer, iflix

Craig shares that exclusive content is the key driver to acquiring customers. It performing six times more efficiently

than Western content and it has ten times the retention rate. Their assumption is that since recent Western content has already been viewed on piracy platforms, it therefore doesn’t drive new users.

He cautions against the temptation of relying on legacy revenue and cites His audience is millennial skewed, with newspapers as the perfect example. 80% between 18 to 35 years old. For They may face similar challenges, but them, the term “cord cutters” does not fortunately they can look towards apply, as they have never really accessed and be inspired by Spotify, who have content through cords. Millennial habits created whole new business model that will apply to the future. is sustainable to the future.

Joining Craig for a fireside chat moderated by George Levendis, Chief Operations Officer, Acun Medya Global, is Ben Grubbs, Founder & CEO, Next 10 Ventures. He observes that a new generation of content creators has risen, folks who can get going when they have inspiration, get access to camera and gear, and have the time and capacity to go do their own editing – and they can find an audience. It’s this generation that both Craig and Ben will want to partner with in the future.

In addition, 75% of his audience accesses content via mobile, and 95% of them are on prepaid mobile plans. This means that they top up their prepaid mobile plans every three days and it has impacted how they view piracy. An intriguing keynote panel: George of Acun Medya leads Ben of Next 10 Ventures and Craig of iflix

The Success of Asian Animation

Avril Blondelot of Eurodata TV flying the flag for Asian animation 26

Avril Blondelot, Head of Content Insight, Eurodata TV, notes that Asian animation appeals strongly to children worldwide and highlights two popular series: “Super Wings”, which is an audience booster in many territories, and “Pokémon”. She remarks on how Japanese animation “give the world new cultural codes”, and their enduring

success is due to themes relatable to kids around the worlds. These include world-building, the positive value of friendship, the thrill of competition, the interruption of supernatural in daily life, and games and toys kids can play with. For Asian animation, strong brands and relatable characters are ambassadors for Asian content.

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Jennifer Batty of HOOQ emphasises the importance of understanding your market

Reaching the Under-16s

Adapt and Stay Relevant How might we stay relevant in today’s fast-moving world? Jennifer Batty, Chief Content Officer at HOOQ, says that to adapt and grow, we “have to take risks and not do the same thing everyone else is doing”. HOOQ (pronounced ‘hook’) is Asia’s first premium videoon-demand service to launch across the South East Asia and India. Jennifer’s personal career shift from linear programming to OTT mirrors the shift companies might be making to stay relevant. She cites three main advantages of OTT over linear: firstly, there is no need to conform to a 24hour programming schedule. Secondly, the length of programmes can be variable. This means that programmes can be produced and edited to fit storylines and not traditional halfhourly or hourly time slots. Thirdly, there is more leeway in OTT content, which can be novel and edgier. Michael Peter Schmidt, Chief Creative Officer at Red Arrow Studios and moderator for the session, asks Jennifer about what HOOQ means when

they aim to ‘hyper-localise’. Jennifer explains that HOOQ emphasises local content. About 45% of their content for Indonesia is local and they have a local content team to ensure that their content and business model will meet their consumers’ needs. For example, HOOQ offers per day subscriptions in Indonesia as HOOQ realised that the average Indonesian customer may not be able to afford or want a monthly subscriptions, and daily sachets work better. These customers might even buy four or five daily sachets a month, and retention-wise, they come back every month. This also underscores the necessity of high quality data about local viewer habits that can inform decisions about programming and financing models. When asked about pitches to HOOQ, Jennifer replies that they look out for content where “the production values are higher, script writing is deeper and it’s very much character-driven... it’s not what you would see on freeto-air TV.”

Hyperlocalisation is fine but in our business, scale comes with internationalisation. That is something to consider … Can the market be considered to be a bit crowded, with the likes of Netflix as your competitor? Not necessarily. Netflix’s subscription is much higher, and their content is not as localised, while as a SVOD with lower subscription costs and more local content, you would reach different parts of the market, while Netflix might target the top 5%. ” – Michael Peter Schmidt, Chief Creative Officer, Red Arrow Studios

Michael Peter Schmidt of Red Arrow Studios and Jennifer talk ‘hyper-localising’ 28

Michelle Ching shared some great research insights into how the kids industry is changing

Michelle Ching, Head of Sales & Marketing at Totally Awesome, shared some insights into how the kids industry is being reshaped. They surveyed 4935 kids aged 4-16 years old. Michelle says, “What we see is consumers leading global disruption and engagement. This is driving more delivery and content platforms, and different formats.” The research noted three main trends: Firstly, there is accelerated decline in kids TV viewing. Secondly, the online audience is fragmenting, with increasing multiscreen use. Finally, there are increasing compliance requirements and lack of transparency. They found that the smartphone is a kids’ favourite device (77%), followed by the tablet (44%) and TV (42%). Not surprisingly, online platforms are a kids’ main source of discovery of new toys and shows.



07 Dec 18 DAY 3


ADVERTISING, PAY TV, ONLINE VIDEO AND CONNECT DEVICES Distilling thoughts and predictions for the next five years in an hour was the challenge taken up by over 30 media industry professionals at the closed door event, IHS Markit 5 Year Futures Breakfast Forum. Focusing on the confluence of Advertising, Pay TV, Online Video and Connect Devices, the stage was set with sharing some key statistics and trends. It is predicted that online display ads will take the lead over linear TV by 2020. Yet, Pay TV’s monthly ARPU is still expected to be almost triple that of OTT. On the other hand, online video is expected to add 201 million net new subscribers as opposed to 71 million for Pay TV.

The forum expects emerging markets for Pay TV such as India, Indonesia and Vietnam to try to increase the ARPU from its current user bases with “bolt-on” strategies.

The inaugural closed-door industry C Suites platform profile gathering: The session gave top execs a safe place to discuss real issues, guided by ATF partner for the session, IHS Markit

Mature markets such as Singapore, Australia and Hong Kong instead, are splitting up their traditional packages into “skinny bundles” to make it palatable to users.


In advertising, members were keen to point out that AVOD is not inferior to Pay TV and as a whole, the VOD market is maturing, with subscriptions picking up. OTT has grown to take a third of global video subscriptions but in APAC, regional players are calling the shots despite the benefits of big tech companies. One of the reasons for success is that regional players understand that one size does not fit all across the AsiaPacific. There is a need to take into account the differences in pricing, packaging, content and device availability across markets at different levels of maturity. In Australia, Smart TVs are the preferred device for consumption of VOD given its higher penetration and full capabilities of apps and platforms on these TVs. However, as India accounts for 20% of smartphones ownership in APAC, this becomes the preferred device for online video consumption. Acquisition strategy is also impacted by each market’s unique needs and price isn’t the only factor. In India for example, the availability of dubbed/subbed content is rated as highly as price. Localisation is key to success in areas where traditional TV operators dominate.

The following day allowed the industry’s OTT profiles to gather to listen in on the latest, exclusive statistics IHS Markit released, as well as network among industry peers


The OTT space is only going to get more competitive as regional players via against large tech behemoths. Facebook, Google, Apple and Amazon are all upping their game in the video space, looking to further disrupt the space.

07 Dec 18 DAY 3


FOX: FORTIFYING AS FICTION, FACTUAL & FORMATS LEADER GLOBALLY “All parties have to work around the increased costs and complexity in material requirements together. “We have also had to become more open to the inclusion of more non-linear rights for traditional linear clients, but that is the way the industry is evolving and we have ensured that we have kept abreast to better support our valued partners.”

Julius Toh Vice President Content Sales, Asia Pacific & Middle East for Fox Networks Group Asia

With the coming of ATF 2018, the year has witnessed some significant changes in the industry. Some of the most prominent changes in the realm of market movement has been the increased demand for 4K content, according to Julius Toh, Vice President – Content Sales, Asia Pacific & Middle East for Fox Networks Group Asia.


For Fox Networks Group Content Distribution (FNGCD), the whole of Asia is under their radar right now with different reasons for the respective territories. China for example is a key focus because the company expects to unveil a lot more major co-productions in the scripted and factual space. For India, FNGCD looks at it as an emerging OTT market that will really start to see exponential growth in the coming year. In Indochina, there is also a growing demand for good international content from the consumers there and FNGCD will continue

Add to docs being “safer” content for the more conservative Asian society, is the fact that Asia is a nimbler market in the adoption of new technology and consumer behavior. The lack of heavy grid investments unlike the US and the astounding percentage of youths in this diverse region offers opportunities unmatched. Albatross has added several 4K titles to their catalogue recently and, with Asia being far 32

At ATF itself, the company intends to cement itself as the leading content distributor of Fiction, Factual and Formats globally. “We will be showcasing our leading international dramas, even more blockbusters from National Geographic and fresh ground-breaking format opportunities,” offered Julius. BOOTH #D18

FNGCD Content Highlights • Valley of the Boom: FNGCD’s brand new scripted drama from National Geographic • The Flood: Another Global Event Series from National Geographic (narrated by Oscar nominee, Angela Bassett) • The Host: Fresh new format from LATAM

Polina Axenova Sales Manager Albatross World Sales GmbH

The company has been working with several SVOD platforms globally. When it comes to Asia, China stands out most prominently, absolutely becoming an increasingly important stream of revenue year after year for Albatross. “It is also a way to get the films out that might not necessarily find their big audience on linear TV,” Polina offered.

While it does seem that documentary buyers in Asia don’t exactly have the biggest of budgets, the appetite for documentaries is growing nonetheless, with major players turning to the nonfiction space in larger numbers. The fact that docs are becoming general, not specialty entertainment in a region that prefers content that satisfy the public’s need for both entertainment and knowledge, culminates well with Albatross’ current emphasis on high-end documentaries.

to build on the great inroads they have made there in the past two years.

ahead of Europe when it comes to adopting new standards, putting them in the spotlight at ATF seemed natural, according to Polina Axenova, Sales Manager of Albatross World Sales GmbH. In particular would be those genres that can be enjoyed best in the highest resolution, such as the Nature & Wildlife titles (Nature’s Dress Code: Who Wears What and Why” (52’ 4K) and Ian Redmond: The Ally of the Cave Elephants (52’ 4K)), as well as Travel programs, where our most recent highlight is Israel: Land of Contrasts (2x52’ 4K),” explained Polina.

As well, OTT platforms “are often more flexible and respond quicker to our offer, whereas conventional broadcasters may have to follow complicated procedures before taking a decision,” said Polina, who also then noted, the company would also have to be able to react and adapt to this shift as quickly. With APAC becoming an increasingly important region for Albatross, who increased their investment at ATF to become exhibitors, the company has been working on accommodating buyers’ needs in the region and incorporating such into their acquisition strategy. BOOTH #L30


Over 70,000 hours of great content now available from


07 Dec 18 DAY 3


“This is our first time to ATF,” said Timur Weinstein, General Producer of Russia’s NTV. Yet, they have hit the ground running within Asia, boasting a strong interest in the company’s dramas and documentaries from Japan and South Korea. As well, China’s Bilibili platform will soon show NTV’s primetime hit, Schubert at yearend. Further, one of their formats, Secret for a Million, has been acquired by Banijay Rights for audiences worldwide. “More recently, we signed a deal with Thailand to license rights to our series, The Road to Calvary (12x50’; 2017). We are in the process of negotiating several more deals for different territories in the region,” said Timur. Their first time at ATF, NTV says it is a logical step in actively growing its distribution strategy and they are confident that their dramas and shows will generate strong interest. “The ratings that our series score in Asian countries are very reassuring and we know that our content, while being unique, also has universal appeal, and this is a great combination for success.”

NTV Is not wasting any time with subtleties, bringing over 150 completely new projects, 6,700 episodes with 20,000 hours of footage to ATF. NTV is also currently producing 141 projects, with more than 2,300 broadcast hours. Go big or go home, right? The company’s genres include 40% crime mysteries, 20% action series, 17% thrillers, 10% procedurals and 3% period dramas. In the highly competitive Russian TV market, NTV steadily ranks among the top three national broadcasters. The company was first in Russia to adopt new genres and formats, leading the way to produce police dramas and now has a unique expertise in this genre. “We are working with top screenwriters, directors and Russian film stars. This guarantees high quality of our productions and makes our projects competitive not only locally, but internationally as well.”

Their mindset of innovating to differentiate their offerings across platforms and understanding that viewers now demand total access to content on all devices, anytime, anywhere, makes them one of the most innovative channels to date. “We create teasers, trailers, and social media campaigns that attract followers and acquaint viewers with our newest series premieres and shows,” offered Timur, employing both traditional routes such as streaming and VOD, and experimenting with catch-up and catchforward strategies. BOOTH #H27

Check This Out: Crossing Platforms One of NTV’s special projects, The Journey of Father Frost, is a TV endeavor and a large-scale social effort at the same time. During each episode, they visit and grant wishes to people in hospitals, orphanages and elderly care facilities. The most memorable moments are put on social networks and they often generate over 500,000 views per episode.

SOME RUSSIAN ON THE ROCKS? New to ATF, 8 TV Channel has stated that the event is now on their radar as they have turned their attention to the Asian region. “8TV is well represented in Europe and our company thinks that we are ready for a more difficult step in our strategy – to explore the Asian region,” said Maria Gubanova, CEO of 8TV Channel Russia. “Last year, we launched our signal to ASIASAT 5. We are confident in our future for Asia and look forward to the development of our channel here.”

Maria Gubanova CEO 8TV Channel Russia


The company is looking for partners in distribution. Maria’s aim is to establish contacts with cable operators and OTT/IPTV platforms and enter into partnerships with SMART TV, hotels, TV networks and more. In addition, 8TV has own production facilities, having alliances with different theater festivals, and competitions. For example, this

season has seen 8TV become partners with the World Championships in ballroom dancing in the Kremlin. To date, the company has produced more than 6,000 TV-hours of content and it is open to establishing a partnership in this arena. For Maria, the synergy for this Russian language channel comes with the significant number of Russians that actively travel the Asian region. “We would like the Russianspeaking audience to be able to watch our entertaining 8TV Channel in hotels during leisure or business trips. “This is a good opportunity to promote not only economic, but cultural cooperation between countries, without a political implication,” Maria concluded.

07 Dec 18 DAY 3


EUROPEAN / AMERICAN CONTENT STICKS TO 1-HOUR LENGTH The last few years has seen some big changes. For Beta Film GmbH, a leading international distributor of TV license rights with customers in over 165 countries, who are at ATF or the first time, their observation has witnessed investments going up, in order to bridge the gap between the US and European production values, and this has, according to Nikolaus Sivaloganathan, Sales Manager Asia, Beta Film GmbH, led to some really fantastic series coming out of Europe, such as Babylon Berlin or Casa de Papel.

Hotel and Velvet are made for a wide audience and thus easy to place for broadcasters. Those shows also have a lot of potential for remakes.” And contrary to popular belief, 1-hour shows are coming back with a vengeance. All of Beta Film’s 1-hour episodes, except the Kids, Family and movie segment, are selling well, and, according to Nikolaus, actually trending upwards. As with the Asians, European viewers prefer the longer length content.

Nikolaus Sivaloganathan Sales Manager Asia Beta Film GmbH

“This is the direction that we will look to keep going in,” said Nikolaus. “We will also be looking to become more involved in Asia, both in co-productions and remakes. This year, we have actually been in contact with a couple of producers to remake our Formats/ IPs into local versions, so I am hoping to be able to present Beta’s first Asian series at next year’s ATF.”

Beta Film also started using TRX’s platform in Q4 2018. “Nothing has changed in our setup,” offered Nikolaus. “Just that buyers can now go straight to the TRX website to see all of our HD library programs and make the offer online. It is way for us to hopefully reach more broadcasters in smaller territories, such as Cambodia and Laos.” More than pushing their entire catalogue at ATF, Beta Film will also be meeting with other exhibitors to see if there is potential for Asian series to be placed in Europe. BOOTH #K29

The company’s most successful content are the dramas from Spain. “Shows such as Grand

ALTERNATIVE GIVES NEW PERSPECTIVE: A TIME FOR BRAZILIAN CONTENT Looking to Asia, Angela Colla, Head of International Sales at Globo TV is encouraged to find that “the local market has been more open to content from other regions, especially digital companies. “This has opened doors for dialogue and business and a rich exchange of information. In addition, we see that as competition in Asia increases, there is a demand for increasingly high-quality works. And our offer is up to this demand.” Angela reflected, “We are living in a great time with great opportunities. Content has

never been produced and consumed as much as it is now. In this scenario, two of the most important changes we’ve come across are the growth and consolidation of VOD platforms, creating more opportunities for content from around the world, and the growing interest of local producers in our stories.” Keen to make contact with new partners, especially in the VOD segment, Globo is focused on China, India, Indonesia, the Philippines, Japan and South Korea; regions where they see are good opportunities to consolidate their presence.

Angela Colla Head of International Sales Globo TV

Here is where they will campaign themselves as an alternative for partners looking for stories with a new perspective on human drama, whether it be series (which have special appeal to digital players) or longer formats, such as superseries and telenovelas. BOOTH #K24

Globo Highlights @ ATF • Harassment: A work of fiction freely inspired by Vicente Vilardaga’s book, The Clinic: The Role and Crimes of Roger Abdelmassih • Iron Island: Addresses the tensions experienced on the high seas and on the mainland by a team of workers from an oil exploration platform • Jailers: Deals with the prison system through the eyes of the jailer Adriano (Rodrigo Lombardi, Hidden Truths)


07 Dec 18 DAY 3


FUNDING IDEAS IN THE BUSINESS OF DREAMERS! Everything begins with the idea. Sometimes even a careless daydream can end up being a billion-dollar franchise – now that’s the real magic of show business! But it’s also unfortunately common that even the best original ideas struggle to find the right avenues towards production, while trite stories and characters continue getting picked up. Developing and showcasing these ideas can be a pricey endeavour. With more studios, commissioners, and production outfits hesitant to greenlight projects without more bang for their buck, creators and independent producers find themselves in a catch-22 of being responsible to fund their development process with little to no guarantee of light at the end of the tunnel. They are sometimes even at risk of short-changing their own creative vision by underfunding their development process, and not being able to put their best foot forward to pitch. And when everyone has a supposedly “great idea”, how do professional creators of original IPs – producers, writers, development executives – get past the crowded array of derivative projects and re-versioned formats and remakes? We ask two of the prominent financiers of creative IP attending the Asia TV Forum and ScreenSingapore to offer their thoughts, experiences and advice in getting ideas through the creative development process and eventually into the marketplace. •

JUSTIN DEIMEN (JD): Group Managing Partner, Aurora Media Holdings, one of Southeast Asia’s largest and most successful content and media asset investment and producing entities. ABHI RASTOGI (AR): Founder/CEO, 108 Media, a full-service international media company focused on connecting, developing and licensing high-quality content from emerging markets to global audiences.

Besides this preview, join Justin’s and Abhi’s panel at the Southeast Asian Film Financing (SAFF) Conference today @ 11:45am for more of their thoughts on the creative development process and the funding mechanisms available for creatives.


JD: Aside from the obvious of liking the underlying concept, I look at the risk profile of the project’s scope and what its organic audience is and where in the world it has got its most chance of successful gathering the right traction. In terms of traction, I look at how project can naturally be put together from a funding and budgetary perspective by different parties like equity investors, broadcasters, brand sponsors, and subsidies. It might seem overly pragmatic, but once the business parameters are realistically put together, refining the creative process becomes more clearheaded and freeing. One of the most fundamental pieces of advice that I give creatives is to view their IP and the materials that they create for it as an actual tangible asset. Treat what you write as though it’s an official document especially when it goes through a corporate system. Register your bible and scripts with the WGA or a law office, even a treatment should be protected. An interesting side-effect in doing this allows certain established creators and producers to collateralise these IPs as asset-backed bonds to create cash-flow options in developing these IPs or creating new ones. An idea is a great first step, but being able to conceive of it as a creative enterprise allows it to flourish exponentially towards what it’s meant to become.

AR: The packaging of any pitch document is very important. I pore through everything; from the talent attached to the project to the visuals that the project comes with when sent. More and more, studios and buyers are drawn to what they see and not what they hear. Work with great designers and copy editors in getting standout decks, bibles, and visual materials ready, as well as get connected with screenwriters who are able to show pages of their writing style. Once the potential of the vision is obvious, it gives the sales team much more confidence in going out there and finding the financing for you. Give them the ammo to fire the cannon. Previously published or publicised material can give a market response to funders on possible success or failure indicators, but most of the time, it’s important to see how to put a new spin on things, or what we see the voice and theme of the project is and how it fits into trends and certain zeitgeist. For example, reality competitions had its heyday just a few years back and now more scripted content is finding its way into fruition.

07 Dec 18 DAY 3

PRODUCTS MEGA MAN: FULLY CHARGED Aimed at kids 6 to 11, as well as their parents who grew up loving the video games, the new Mega Man animated series will feature exciting new technologies and robots, as well as the introduction of Mega Man’s alter-ego, Aki Light. Aki is a normal, upbeat, schoolboy robot who has nano-core technology that allows him to transform into the mega powered superhero Mega Man! With his Mega Buster arm cannon and iconic helmet, Mega Man defends Silicon City from all threats. EXHIBITOR: DHX MEDIA

SACRED GEOMETRY Hexagonal honeycombs, circular shapes in the middle of deserts, ancient temples and pyramids, triangular butterfly wings, there is nothing ordinary about these simple shapes. Can mysteries of our planet and secrets of the universe be hidden in geometric shapes? EXHIBITOR: BBA BROADBAND PRODUCTIONS

UNTOUCHABLE LOVERS Tianji Tower, the leading organisation of the pugilistic world is determined to overthrow the tyrannical ruler Liu Ziye. To achieve their mission, Tianji Tower replaces his sister Liu Chuyu with their own disciple and Princess-lookalike Zhu Que. Zhu Que meets the Princess’ learned companion Rong Zhi, who turns out to be a spy from Northern Wei. Liu Chuyu and Rong Zhi’s relationship eventually breaks down over differing loyalties, and the latter fakes his death to regain Chuyu’s forgiveness. Somehow, they accidentally lose their memories, and only meet 5 years later when Chuyu is sent to marry Northern Wei’s Prince regent, who is none other than the now amnesiac Rong Zhi. EXHIBITOR: CATHAY MEDIA GROUP

WAR OF THE WORLDS Set in Edwardian England, this major new TV adaptation of H.G. Wells seminal tale – the first alien invasion story in literature – follows George (Rafe Spall) and his partner Amy (Eleanor Tomlinson) as they attempt to defy society and start a new life together. A gripping collision of sci-fi, period drama and horror, this visceral thriller tells their story as they face the escalating terror of an alien attack after a huge meteor strike. As Earth slowly fall victim to a vicious invasion, they must fight for their lives against a ruthless enemy beyond their comprehension. EXHIBITOR: ITV GLOBAL ENTERTAINMENT STUDIOS

GRIZZLY ENCOUNTERS WITH CHRIS MORGAN 2x52’ 4K Grizzly bears – up to 2.5 metres tall with top weights of 550 kilos, equipped with sharp claws and predators’ jaws to match. We’ve all heard stories of aggressive attacks, but what are they really like? Renowned biologist Chris Morgan uncovers their true nature. In this stunning film, he goes on the trail of the brown bears in Alaska, where he gets up close to observe their social lives and survival techniques in intimate detail, revealing a surprisingly sensitive, even tender side to the imposing Grizzly. Nonhosted version coming soon. EXHIBITOR: ALBATROSS WORLD SALES GMBH

ONE WORLD KITCHEN One World Kitchen is a creative and high style cooking series featuring 5 cuisines: Argentinian, Italian, Thai, Japanese, and Indian. The young and vibrant hosts will captivate your audience by teaching them how to master the world’s hottest dishes and showing them age-old cooking secrets from their unique cultures. EXHIBITOR: GUSTO WORLDWIDE MEDIA

HEART OF COURAGE Victor, an ordinary mortal is chosen as the rightful wielder of Thor’s powerful hammer, “Mjolnir”, and must protect the world from the evil Loki. EXHIBITOR: GMA WORLDWIDE, INC.



07 Dec 18 DAY 3

PRODUCTS TAIRA NO KIYOMORI: A MODERN-MINDED SAMURAI 2018 marks the 900th birthday of famous military leader, Taira no Kiyomori. He was the first samurai to rise to the top in politics, where he would revolutionize society in various ways. Three experts, a Neuroscientist, a globally active architect and an economist, will retrace Kiyomori’s footsteps from Hiroshima, to Kyoto, to Kobe, to understand the secrets of Kiyomori’s inventiveness in this intellectual entertainment program. EXHIBITOR: HIROSHIMA TELEVISION CORPORATION

TRAINS The heroes of the series are locomotives living in Train Town just like people. They have families and relatives and deal with problems, needs, dreams, everyday routine. The heroes visit shops to buy wheels, service centres to reduce dents, clean the wheels, change the oil, wash the glasses, cafes and restaurants to refill and follow world news of trains on TV. They buy railway accessories, follow “railway fashion” and build careers in all locomotive-related spheres.

MOFY Mofy, known as “the world’s first cotton animation”, is beautifully animated by the famous Misseri Studio of Florence, Italy. It is a stop frame animation in full HD, and the sets and models are made from fluffy cotton puffs. Mofy is a shy and tender rabbit who lives in a cotton ball. Mofy runs into various moods such as loneliness, anxiety, jealousy and yearnings.Through her experiences, Mofy learns to manage her feelings by gaining confidence and realizing important values in life. A winner at Annecy. EXHIBITOR: SONY CREATIVE PRODUCTS


MYTHBUSTERS JUNIOR BABYRIKI BabyRiki is an adorable 5-min animated entertaining and educational show, combining 3D CGI and live video, where preschoolers are entertained, and learn through play. The series helps to develop a strong foundation of key skills in areas such as communication, critical thinking, collaboration and creativity during the early years. Each episode introduces an age-appropriate learning concept, illustrated with a song. The series promotes playful and positive interactions with others, and a safe environment for children to explore, wonder and discover. EXHIBITOR: FUN UNION

10x60’ MythBusters is back with smaller Busters and bigger Myths! Adam Savage returns to host a new incarnation of the hit Emmy®nominated MythBusters series. MythBusters Junior features some of the most talented kids ever seen on television showing their amazing ingenuity and STEAM (Science, Technology, Engineering, Arts, and Maths) skills. Adam and his team of junior MythBusters will tackle myths similar to those seen in MythBusters, ranging from driving, explosions, chemistry, physics, popular culture and more, with Adam separating fact from fiction as only he can. EXHIBITOR: BEYOND DISTRIBUTION

WISSPER Season 2 | 52 x 7 Ssssh! Have you met Wissper? Wissper is a little girl. But not just any little girl. She can talk to animals. She was born with this magical ability and now has a loving connection to all creatures. By using the magic word, “Sssshhh!...” she can transport herself anywhere there is an animal in need of help. Wissper is sweet natured, except when animals are behaving badly. When she needs help, she can summon one of her 8 animal friends. EXHIBITOR: STUDIO 100 MEDIA GMBH


NAMIBIA’S DIARIES In this series, natural and cultural aspects of Namibia are documented thoroughly. From Namib, the oldest desert on the planet, to Fish River, the world’s 2nd biggest canyon, some of the planet’s most dramatic landscapes are covered. Rare species such as wild dogs and pangolins are documented, as well as the Himba and the ancient Bushman (San), who have been living in this region for at least 30,000 years. EXHIBITOR: OFF THE FENCE B.V.

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

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07 Dec 18 DAY 3

PRODUCTS ED STAFFORD: LEFT FOR DEAD Ed Stafford tackles some of the planet’s most extreme environments such as the Asian forests of Laos and Mongolia’s Altai Mountains, to find out what it’s really like when you’re lost, alone, and desperately searching for a safe route back to civilisation. On the move without food, it takes just 10 days for the human body to start to shut down. So that’s how long Ed’s giving himself to escape. Using only natural navigation, Ed relies on his wits and survival skills to make spli- second decisions, as he travels without basic survival gear. This is real survival. 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.

SCHOOL OF ROARS Follow Wufflebump and his class of monster friends as they embark on one of life’s biggest adventures, starting school! Guided by their teacher, Miss Grizzlesniff, they learn how to roar the alphabet and count beetles’ legs and also learn about caring, sharing, friendship and fun. Stomp along to the School of Roars, where monsters go to growl and grow! EXHIBITOR: ZDF ENTERPRISES


72 HOURS It was a challenge to have the Chinese share their life on screen. Surprising to see such openness, this 13 episodes of 72 Hours sees the team interviewing 129 people, whose stories have touched vast audiences, hit 250 million views online and have led massive discussions on various social networks. The program has set a precedence of great storytelling, setting a ground-breaking commercialization example for doc programs in China. EXHIBITOR: TENCENT TECHNOLOGY (BEIJING) COMPANY LIMITED

CASTLE ROCK A psychological-horror series from J.J. Abram’s Bad Robot Productions set in the Stephen King multiverse, Castle Rock combines the mythological scale and intimate character storytelling of King’s best-loved works, weaving an epic saga of darkness and light, played out on a few square miles in Woodland, Maine.



TRANSFORMERS RESCUE BOTS ACADEMY A group of young Bots fresh from Cybertron, (Hot Shot, Whirl, Medix, Hoist, and Wedge), have the honor of being the first-ever class to enroll in Earth’s Rescue Bot Training Academy and learn how to become Earth heroes through hands-on experience. EXHIBITOR: HASBRO STUDIOS


The times are in a digital society! How does Lupin III make the best use of the internet and digital technology in the face of overcoming his enemies? EXHIBITOR: TMS ENTERTAINMENT CO., LTD.


Visit us at: Booth D19

Profile for Asia TV Forum & Market (ATF)

ATF 2018 - SHOW DAILY (DAY 3)  

ATF 2018 - SHOW DAILY (DAY 3)  

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