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6 Dec 19 DAY 3


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06 Dec 19 DAY 3


Behind the Scenes: The demands of modelling… Speakers for the panel, Re-Imagining Kids, go through gruelling photoshoot sessions before stage time.




IN DEVELOPMENT @ ATF TV & Film Incentives (Part III)












EXCLUSIVE Ariya Banomyong: Users First, & All Else Will Follow











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Infocomm Media Development Authority

Production, post-production

Subsidy of up to USD183,000 or 50%, whichever is lower, of the Qualifying Costs that are directly linked to the project, and contribute significantly to the production of the project.

CRITERIA • Project must have a Singaporean / Singapore PR Producer, another Producer of Southeast Asian nationality (excluding Singapore), and a Director of Southeast Asian nationality (excluding Singapore)




+65 6377 3800


+82 32 710 0130

+82 2 777 7184


• Projects must be feature films of no less than 70 minutes South Korea

South Korea

Korea Film Commissions & Industry Network

Production, post-production

Seoul Film Commission

Production, post-production

25% cash rebate on foreign audio-visual works production expenditures incurred for goods and services in Korea

• Film duration must be more than 10 days

Up to 30% cash rebate or USD85,000 of the production costs, whichever is lesser

• Projects must be filmed nina@seoulfc. in Seoul with a minimum duration of 4 shooting days in Seoul

• Projects must have a local spending of more than USD1,700,000

• Projects must have a minimum run-time of 60 minutes South Korea


Production, post-production

Support to cover the various expenses for a maximum of 30 days of the creator’s* stay in Incheon (Including accommodations, meals, transportation, purchase of materials, etc.) * filmmakers, directors, producers, screenwriters, etc.) who are currently working on visual media content

• Projects must feature Incheon as a setting or subject matter.

South Korea

Gangwon Film Commission

Production, post-production

10% rebate of production budget

• Projects must have a production budget of more than USD425,000

+82 32 435 7172 http://www.ifc.

+82 33 240 1376

http://www.gwfilm. kr/

• Projects must be filmed for a duration between 5 days and 14 days in Gangwon South Korea

Cheongju Film Commission


Rebates of up to 50% of production budget spent locally

• Projects must have a film duration of more than 10 days in Cheongju

+82 32 710 0130

South Korea

Chungnam Film Commission


Rebates of up to USD42,000 of production budget spent locally

• Projects must have a film duration of more than 5 days in Chungnam

+82 41-6206409


South Korea

Daejeon Film Commission


Rebates of up to 30% of production budget spent locally

• Projects must have a distribution contract or pre-sale agreement

+82 42-4794173


+82 64-7277800 jejufc/

• Projects must have a film duration of minimum of 7 shooting days in Daejeon South Korea

Jeju Film Commission


Rebates of up to 30% of production budget spent locally

• Projects must have a film duration of more than 5 days in Jeju • Projects must have over USD8,000 expenses incurred within Jeju




Thailand Film Office

Production, post-production

Subsidy of up to 15% of submitted and approved production budget

• Project must have more film@ than USD1,600,000 thailandfilmoffice. spending in Thailand on org Thai-registered businesses, and other Thai services and individuals

+ 66 2219 4010 7

+90 (312) 470 80 00


• TV commercials are not eligible for this incentive programme Turkey

Ministry of Culture and Tourism


Receive returns of the VAT paid during procurement and import of the goods and services bought within the filming duration

• Projects must produce a report drawn up by a certified financial accountant (CFA) must be submitted.



New Film Fund

Production, post-production

Subsidy of up to USD8,000 of total production budget

• Projects must have 33% of financing confirmed


• Projects must contain Turkish subtitles if the project is in foreign language


Ministry of Culture and Tourism Support Fund

Production, post-production

Subsidy of up to USD331,000 of total production budget

• Only Turkish films are eligible to apply

United Arab Emirates

Abu Dhabi Film Fund

Production, post-production

Up to USD5,000,000 of total production budget for feature films

• Projects should have filming duration of at least one day in Abu Dhabi


Vietnam Association of Film Promotion and Development

Working together for content works better for everyone. Trying to be independent is very difficult in this day and age. Dato’ Hans Isaac Chairman National Film Development Corporation Malaysia (FINAS)


The Ministry of Culture, Sports and Tourism is currently working on developing incentives for foreign film productions in Vietnam. The Vietnam Association of Film Promotion and Development was formed on 25 July 2019 with aims to develop and strengthen the film market, as well as promote cooperation with foreign partners.

I’ve seen a lot of Asian and Indian producers coming up and pitching their shows and IPs, rather than just being a service studios. It’s a dynamic shift that’s happening. Uttam Pal Singh Head, Discovery Kids Discovery Communications India

info@sinema. gov.t is

+90 312 470 80 00

https://sinema.ktb. http://english.

Me as a US-Hispanic or Latin American, we wouldn’t look outside our region but the OTT possibility has opened those doors. So we are now players at this point. Doris Vogelmann VP Programming and Operations V-me Media Inc



06 Dec 19 DAY 3


NEW CONTENT AND EQUITY PARTNERSHIP Parade Media Group Pte Ltd and Outdoor Channel announced a content and equity partnership for Asia, where Outdoor Channel will be licensing several hundred hours of Parade Media’s content and will launch a brand-new lifestyle brand, MyLife. This will air as a primetime block on Outdoor Channel. A key title to look out for is ‘Andy and Ben Eat the World’. “Parade has successfully built a portfolio of premium lifestyle and

factual series working with some of the industry’s best-in-class producers... We are beyond excited to collaborate with The Outdoor Channel on the newly created MyLife branded block,” said Matthew Ashcroft, CEO, Parade Media. Gregg Creevey, Managing Director, Outdoor Channel, said, “Now with Parade as a strategic partner, we can broaden our appeal with other genres synonymous with outdoor lifestyles such as food, travel and adventure.”

NEW INITIATIVE TO IDENTIFY AND PUSH FOR THE NEXT WAVE OF PROMISING YOUNG DIRECTORS Blue3Asia, in partnership with CreativesAtWork Pte Ltd, announced a new initiative called LEAP! to identify and help push for the next wave of young directors in Singapore and Southeast Asia. Seven promising directors will be selected and mentored by veterans Michael Kam, award-winning filmmaker and senior lecturer at Ngee Ann Polytechnic, Fran Borgia, a producer at Akanga Film Asia and 08

Daniel Yun, a pioneer filmmaker at Blue3Asia. Blue3Asia and CreativesAtWork, working together with the Infocomm Media Development Authority (IMDA) and partners, will tap into their network of talents in Singapore, Malaysia and Indonesia – the countries LEAP! is working with for the first year. LEAP! Is also looking to identify assistant directors and writers who will support the selected directors.

ATF 2019 marks GMM Grammy’s first outing as an exhibitor at the annual market event. As one of the biggest content creators in Thailand, they are excited to expand their content and services to the international market at ATF. The past two days at the market saw GMM Grammy engaging in productive discussions with various potential buyers. There was considerable interest in their content, with various genres and successful Thai series from GMM Grammy’s subsidiaries One31, GMM25, GMM TV and GMM Studios available at ATF, along with upcoming content slated for broadcast in 2020. Based on the company’s observations, Chinese and Southeast Asian buyers approached them to look for local Thai content genres of romantic comedy, drama and teen series. There was also talk of co-production opportunities. In the coming year, there are plans for GMM Grammy to expand its Thai catalogue and to increase its distribution across the world. GMM Grammy has seen an upward demand in Thai content – especially in China and in Southeast Asia – and it would do its best to fulfil these demands.


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The past two days at the ATF were fruitful for Can Okar, Founder and CEO of Inter Medya. “We have received quite a lot of interest from companies in Indonesia, Malaysia, Sri Lanka, Vietnam, and the Philippines, and we are happy to begin negotiations for the sale of our drama series and formats,” said Can. He is optimistic that dramas ‘The Light of Hope’ and ‘Bitter Lands’ can be sold in a few territories. ATF 2019 marks Inter Medya’s fifth consecutive year of attendance at the annual event. Having established a strong customer base in the Americas, Eastern Europe and in the Middle East, Can has his eye cast on Asia. Based on his interactions with potential buyers, he observed that many are looking to purchase TV rights. As for formats, buyers are keen to acquire or to option some of these to pitch to their broadcasters, he added. As Inter Medya approaches 2020, Can shared that apart from focusing on their core business of content distribution, there are plans to improve the company’s production arm, with an aim of producing three to four dramas every year.

BRINGING INDIAN CONTENT TO CHINA GREATER AWARENESS OF TURKISH CONTENT CRUCIAL Turkish content has sold in many parts of the world, but Asia remains a nascent market. “There are buyers in Asia, but it isn’t the hype that we get from other countries,” said Salmi Gambarova, Sales Executive - CIS, Asia, Australia, Kanal D International. Here at ATF with Kanal D International’s full content catalogue, Salmi emphasised the importance of 10

raising awareness of Turkish content. “People in Asia don’t really know about the quality production value of Turkish dramas, so there needs to be an allround, greater understanding of what Turkey can offer,” said Salmi. Many clients she met at ATF have expressed interest in heart-warming family stories, along with dramas featuring children as the lead characters.

With Bollywood movies doing well in China, it is no wonder that IndiaCast Media Distribution Pvt. Ltd. sees an opportunity in Asia’s largest economy. “China isn’t an easy market to enter, but we hope to leverage the success of Bollywood movies and introduce Indian dramas to the Chinese market,” said Debkumar Dasgupta, Senior Vice President & Business Head - Syndication, Middle East & Africa. Having met buyers at ATF who are interested in Indian drama genres of romance, family and social issues, Debkumar believes that these genres can do well because of its versatility in transcending geographical borders.


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BUMPER OFFERINGS FROM MNC GROUP FROM CHINA TO THE WORLD As a buyer and seller at the ATF, Tencent – one of the world’s most valuable technology companies – is eager for the world to learn more about Chinese culture through its content offerings. Having started its production arm about four years ago, it has since been bringing fresh and new content to each edition of ATF. Kaichen Li, Director of Tencent Video Overseas

Department, shared that the market is a prominent platform to increase awareness of the brand. Apart from spreading Chinese content across various regions, one of Tencent’s key focuses for 2020 would be to increase its customer base for WeTV in Southeast Asia and to create more exciting productions.

At this year’s ATF, MNC Group has brought a stellar line-up of movies and dramas, including eight films set for release in Indonesia next year. Headlining the list is ‘Ranah 3 Warna’, the second in a film trilogy adapted from a best-selling novel of the same name in Indonesia. Another movie that they are excited about is ‘Toko Barang Mantan’, a romantic comedy starring Reza Rahadian and Marsha Timothy. Other highlights include ‘Titus’, the group’s first animated feature film that will be out in January, and top-rated TV dramas in Indonesia such as ‘Tukang Ojek Pengkolan’ and ‘Dunia Terbalik’. Shierly Kosasih, VP of MNC Content & MNC Licensing at MNC Group said, “Movies are always in demand, but we are also seeing a significant increase in the number of enquiries for animation content and scripted and non-scripted formats. We will continue to focus on distributing Indonesian content to the world, as finished content or in the form of formats.” Delighted to be back at ATF for the fifth year, Shierly added that the event provides the right platform for the group with its vibrancy and the audience is the perfect fit for their content.

SOCIAL REALISM IN 2049 TV viewership has drastically reduced whereas new media has seen a boom in recent years, remarked Phil Tang, General Manager, Greener Grass Production Co. Ltd. “As a result of this phenomenon, advertisers have also turned their sights to social media and over-the-top platforms. This shift in consumption habits has also caused content providers to switch gears – from producing for TV to producing for tablet and mobile,” said Phil. 14

In Taiwan, there are many original productions attracting big players in new media. For Phil, he has big plans to showcase his latest project, ‘2049’, which explores the human psyche in the year 2049. Phil added, “I want to show how the world would have evolved since 1949. Medical technology would have reached its pinnacle by 2049, but the human psyche would likely still be an enigma.”

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06 Dec 19 DAY 3


With a strong background in movie production, Thailandbased Five Star Production has started venturing into producing television content. Helming the dive into this new space is ‘Art of the Devil’, a high-quality series in 4k format that was adapted from the movie series of the same name that was released last decade. The show follows a group of cheerleaders, with each member nursing an ambition to become famous and therefore live the life of lies, betrayal and dark secrets. ‘Pee Nak 2’, sequel to the well-received horror comedy film released earlier this year, will be rolled out in the first quarter of next year. The film has crossed borders, and is shown in cinemas across different Asian countries, with South Korea and Japan also scheduled to air the film early next year. Aphiradee Iamphungphorn, Director of International Sales, remarked, “Thai television shows and movies are growing in popularity as of late, and we want to ride on this. Not only are we expanding our reach, but we also promote the Thai television and film industry as a whole.”


of ATF, while two companies under GCA are participating for the first time.

Zee’s Global Content Sales, a licensing and syndication arm of Zee Entertainment Enterprises Limited (ZEEL) brought a bouquet of content for ATF this year. The company’s slate of feature films include India’s Oscar Selected listed film, ‘Article 15’ and critically acclaimed film ‘Dream Girl’. For drama, they showcased the costume drama ‘Razia Sultan’, thriller ‘Manmohini’ and family series ‘Tujhse Hai Raabta’.

“We’re working again with GCA to gather animation companies and create a synergy where we can showcase their content to a larger market,” shared Park Bokyung, Director, Contents Industry Division at the Seoul Animation Center which is a business division of SBA that supports the creative industry in Seoul.

“We believe that Asian values are similar at its core, thus we are equally geared to showcase new formats to the growing audience in Asia and look forward to a robust growth in the coming year,” shared Vibha Chopra, Business Head Global Syndication & International Film Distribution.

WORKING CLOSELY TOGETHER FOR THE RISING KOREAN ANIMATION INDUSTRY The animation industry in Korea is growing rapidly, as with other parts of the world. This year sees a total of 15 companies under the umbrella of the Seoul Business Agency (SBA) and seven under the Gyeonggi Content Agency (GCA). Interestingly, all companies under SBA have participated under the Korea Animation Pavilion in the past editions 16

Booth No.D10

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MARKET GIVING HOPE TO AVERAGE KIDS Hunan Golden Eagle Cartoon Media Co. Ltd. participated as a buyer last year, but returned as an exhibitor this edition with an exciting slate of offerings, including six new reality shows and two animated shows. Viewers can look forward to ‘The No. 23 Niu Naitang’ slated to be aired next year. The animated TV series is about the school life of a girl, currently in

third grade, who is always ranked 23rd during examinations. “Our show, ‘The No. 23 Niu Naitang’, is for the average child who seems to be doing alright at school, although not necessarily at the top. We want to encourage and give hope to young children that they can have a promising future too,” remarked Xiang Guo, Director, General Editor Office.

GROWING POPULARITY OF CHINESE TRADITIONAL DRAMAS Chinese film and TV content has been growing rapidly in the international market and Huanyu Entertainment is one of the leading forces behind it. Specialising in traditional Chinese costume dramas, the company brought their main highlights ‘Winter Begonia’ and ‘Court Lady’ to ATF this year. ‘Winter Begonia’ is a romance drama, while ‘Court Lady’ is set during the Tang Dynasty. Huanyu Entertainment’s strong attention to detail has come off strong in all their productions, as they have their own factory producing costumes unique to each drama. True enough, their show ‘Yanxi Palace: Princess Adventures’ grabbed the attention of Netflix and will be available on the platform in January 2020. “The market is very discerning when it comes to the content they watch and they know how to differentiate good content from the bad. Our company aims to provide only the best content to our audience and still strive to look for ways to make inroads in other genres,” remarked XueFei Liu, Sales Manager.

BORN IN 2000 The CIBN Oriental Network highlighted feature documentary film titled ‘Born in 2000’ at the ATF market. Released in early September this year, the film directed by Zhang Tongdao chronicles the growth of two children, Chi Yiyang and Wang Sirou, for 12 consecutive years starting from 2006. The movie’s underlying message about childhood education spurs discussion 18

on how there is no formula when it comes to their learning, as each child would have their own unique aspirations. CIBN Oriental Network also shared a sneak peek of the documentary ‘The Longest One Second, slated to be out next year, which follows the inspiring story of a group of elderly in their 80s who keeps on chasing their goals in life.


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One Life Studios Pvt Ltd came back yet again with a heartstopping Indian dramas series for this year’s ATF. ‘Naagin’, which was released in India two months ago, is a fantasy show about love, revenge and supernatural powers circling around the lives of a couple who are shapeshifting serpents. The company also proudly shared that they are the exclusive distributor of American series ‘Breakers - Saving Harper Ross’. The 10-episode crime thriller series is about a man named Jack who is reliving the same day over and over again. Rahul Kumar Tewary, Producer and Managing Director, said, “ATF is a good avenue for us to market our new and upcoming shows to potential buyers.” He also mentioned that ‘Chandragupta Maurya’, India’s top historical series which they spotlighted in ATF last year, had gone ahead to achieve multiple milestones, including being licensed in multiple countries including Cambodia and Vietnam. When asked about what people can look forward to from One Life Studios in the coming year, Rahul mentioned, “People are looking at shorter content nowadays and consuming content through digital platforms, and we also want to expand our reach in that sphere.”

TACKLING MODERN ISSUES THROUGH ANIMATION CREATING DRAMAS THAT RESONATE “The market’s perception of Indonesian content has changed a lot in the recent years, as more of our shows and movies get released in other countries,” shared Hendy Lim, Vice President Content & Channel, Indonesia Entertainment Group (IEG). IEG has always been strong in the drama series department and shows targeting young adults. However, housewives continue to be their main priority. 20

“As the top entertainment company in Indonesia, we still want to make inroads in other territories in Southeast Asia, apart from the sizeable audience we already have in Malaysia and Singapore,” Hendy added. He also disclosed that the company will be announcing a substantial presence with the region’s biggest platform in the coming year.

Greengold Animation Pvt. Ltd. brought an exciting lineup of highlights to this year’s ATF, including ‘My Little Bheem’, Netflix’s first animated series from India. Slated to air next year is ‘Jungle Trouble’, which tells the tale of a group of animal friends who encounter an evil penguin determined to convert the lush jungle into a concrete one. Bharath Laxmipati, Senior Vice President, said, “Although animation was used, ‘Jungle Trouble’ presents an underlying modern issue of how we are losing the greenery in exchange for tall skyscrapers. We hope our young audience would be made aware of this issue, but through a fun and engaging manner.”

MARKET Turning up the party a notch at ATF are the Singaporeans at the aptlynamed Singapore Hour. This hour-long networking reception saw guests and industry partners mingle to discuss the latest trends in media and content.


The earlier part of the day saw a content showcase at the Singapore Pavilion, where there was a presentation of a three-minute sneak preview of ‘Circle Line’, an upcoming thrilller and Singapore’s first creature monster flick. Jointly developed and produced by Taipan Films Pte Ltd and mm2 Entertainment, the presentation saw the cast and crew share about the development, pre-visualisation, stunt rehearsals, CGI-VFX and other processes, including being the first Singaporean film to shoot at Iskandar Malaysia Studios. ‘Circle Line’ will be available in 2020.

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SINGAPORE AND MALAYSIA JOIN FORCES Singapore’s 108 Media Pte Ltd and Malaysia’s Siung Films will be coproducing their first feature film, ‘Best Served Cold’, in what is to be the first of a wider slate of Southeast Asian features that are being commissioned and developed by 108 Media. The agreement signing, which took place at ATF, was attended by 108 Media’s Abhi Rastogi and Justin Deimen and Siung Films’ Aaron Cowan and Josephine Luping, the creative force behind the co-production. The screenplay, written by Aaron, is based on the short story, ‘Don’t Eat The Rice’, by Sabah-based author Jill Girardi and the characters in her novel, ‘Hantu Macabre’, and stars Malaysia’s top female MMA fighter, Ann Osman, in the lead role. National Film Development Corporation Malaysia (FINAS) chairman Hans Isaac, who witnessed the signing at the Malaysian booth at ATF, also revealed exciting plans by Malaysia to kickstart more regional co-operation. “Today’s signing signals the start of more partnerships between Singapore and Malaysia. We have started co-production negotiations with Singapore and we are also happy to announce co-productions between Australia and Malaysia. It is extremely important for content to travel, and working together works better for everyone.”

SPOTLIGHT ON CANADA Canada Hour, organised by the High Commission of Canada in Singapore, provided a good mid-afternoon break to exhibitors and buyers alike. Canapes, sandwiches and wine also added a fine touch to the simple gathering. Richard Dubuc, Senior Trade Commissioner, played host at the session. “We organised this networking session to provide opportunities for Canadian companies to market their 22

content to potential buyers and expand their reach.” Over 15 companies from Canada participated at this year’s ATF, either as a buyer or seller. Richard added, “There are a lot of Canadian companies who produce great content with global appeal and which people from other countries can relate to, and having this session is a great way to introduce it.”

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The Peony room at MBS was abuzz with chatter during lunchtime, as exhibitors and visitors gathered to discover what’s new in the Japanese market. Hosted by BEAJ and the Ministry of Internal Affairs & Communications, the Fresh Content Japan lunch session provided the 35 Japanese broadcasters and companies participating at ATF with a platform to showcase their upcoming programmes to buyers and distributors from outside Japan. With Japan’s hosting of the Rugby World Cup and the Olympics in 2020, there has been a rising interest in the country among global audiences. The spillover effect was evident through the diverse mix of attendees at the lunch session. “The more exposure for Japan, the more receptive people will be to

Japanese content,” said Mathieu Béjot, Senior Advisor of BEAJ. Anime, Mathieu shared during his opening remarks, remains as Japan’s bestselling genre, accounting for over 80% of its overseas exports. With most anime being based on ‘manga’ comics, the unique storytelling method makes it a case for strong IPs, he emphasised.

Other genres highlighted at the session were non-scripted formats, drama, factual and food and travel. In true Japanese fashion, attendees raised their glasses of sake and wine to the cheers of ‘Kampai’ before the mingling continued.

NTV RUSSIA SHARED SOME LOVIN’ From NTV Russia with Love, the theme for NTV Broadcasting Company’s cocktail reception, sets the tone for what was an hour of intimate networking and mingling session at its stand. Guests were treated to a delectable array of fine wines and hors d’ouevres, as they went around exchanging toasts to cap off another fruitful day at ATF.


To showcase the best of Russian culture, guests were given a quick introduction to an elaborate headdress called ‘Kokoshnik’, worn by a young lady who was dressed in a traditional ‘Sarafan’ dress.

to take a stab for the lucky draw prize; the ‘matryoshka’. The ‘matryoshka’, a nesting doll made of wood, is one of Russia’s most recognisable souvenirs.

An element of fun was thrown in, as guests dropped their business cards

“Last year, we managed to have a couple of deals. It’s a small step, but

for us, it’s huge,” said the company’s Sales Head, Marina Kataya, before she welcomed everyone to join in the festivities.


IMDA, TENCENT AND VS MEDIA INK MOI The Infocomm Media Development Authority (IMDA), Tencent and VS Media (VSM) today signed a Memorandum of Intent (MOI) to identify and groom Singapore’s digital content creators, start-ups and SMEs from the media and technology sectors, for the purpose of meeting the business needs of Tencent’s Southeast Asia expansion plans.

Through the MOI, Tencent and VSM will work with content creators from Singapore, allowing media and technology companies from the city-state access to China’s market. They will be able to leverage on Tencent’s platform, with the company providing training to them. VSM, on the other hand, will help fill the skills gap needed by these companies, enabling them to raise their digital output capabilities.

Popular Japanese animation series ‘Hunter x Hunter’ has officially been released as a smartphone game on China’s Tencent platform, much to the anticipation of over eight million people in China who pre-registered before its launch. Developed by Lantu Games, the gaming version reproduces the fantastic world of the ‘Hunter x Hunter’ animation. Originally a manga written by Yoshihiro Togashi, the animated version was created by Nippon TV and aired in Japan in 2011 to immediate success. It has since been sold to almost 200 territories globally and continues to be a very popular IP, spinning off into a feature film, merchandise and even cafes.

COUNT YOUR LUCKY STARS Medialink Group Limited and 100UU (Tian Jin) Culture Communication signed the distribution rights partnership for the anticipated drama ‘Count Your Lucky Stars’ at the ATF market yesterday. Present at the agreement signing were Chairman and CEO of Medialink Lovinia Chiu and 100UU Chief Financial Officer Bruce Li. ‘Count Your Lucky Stars’ is about a guy, played by Jerry Yan, and who’s unbelievably lucky and a woman, played by Shen Yue, who seems to have a penchant for attracting bad luck.

Jerry Yan was known for his role in the hit drama series ‘Meteor Garden’ released back in 2001, while Shen Yue played the female lead in the 2018 version of the show.


G.H.Y. Culture & Media: Celebrating success with the launch of ‘The Little Nyonya’; a production that was shot in Malaysia. The re-make is meant for the Chinese-speaking territories across the globe, and tells a unique Peranakan tale. 25

06 Dec 19 DAY 3

CONFERENCE The Scoop on Trending Formats Michelle Lin, Manager (APAC) of K7 Media presented a comprehensive overview of three format trends. The first is ‘Mashing Up’, where different genres are mixed into a new show. The music theme is strong – ‘Your Moment’ is a Filipino reality talent competition combining singing and dancing – ‘Our Song’ is a Chinese singing variety show that pairs new singers with veterans; and ‘Sing or Spin’ is a singing competition from China. ‘Skull and Roses’, an Indian dating reality show, places contestants on two different islands. ‘You! Answer!!’ is a Japanese quick-fire quiz show. The second trend is ‘Social Change’, started last year by ‘Oops We Forgot Your Order’. Two formats that continue this heart-warming trend are also from South Korea – ‘Fund Together’, where celebrities pitch ideas for a social change project, and ‘Little Forest’, which has celebrities taking care of city pre-schoolers in a natural forest house. The third trend is ‘Everyday Life’. ‘Double Bed’, a Japanese dating reality show, pairs a Japanese actor and

K7 Media’s Michelle Lin presents the latest in format trends across APAC.

Chinese model in a house for seven days. ‘Red Carpet Survival’ from Japan has contestants taking on the role of a bodyguard and leading a VIP along a red carpet through a gauntlet of outrageous obstacles. ‘Myntra

New World, New Formatting Deals If the formats business is to continue thriving in the new media landscape, then it must adapt to the requirements of streaming platform viewers. Michel Rodrigue, CEO & Partner of The Format People Inc, moderated a discussion panel on the changes and future of the formats industry. iQIYI’s Senior Vice President, William Chan, spoke about the changing needs of audiences. Format license deals used to be struck based on the business models of linear broadcasters. However, the on-demand nature of streaming platforms has created a newer, larger audience – and format licenses and distribution must address their needs. Mike Beale, EVP of ITV Studios UK, agreed with William, and shared how the biggest streaming player – Netflix – has created its own ecosystem for licensing and distribution. He also observed that “as global streamers become more sophisticated, they’ll want content that works everywhere, and linear players with streaming 26

services will want content that works locally.” Every deal is unique and different now, agreed Sabrina Duguet. The EVP (APAC) of all3media International said that instead of global rights lasting in perpetuity, streaming platforms were now willing to make a compromise depending on strategy.

Fashion Superstar’, from India, hunts for social media fashion influencers. Finally, in ‘Time is Money’, Japanese celebrities reveal their time-saving and hilarious life-hacks.

As global streamers become more sophisticated, they’ll want content that works everywhere, and linear players with streaming services will want content that works locally. – Mike Beale, EVP of ITV Studios UK

This new world order means that content creators should pitch to both linear broadcasters and streaming platforms, advised Senior Industry Consultant, Vivian Yin. Popular shows could be available for both platforms, in different versions. The appetite of streaming platforms is now surpassing that of linear broadcasters.

(L-R) The changes in the formats business in the New World, discussed by Michel Rodrigue of The Format People Inc, Sabrina Duguet of all3media International, Mike Beale of ITV Studios UK, William Chan of iQIYI and Vivian Yin.

CONFERENCE Rise of a New Asia: ATF’s Chinese Pitch Becomes a Fresh Source of Effective Concepts The second year of the ATF Chinese Pitch has proven that this platform has been an effective one, with entries more than doubling from last year, and the criteria expanding to include global players, as G.H.Y. Culture & Media decided to invest in a translation element as well. Reflecting an authentic backdrop of industry procedures, the ATF Chinese Pitch 2019 had a further injection of passion, as finalists went all out, and gave it their all, pitching before three industry veterans in a closed-door session. Pitch judge Guo Jingyu, Group CEO of G.H.Y. Culture & Media, noted that the competition this round has been more intense compared to the year before, which was very encouraging for the judges, going into the session. A majority number of finalists were from Singapore, and favourites among the judges were entries that pulled at the heartstrings. The winning entry from the Online Drama category, 更衣室里谁的手机 as well as the Theatrical/Online Movie category

Judges (L-R): Renowned screenwriter, Xiao Ji Xiang Tian; G.H.Y. Culture & Media’s Group CEO, Guo Jingyu; and iQIYI’s Vice President, Chen Xiao.

winner, 再见,老 Hero! seemed to be works inspired by deeply personal experiences. With questions from the judges overrunning extensively with each pitch, and answers involving tears and determination, the session itself was an experience unlike any, as both sides became engrossed in comprehensive discussions. Ideas were exchanged and individual viewpoints on their local film industry shared. This included an interesting comment by a finalist that highlighted how she felt that Singaporeans/Malaysians are not fluent with Mandarin, which might prevent them from fully portraying the essence of the film. However, it didn’t stop a Malaysian from being one of the winners.

A successful session, with happy winners.

Winners ONLINE DRAMA: 更衣室里谁的手机 | Company - Ang Yee Sien | Country/Region – Malaysia About a socially awkward girl who picks up a stranger’s phone, which leads to a series of events that changes her life. ONLINE MOVIE: • 再见,老 Hero! (See You Around, Old Hero!) | Company - Low Hui Hui | Country/Region Singapore About a well-loved neighbour who comes back from the afterlife as a super hero. • 赤城 | Company - Link Sng | Country/Region – Singapore Set in urban Singapore, 赤城 is a gritty and chilling detective drama, in the dark tones characteristic of film noir.




06 Dec 19 DAY 3

Kids These Days Having all been kids ourselves, we think we know what kids want, right? Seasoned buyers caution against this presumption. There have been great changes in the past decade because of the shift from traditional to nonlinear and digital programming. Vijay Subramaniam, Head of Content at Amazon Prime Video India said that is a positive change as storytellers are not conformed to traditional norms. Moreover, kids today are digital natives. Leslie Lee, VP, Kids, WarnerMedia Entertainment Networks pointed out that while adults expect slick, expensive content, kids want quirky formats because they are used to user-generated content on Youtube. Production quality is not as important to kids as content that engages their attention. The habits of today’s kids are also different. Vivek Bhutyani, Co-Founder & CEO of Lattu Kids, noted that in India, many kids do not have access to TVs but there is huge consumption on smartphones. Furthermore, kids want interactivity as they learn, and the smartphone platform readily allows for

(L-R) A session with Rajiv Chilaka of Green Gold Animation, Leslie Lee of WarnerMedia Entertainment Networks, Vivek Bhutyani of Lattu Kids, Vijay Subramaniam of Amazon Prime Video India, Yoshiya Ayugai of August Media, Nick Walters of Hopster and Annie Loi of Wildbrain looking at types of content for kids.

that. Gamification spikes kids’ time on this platform. Anne Loi, EVP M&A and Chief Commercial Officer, Wildbrain was enthusiastic about Asia’s potential for buyers. Compared to other markets, Asia is “really popping”, and there are still unexplored regions. All the

Children’s Animation Presents a Huge Opportunity for Content Creators This year’s ATF Animation Pitch saw over 50 entries, from which five were shortlisted. Rajiv Chilaka, CEO of Green Gold Animation opened the session, explaining how the dearth of children’s content presented “a huge opportunity for content creators.”

The winner of the pitch was ‘Weatherville’, by China’s Riki Group and Fun Union. The 3D-animated show is about a group of magical weatherpowered characters who handle meteorological issues. Edward Barnieh,

panelists agreed that data analytics are extremely useful. For instance, data helps determine consumption trends and to customise content for individual kids. However, Nick Walters, CEO of Hopster cautioned that while data is helpful in running the platform, data should not determine content.

Manager (International Originals) Kids & Family (APAC) of Netflix, remarked on its potential, because it was “really great looking, and the weather concept was simple to understand, so it can cover a range of storylines.”

India’s Afternoon Dreams presented ‘Battu Ranger,’ about the adventures of a seven-year-old boy and his animal friends as they defend their colourful home island from environmental threats. ‘The Lost Chronicle’, a wuxia style adventure series about seafaring adventurers who battle diverse mythological creatures, was Malaysian Garang Picture’s offering. Hello Motion showed the panel ‘Fun Cican’, based on the popular children’s book series of the same name in Indonesia, about a rabbit-themed character Cican and his friends. ‘The Curious World of Linda’, is about the eponymous Linda’s adventures in her mother’s curiosity shop, developed by Taktoon Enterprise from South Korea. 28

The Animation Pitch judges, Justin Deimen of 108 Media, Rajiv Chilaka of Green Gold Animation, Leslie Lee of WarnerMedia Entertainment Networks, Vijay Subramaniam of Amazon Prime Video India and Edward Barnieh of Netflix presenting the cheque to Riki Group and Fun Union.

CONFERENCE Got a Great Idea? Give it Time! Talent is important, but script is king. Deepak Dhar, Founder & CEO of Banijay Asia, explained that having good talents for a good script is “like the right cherry on the right cake”. But talent alone is not enough. However, talent deals were one of the pillars of Banijay’s success in India’s celebrity-heavy market. The other pillar was the catalogue of shows that they brought to the territory. Deepak spoke at a fireside chat moderated by Founder & CEO of 108 Media, Abhi Rastogi. The landscape has changed so quickly that a lot of tricks of the past do not apply to the content vocabulary, he cautioned. For Deepak, he had to unlearn much of what he had learnt in his previous companies. He also spoke of the importance of respecting development time. A good idea needs at least eight months of development for unscripted formats, while scripted formats require a lot more time. Many producers who have a great idea want to put it into

(L-R) 108 Media’s Abhi Rastogi and Banijay Asia’s Deepak Dhar believe that the landscape has transformed drastically.

production immediately, but they must learn to give it some development time. “Does that mean that digital platforms should be the first port of call?” asked Abhi, in response to the hyper speed growth of the market. The basic

numbers revealed that linear is still growing at a good pace, even though data consumption is doubling, or even tripling as we go on, said Deepak. While most people want to go with digital or linear, Banijay would be “looking at both sides.”

develop local expertise and also because the perception that the best quality comes from outside Asia is not necessarily true.

(L-R) 108 Media’s Justin Deimen, Zee Studios International Distribution & Global Syndication’s Vibha Chopra and CJ ENM’s Hwang Jin-woo are confident that Asian content can travel globally.

Renaissance of Local Asian Content

Increasingly, we are seeing Asian content being exported globally. Justin Deimen, President – Film/TV of 108 Media talked about various collaborative combinations with the West, where the project might be co-produced out of both Western and Asian countries for the global market. Co-production is a way to hedge bets in expensive ventures. He advised that even if the content is developed for worldwide markets, we should include Asian writers and talent. This is to

Vibha Chopra, Business Head of Zee Studios International Distribution & Global Syndication, agreed. Asian producers are only now waking up to the idea of securing Asian IPs while Western countries have seen value in it before Asian markets did. She urged Asian content producers to be more confident that Asian formats can travel, and noted that there is much greater notice and demand for Asian content because of increasing acceptability. Through OTT platforms, content is cutting across boundaries. Justin called it the perfect storm; while there are more global buyers for content, people become interested in Asia. With the rise of Asian money, Asia is where the dollars are being spent, and also where chances of content being picked up are, and where the risk is. With increasing collaborations between Asia and the West, language barriers are inevitable, said Hwang Jin-Woo, Head of Global Content Development, CJ ENM. He advised that processes should be established early. Justin noted that both sides can learn from each other. 29

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CONFERENCE 50/50 Co-productions are Like Marriage “Think of a co-production as a business you are doing with a partner for a limited period of time,” said Graeme Stanley, Chief Commercial Officer of Insight TV at a panel about coproduction and financing. Decisions would be made by whoever has the most money. “50/50 co-productions are like going into business and getting married at the same time,” was his extended metaphor, with the obvious pitfall being a ‘divorce’. The session was moderated by Abhi Rastogi, 108 Media’s Founder & CEO, who pointed out that “there hadn’t been a lot of big co-productions in Asia, but many service productions.” Quark Henares, Head of Globe Studios, noted this could be attributed to cultural and governmental factors, such as foreign investment in mass media productions. However, coproduction is still nascent in this region, so people are “feeling their way around things.” The good news is that the European co-financing and co-production

(L-R) Moderated by industry veteran Abhi Rastogi from 108 Media, the finale keynote featured Quark Henares from Globe Studios and Graeme Stanley highlighting the challenges of co-productions.

model is slowly becoming a reality here, with countries like Singapore and the Philippines providing grants for productions shot in their respective countries, and other Asian territories following suit.

from a certain country and another character from somewhere else. Hence, it is sometimes easier to do unscripted co-productions, like those which have participants from different countries competing against each other. The millennial audience is a boon, But it can be difficult to create believable however. “Millennials are far less biased stories for scripted co-productions. about where content comes from, as long Quark gave the example of how forced a as it deals with issues relevant to them,” show can feel, when it has one character said Graeme.

Seeding Secrets SEED your content. That is the secret to digital monetisation for content creators, said Stadium Media’s Founder & CEO, Mitch Mallon, at an informative and fast-paced session on the subject. He went on to break down the acronym – ‘S’ stands for the Search for audiences, ‘E’ stands for how you Examine the ways they find you, the next ‘E’ stands for how you Entice your audience with teasers, and the ‘D’ stands for being able to Deliver what you promised. Artwork is incredibly important. 30

You have an absolute millisecond to grab their attention. ” – Mitch Mallon, Founder & CEO, Stadium Media

“You have an absolute millisecond to grab their attention,” Mitch said about the artwork of the show. One should consider all the devices that the show’s poster and collaterals will be viewed on and what versions would need to be related. He also covered the different rights available to content creators – IVOD and TVOD, EST, SVOD, and AVOD – as well as the array of methods of getting a film to the audience – sales agents, aggregators, distributors, and self-distribution. Not all film genres work for digital platforms, however. He pointed out five different genres which worked well – horror, documentaries, good quality dramas, rom-coms with recognisable cast, and content that is validating, feel-good, and religious. Is there still a piece of the pie left? Mitch highlighted that the digital spend on EST alone is a $2 billion business in the US and North America has 60% of the current SVOD reach. iQIYI is projected to have 80 million Asia-Pacific SVOD subscribers in 2023, with Tencent getting 82 million. So the answer, for now, is a resounding yes.

CONFERENCE Pitching to Win it The ATF Formats Pitch competition took place Thursday, with strong showings this year. China’s Hunan TV presented ‘The 25th Time Zone’, a participative music festival with four stages. Using a smart energy wristband, the audience votes for their favourite team by staying at that specific team’s stage. Japan’s TV Asahi Production pitched ‘The Gacha Gacha Show’, a cooking competition based on the Japanese gacha gacha machines, which dispenses a capsule at random. Participants are required to use all ingredients they get, even if they end up with problematic ingredients. The format from Turkish Sera Film Services, ‘Get Rekt’, combines reality TV competition with eSports, the fastest growing and most watched sports. While the average age of an eSports competitor is 24, the show asks if older contestants can be trained and win against these young eSports competitors. The unanimous winner was ‘Don’t Block The Numbers’, from Gamaliel Paulus S. (Gammy), Indonesia. The

(L-R) Judges Mike Beale of ITV Studios UK, Vivian Yin, Ilan Astrug of Warner Brothers International TV Productions, Sonia Fleck of Bomanbridge Singapore, Nomin Chinbat of Mongol TV presenting the award to the winner of the ATF Formats Pitch, Gammy.

board-game format was familiar but with a winning twist, had contestants answer questions to win money

prizes. While clues could help, revealing letter clues will block the numbers and lower earnings.

Dramas That Define Asia Avril Blondelot, Head of Content Insight at Glance, presented an insightful overview of the drama trends in Asia. Fiction, mostly dramas, is important in Asia (60% of programming), and increasing. Original concepts dominate, representing 78% of new scripted series.

‘Gadis Pemimpi’ (Indonesia), ‘Fighting Youth’, (China), and Your Home is My Business (China). ‘Nagi’s Long Vacation’ (Japan) shows how turning 30 is a popular theme. Notably, there is a trend towards strong women, such as in ‘The General’s Daughter’ (Philippines).

Asia loves ‘Impossible Love’. Stories about relationships form 70% of all new scripted series. Audiences lap up tragic dramas, such as ‘Tieng Set Trong Mua’ (Vietnam) and ‘Cetera Hati Diya’ (Malaysia); and singular couples, which include ‘Kahaan Hum Kahaan Tum’ (India), and ‘The Effect’ and ‘Dark Blue Kiss’ (both from Thailand).

The final trend is ‘Mysteries and Dualities’. Asian dramas build strong

The next trend ‘Aspiring Youngsters’ reflects the fact that much of the population in Asia is young. Comingof-age dramas are popular, e.g. ‘Danh Cap Giac Mo’ (Vietnam), and ‘Tara From Satara’ (India). ‘A Little Reunion’ (China) highlights the importance of education in Asia; collectively, youth, work and education themes form 20% of all new scripted series. Audience also want stories about building a career:

imaginary worlds such as ‘Hotel Del Luna’ (South Korea) and ‘The Untamed’ (China). These vivid realities are used to feature human drama such as ‘Hilang Yang Kembali’ (Malaysia), as well as men in action. Examples of the latter include ‘The Glorious Era’ (China) and ‘Kailasapuram’ (India).

Avril Blondelot of Glance presents on drama trends in Asia. 31

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ARIYA BANOMYONG: USERS FIRST, & ALL ELSE WILL FOLLOW BEC will have its own OTT platform, Mello, being revamped and rebranded as “3+”, by the beginning of 2020. At the same time, the competition between OTTs means everyone is eager to acquire local content, which plays in BEC’s favour, balancing its own service and OTT partners. ATF’s Show Daily Editorial Director sits with Ariya to ask: ATF: Will profitable content be original or bought, looking into 2020 and beyond? ARIYA: There is no secret recipe when it comes to content. Whether original or bought, it starts with the content itself, and in reality, there is a need for both models. They play a different role; you need to build a library, a content catalogue, so you can become a content destination eventually to users. You cannot scale original content to that extent, and you probably should not either; producing original content that becomes a hit, the talk of the town, is hard. But original content is required today to differentiate one’s platform, and to lower dependency on studios that own content; look at the battle between Disney and Netflix as an illustration. ATF: Why would BEC be any different, seeing how the market is riddled with one OTT or another? ARIYA: It does not matter how big or small of an OTT one is, every player needs quality content at the end of the day. And this is where we believe our differentiation lies: content is our DNA, BEC has been producing top-rated series for the past 50 years, has the best producers in Thailand, and the most popular super stars are with BEC. ATF: Will new channels be created to reach the people? ARIYA: Wherever users are, that is where we should be. I think, today all screen sizes are covered, be it TV, tablet, or smartphone. Where I anticipate changes, is on the user experience. Take TV as an example, we are just scratching the surface of the so-called “connected or smart TV”; Apple, Android, the largest tech companies are striving to penetrate and own that space. What does this tell you? The TV screen is not dead, but what is inside it, is about to change drastically. People in the TV world are obsessed with the programming grid. My belief is this existing business model is obsolete, and soon enough, there will no longer be a programming grid, because this is what consumers want: they want to watch the 32

content they want to watch, when they want to watch, whichever screen is most convenient at that point in time. Users first, and all else will follow: it is one of the values at Google (I used to work at Google), and a value I have carried through my career. ATF: HOOQ has had a relationship with Grab, and Gojek was once said to be working with Vice, before having their own studio. Is this the way forward?

others, either building a content business, or partnering with content providers, so that even if as a user, I am not hailing a ride, I still have a reason to open and use their app. ATF: What concerns will you be looking into apart from what has already been spoken about at conferences this year?

ARIYA: The need for tighter industry collaboration to create a sustainable ecosystem, or at least, a healthier one. If you look at platforms like YouTube, or Facebook, ARIYA: Whatever your service is, to become their business model is based on scale: a so-called “super app”, which is what anyone billions of users, millions of content providers claiming to be a platform, be it Grab, Go-Jek, and creators. But if you look content and many others, is after, there is one thing you partners, while they get revenue from these need to become: a daily destination. Do you platforms, it is not the future for them. To be take a taxi, hail a ride, order food, buy things more specific, in Thailand, CPMs are in the online every day, all day? Probably not. That is 3USD range, it is not sustainable. Quality where content comes in, it is the best and most content, movies, series, whether they are engaging traffic driver. Hence why you see, tech produced for TV or OTTs, the production giants like Amazon, Alibaba, Grab, and many costs are no different.


VETERANS OF KESHET: COVERING ALL BASES For a company that’s been around for a while, it is expected that their presence at ATF goes beyond the basic title sales. “We also offer access to creators, writers, and producers, and each sale comes with a production manager attached,” said Gary Pudney, Keshet International’s General Manager of Keshet Asia. “So we offer very much a package deal, which may also include talent in certain locations.” As no two deals remain the same, Keshet is prone to assessing and negotiating each deal on its own merits, doing away with a rigid template of T&Cs to follow, employing flexibility whenever and wherever possible.

HITTING ASIA FOR THE FIRST TIME AT ATF Brand new scripted drama series • Our Boys • Total Control • Secret Bridesmaids Business • The Trial of Christine Keeler • The Stylist

It has given buyers such opportunities, especially from a source that has one of the richest scripted slates of any company. Furthermore, Keshet’s titles come from all four corners of the globe, and their portfolio promises continued expansion going forward. “A good story is a good story,” said Gary. “Whether it be from Chile or Croatia!” The company’s hope at ATF 2019 is really to conclude deals they started from MIPCOM, building their pipeline of content as they go into 2020; presenting new and exciting titles and communicating the diversification of content Keshet International now has to offer – from star-studded English language dramas, to high octane primetime formats and quality factual finished tape.

Brand new non-scripted format • Singletown • Drive Master • The Hit List

We will also be bringing with us over 200 hours of finished tape series (primarily factual) produced by our UK production companies. Everything from trucks, trains, cars, killers to biscuit factories and something a little bit more ‘adult interest’ too. Gary Pudney General Manager (Keshet Asia) Keshet International

GRAPHIC INDIA: BAAHUBALI AND BEYOND Armed with genres including Animation, Superheroes, Action, Adventure, and Fantasy, Graphic India’s second coming to ATF reflects Navin Miranda’s view of ATF’s platform that has worked for him once before. This year, Navin is excited to present Cristiano Ronaldo’s Striker Force 7, along with Baahubali. His hope is to close co-production deals in relation to Striker Force 7, alongside global licensing for this project. As well, Navin is also focused on closing foreign sales for Astra/ Baahubali and Chakra.

Cross-pollination of Indian animated content to overseas market is imperative in understanding some of the oldest and greatest stories ever told. Navin Miranda Head, Business Development Graphic India 33

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LAYERS OF DIVERSITY GIVES KLAY ENTERTAINMENT A LEG UP India is picking up the pace in the race of becoming a formidable name in the IP sector, epically in the kids’ animation space. Apart from the studios creating content, the broadcasters and OTT platforms seem to have joined in, riding in the front seat to cater to the demand of original content. “There is now a much larger demand for diverse content,” said Kunal Daswani of Klay Entertainment, who comes to AFT for the first time this year. “The more layers of diversity you have, the more likely the content is to succeed. For us, we have developed new animated IPs because we realize that animated content travels far better than other modes.” This year, Klay Entertainment has been focusing primarily on developing new animated IPs to add to their large existing line up of animation content. In addition, Kunal highlights that they are also strong in creating Documentaries, Health & Wellness and Indian Cultural programming. Over the years, Kunal has gained understanding that no two territories are the

Our main objective at this year’s ATF is to sell/license our new shows. Apart from this, we are also looking forward to understanding the pulse of the market and expanding our network of production houses. Kunal Daswani Director Sales and Marketing Klay

same and therefore, the need to be flexible with the pricing of their content in order for it to travel and get popular. “For example, we might license our content in the China market at a better rate in order to make the characters popular and recover the costs with L&M deals,” Kunal noted. And so, ATF will be Klay Entertainment’s most important market in the Asian territory. Apart from the opportunity to meet the largest Asian


players, and network with like-minded people, Kunal says he also acquires a lot of insight on the latest trends and key statistics via the conferences held throughout the day.

NEW ANIMATED IPS TARGETED AT PRESCHOOLERS • Rana and Riv’s Wonderforest: A fun fantasy adventure series • Chota Shark: A funny, non-verbal animated series • Princess Mia: A fantasy series

Mohanak explained, currently looking at making their cartoons more reachable to kids all across the globe at very affordable prices. “We are open to negotiation when it comes to offering children the best content.” The second powerful element Mohanak holds is his appreciation for his Indian roots.

Mohanak Krishnan, Head of Programming of Magical 7 Studios has two very simple, but powerful elements in his bag of magical treats.

“Today, kids need to cope up with the world around them,” said Mohanak. “And cartoons help them do so with fun and interesting ways of storytelling.”

“India is rich in culture and heritage, and has got interesting stories and folklore to offer to the world. We are happy that a lot of Indian content is being recognised across the continents, and the world has become interested in the long and fascinating histories of India.

First up, is his latest offering at ATF; Kappi and Tiga is Magical 7 Studios’ bestselling title at the moment. It is mainly popular for teaching kids about social attributes, via content that is filled with slapstick comedy.

Mohanak highlighted that comedy and information are essential in helping kids learn important lessons, but in a very lively and effective way. “Our characters are easy for kids to relate to, making them easily connectable,”

“I would say, with Indian content travelling all over, it is not just the content that is popular, but it makes India, its culture, heritage, and tourism, prevalent as well,” Mohanak concluded.


Mohanak Krishnan Head of Programming Magical 7 Studios

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BETA FILM: TARGETED DEMO, DEEPER INTO ASIA great importance that the message in all remakes stays the same, thus preferring to be heavily involved in the remake process. Beta’s role is to sell the IP and help bring NRK and local production companies together.

Youth content has been a huge hit for Beta Film GmbH, looking at the global success of NRK’s SKAM, which has seen remakes from the US to France, Spain, Germany and Netherlands, as well as Korea, Japan and China, among other markets. “The French version has been sold in Korea, and it is also quite popular in Japan and China,” boasted Nikolaus Sivaloganathan, Sales Manager Asia, AUS and NZ for Beta Film GmbH. “Now, we are hoping to find the right partners in Asia to make local versions.” NRK are the original producers of SKAM, noted Nikolaus. Their intention is to empower teenagers worldwide, noting therefore of the

PTS: TRIPLE THREAT SUCCESS & LADY THE BUTTERFLY When The Teenage Psychic (co-production with HBO Asia, Public Television Service (PTS) and IFA Media) hit screens, it brought the potential of collaboration among the Asian nations to a new level, taking advantage of every strength each side brought to the table. The triple threat move made the industry sit up to pay attention as success was as clear as day. For PTS, TV drama series is still the go to content in the TV market. “Taiwan used to famous for producing romance dramas and long-running telenovelas in Taiwanese. This can no longer can satisfy the audience,” admitted Jessie Shih of PTS. “In recent years, PTS has since diversified into drama series with expanded 36

My hope is that Asian content picks up. I think it could and definitely should be travelling more than it is. That being said, the growth of Asian shows has been remarkable, and I am sure that in this globalised world, it will find its place, even among us conservative Europeans.

SKAM’s success is very much one based on the lifestyle of the audience it targets. Nikolaus sees it as a two-prong advantage: the videos, as well as the social media accounts by the characters themselves. “On the website and Instagram accounts, videos and pictures were posted in real time. For example, when high school teens were on their lunch break, a video was uploaded

GENRE STRENGTH • High End European productions: Babylon Berlin, Agent Hamilton • Focus: Bridging the gap between production values in USA and Europe

Nikolaus Sivaloganathan Sales Manager Asia AUS and NZ Beta Film GmbH

to social media or the website with the characters of SKAM also on their lunch break. “This led to teenagers in Norway to constantly check their social media accounts and it gave them the feeling that they weren’t following celebrities, but rather that these characters were their friends. “Of course after its surge in popularity, all videos were spliced together to create a format fit for VoD or TV.

genres and relevant social topics, which have been met with great responses, either via awards or market feedback. This has changed the landscape of Taiwanese drama.” AT ATF 2019, PTS intends to feature their flagship drama series, Lady the Butterfly, to be delivered at the end of 2020. The tale intertwines romance with heroic journeys in Taiwan, set against its maritime frontiers, which were cultural crossroads in the age of imperialism. Lady the Butterfly, adapted from an award-winning novel, was directed by Tsao Jui-yuan, the director of acclaimed dramas, A Touch of Green and Crystal Boys. As one of the most expensive TV dramas ever made in Taiwan’s history, it reflects PTS’ open disposition towards the latest development of new technology and business models, including formats and re-makes or books, offering all kinds of licensing models diverging from original IPs.

Our pricing is mostly based on the willingness to pay of our licensees and partners. The licensing price of our programs reflects the quality of the work, and we believe programs with good quality will attract buyers. Jessie Shih PTS


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HARI: GIVING BUYERS WHAT THEY WANT For a while now, HARI International, producer/ distributor who specialize in bringing featurequality CGI animation to the small screen, has been on uptake as the market continues to take a shine to slapstick cartoons without dialogue, which terminates the need for dubbing. At ATF this year, HARI International has on hand, their hit series, Grizzy & the Lemmings 1 (78 x 7’) and Grizzy & the Lemmings 2 (78 x 7’), with added pre-sale opportunities for Grizzy & the Lemmings - World Tour (78 x 7’). This will be its third season, which is currently in production. The company also hopes to close the financing of Mystery Lane (26 x 22’), as ATF offers a slew of financing profiles, if you know where to look. Despite success, HARI has no plans to rest on their laurels, and will be sailing into unchartered waters as they embark on a new challenge: producing their first 26 x 22’ dialogued series. “From a creative point of view, with a 22 minutes series, we can explore new narrative structures; we have the possibility to develop

complex stories and compelling characters, noted Adeline Tormo, Head of Sales at HARI International. While they are not releasing any new series at ATF, Adeline emphasized that the HARI’s strategy is to develop, produce and distribute original IPs only and to turn them into brands. “We work, explore and deeply develop the universes of our IPs to establish long-term brands,” added Adeline. “It’s what we did with Grizzy & the Lemmings: 3 seasons greenlit in 4 years, a feature film in development, a wide range of products developed and soon to be released in China, as well as an online shop launched in November to sell the official products worldwide.” There is indeed much to do, and for HARI, this is the time of the year when they dedicate themselves to the Asian market, for both sales and presales. “ATF is the perfect place to meet with new prospects, and to take time to develop relationships with clients from all over the APAC territory.”

Adeline Tormo Head of Sales HARI International

BRITEL: CHANNELLING THE FINER THINGS IN LIFE Gastronomy, travel, and living a healthy life, are themes that never gets old, and for Britel, its growth in demand is evident. “We reflect this mentality of life in the content we offer via channels, which include Ñam. tv (cooking), (wine), Escapa (tourism), and the Fitness channel (training, nutrition and health advice),” explained Alvaro Gutierrez, Director of Britel, and highlighting the company’s commitment to cultural, educational and entertainment genres. In addition, Britel’s Taurino is a channel linked to the tradition of bulls, and presents bullfights, documentaries and interviews about everything related to the world of bullfighting, while from an educational point of view, its Tu Inglé teaches viewers to speak English. “Of course, we cannot ignore Global Telenovelas that transmits soap operas from different generations, as well as Global Trends, 38

that broadcasts content oriented to the female universe.” Alvaro does admit that the presence of Spanish content in APAC has left much to be desired, but seeing how the continent carries more than three million Spanish speakers, as a first or second language, he feels the potential of introducing more Spanish content is overwhelming. And so, Britel comes to ATF with channels that have very competitive prices in the market and are positioned as quality and low cost alternatives for customers. “In addition, we customise our offer for each client, taking into account their situation, location and exponential number of subscribers,” explained Alvaro, who added that they are constantly looking for new quality content, attractive to the market. “We believe that there are new producers with great potential, and we must bet on them,” concluded Alvaro.

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PRODUCTS THE AURORA TEAGARDEN MYSTERIES The Aurora Teagarden Mysteries follow librarian Aurora “Roe” Teagarden, who is a crime buff, lover of mystery novels and a member of the Real Murders Club. The club meets to analyse famous crimes and mysteries. Unexpectedly, she finds herself having to solve real life murders in her small town. PARTICIPANT: MUSE DISTRIBUTION INTERNATIONAL INC.

INSIDE SUSPICION Alice’s happy life is turned upside down when Thomas, her husband, is suspected of being Antoine Durieux-Jelosse, the assassin who vanished 15 years ago after murdering his entire family. Years have passed, but Police Chief Lancelle has never given up her search for the man who committed that unthinkable crime. She is determined to prove that Thomas is the one she has been searching for.

SULTAN The passionate love between Sultan and Seyhmus turns into an uncertain waiting game when Seyhmus disappears on the way to France for political reasons. Sultan can’t even wish or pray for a child, despite living in a city in where many Muslim Saints had lived. After 15 years, Seyhmus returns home, but he brings a child with him. This is when Sultan’s story begins. EXHIBITOR: EZEL MEDIA


ORDINARY GLORY A workplace drama that follows a manager, who never gets promoted, and his new intern. Manager Wu Ke Zhi has a keen eye for investments, but his strengths are overshadowed by a glaring weakness. New intern Sun Yi Qiu, is initially rejected by Wu, but during a critical moment, cleverly convinces an important client to stay. Sun gets to complete his probationary period and a gripping story between a mentor and his intern begins. PARTICIPANT: CROTON CULTURAL MEDIA CO., LTD

DREAMCARS Breath-taking Italian supercars, extraordinary British coupes, sophisticated French limousines, exclusive stunning American muscle cars, perfect German convertible dreams. Dream Cars celebrates the ultimate car models of each country, and leading car manufactures of the world. You dream it, we show it. EXHIBITOR: MOTORVISION TV

LIP SYNC BATTLE The show features celebrities going head-to-head lip-syncing the song of their choice. It includes hilarious re-enactments of the original artist’s iconic routines. The audience then vote for their favourite and the winner takes home a wrestling belt and bragging rights. Hosted by a renowned entertainment icon. 30-minute per episode. EXHIBITOR: 108 MEDIA (SINGAPORE) PTE LTD


THE APARTMENT Over the course of seven groundbreaking seasons, The Apartment has established itself as the premiere designcompetition show in Asia. Under the watchful eye of international design superstar and principal judge, Laurence Llewelyn-Bowen, dozens of passionate amateurs, pampered celebrities, and driven young professionals have braved razor-thin budgets and exacting timeframes to create dozens of stunning rooms in one-of- a-kind developments throughout Southeast Asia. PARTICIPANT: ALLRITES HOLDINGS PTE LTD

30 March – 2 April Cannes, France

new connections new business new experience introducing the global content market for the future

06 Dec 19 DAY 3



Although 13-year-old Metokkarpo lives in a boarding school for orphans, her divorced parents are alive and well, leaving her to be raised by her maternal grandparents, who make her school-holidays hell by continually denouncing her father. While her mother unsuccessfully remarries, Metok embarks on a journey to find her father in her native grassland. Discovering his happy life with a new family, she is troubled by complex feelings she can only express through her imaginative drawings.

RuPaul’s Drag Race is the legendary search for America’s Next Drag Superstar from a group of 14 gorgeous and outrageous drag performers. EXHIBITOR: PASSION DISTRIBUTION

A JOURNEY BACK HOME Liyenne, a 22-year-old Dutch girl, embarks on a journey to China - a country where she was born and given up for adoption – to find answers about her identity, and confront her lifelong fears.



MEDICI: MASTERS OF FLORENCE Set in Florence, 1429. Thanks to a contract stipulated with the Papacy 20 years before, Giovanni de’ Medici has transformed his family bank into an unprecedented economic force. However, Giovanni is mysteriously murdered, and his sons, Cosimo and Lorenzo, are forced to face a range of enemies plotting to oust the Medici from power. EXHIBITOR: LUX VIDE



The Indians consider Uttarakhand as the land of the gods where myths were born amid the giant mountains. This region, where the Ganges springs, offers moving encounters and magnificent landscapes. The river outlines pilgrimage routes that are among the most revered on the Indian continent. In a region covered with mountains and forests, nature seems to have preserved something of the ancient tales; an atmosphere of the sacred is even perceptible by the least religious visitor.

This series reveals one of New Zealand’s most dangerous jobs and gives audience a unique insight into the sub culture of sea urchin fishermen. Follow 6 courageous and charismatic characters as they battle the tempestuous elements of Southern New Zealand. Faced with freezing temperatures, inherent threat of shark attacks, and the perils of free diving, these real cowboys of the southern oceans take us on a wild ride, as they look to get rich in the pursuit of Spiky Gold!



DANGEROUS MOMS Dangerous Moms tells the story of 4 mothers who see themselves involved in an involuntary crime, which will make a mess of all their lives. Our 4 protagonists accidentally become part of a murder and see themselves trapped in a delirious spiral of crimes to protect their secret. This innovative series combines black comedy with thriller, horror, comedy or the drama of everyday life. EXHIBITOR: MEDIASET ESPAÑA COMUNICACIÓN




An original concept collaboration between Fritz Productions of Amsterdam and ABS-CBN, the largest TV network in the Philippines. Open only to duos and groups of all ages from around the globe, Your Moment is the breakthrough 2-in-1 talent reality competition that seeks to find not one, but two winners from the fields of singing and dancing in a single show. Featuring a state-of-the-art set that houses a unique and interactive rotating platform, the three judges, two hosts, and audience members will witness a spectacle like no other! . EXHIBITOR: ABS-CBN CORPORATION

Two young men, Jin-yu and Weiwei, both face decisions of life and death respectively. Bedridden for 7 years, Jin-yu faces the struggles of being alive, yet quadriplegic. Wei-wei, however, is undecided whether to pull the plug on his bedridden mother. Should Weiwei let go of the woman who’s never given up on him? EXHIBITOR: FLASH FORWARD ENTERTAINMENT

BORN IN 2000 This story follows the growth of two Chinese kid born in 2000 for 12 years. Ryan Chi was the Child King in his kindergarten, while Rose is a girl who is full of artistic temperament. They were both born after China joined the WTO, and both have encountered the pains of growing up, learning to overcome it and eventually finding their true selves. EXHIBITOR: ORIENTAL INTERNATIONAL MEDIA LIMITED

PERFECT PARTNER CINTA SUCI (TRUE LOVE) Suci who is entangled in problems must marry Marcel, because she desperately needs money for the costs of operating her husband and child, so that they both stay alive. Whereas on the other hand, Monica really hates Suci because she thinks that Suci forced Marcel to marry her.

5 GOLD RINGS 5 Gold Rings is the iconic connected game show in which every pixel counts. Contestants answer questions by placing gold rings onto an animated picture, displayed on a huge LED floor. The prize money per level gets higher... whereas the rings get smaller!



Although Jiang Dalin takes over her father’s company in a crisis, she is a real rookie in public relations and has been challenged by her father’s partner Stella from the very beginning. In order to counter this, Jiang finds a public relations expert, Wei Zhe, as the fourth partner of her company. After they resolve various PR cases, they not only find their true selves, but also become superheroes of the industry.. EXHIBITOR: CHING HUACE FILM & TV CO., LTD

Meet Val Kahl – Profession: trend hunter. Mission: being your guest – as she discovers healthy food, latest organic products and hidden gems where well-being and selfdevelopment rule. EXHIBITOR: MYZEN TV



06 Dec 19 DAY 3

PRODUCTS LEO THE TRUCK Leo is an intelligent and funny truck. He brings to the playground the details of the construction kits and, together with the audience, collects a new model out of it. Leo’s best friends, Lifty the Loader and Scoop the Shovel, help him with this process. PARTICIPANT: PROJECTFIRST LLC

WAR OF THE WORLDS When astronomers detect a transmission from another galaxy, it is definitive proof of intelligent extra-terrestrial life. The world’s population waits for further contact with bated breath. They do not have to wait long. Within days, mankind is all but wiped out by a devastating attack; pockets of humanity are left in an eerily deserted world. As aliens hunt and kill those left alive, the survivors ask a burning question - “Who are these attackers and why are they hellbent on our destruction?”

FIRE IN THE SKY Fire in the Sky is a documentary film, which reveals the latest scientific discoveries on the Northern Lights. The genre of the film is science and knowledge with a human touch. It touches your soul, not just your intellect. Shot in 4K, Fire in the Sky showcases the magical visuals of the aurora, using the latest filming techniques, which enable us to capture the Northern Lights as they appear in the wild.. EXHIBITOR: YLE SALES



STOLEN IDENTITY 2 It’s been several months since the police closed the case on a serial killer who preyed on women with long jet black hair. However, a new unidentified body is discovered at the same crime scene. Police detective Manabu Kagaya hurries to interrogate Yoshiharu Urano, but the imprisoned Urano will only reveal the existence of an ‘M’, a dark web mystery man whom he refers to as his master.

PORORO 5: TREASURE ISLAND ADVENTURE Pororo and his friends are at the pirate restaurant when they accidentally take a treasure map of a legendary treasure. Upon heading to the treasure island, they put themselves in danger because of the evil pirate, Captain Black, as well as the monsters on the treasure island. Can Pororo and his friends come back safely from searching for the treasure?

An 11-year-old girl reaches puberty when her body begins to morph at an alarming and horrifying rate. In fear of being labelled as a monster, she struggles to maintain being normal at school by trying to conceal her grotesque self... that is until she decides that she no longer wants to hide from the world. PARTICIPANT: GHOST GRRRL PICTURES

Mango Minutes is a humorous non-verbal show, which follows the solo antics of the mischievous monkey, Mango, who can turn the simplest of tasks - such as shopping at a grocery store into fast, funny, fantasy-packed adventures. Each episode puts Mango in a new, sticky, and often fantastical situation. PARTICIPANT: YOBOHO NEW MEDIA PVT LTD



WHAT DID YOU EAT YESTERDAY? A megahit LBGTQ scripted series from TV TOKYO, attracting 13 million on-line viewers. A cute romantic comedy featuring daily lives of gay couple Shiro and Kenji. EXHIBITOR: TV TOKYO



the haunted _heart

Nini Ouyang

Bryan Chang

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