Show daily day 1 by Asia TV Forum & Market (ATF)

07 Dec 2016 DAY 1

OFFICIAL SHOW DAILY 2016

SHAPING INDONESIA

Dominating the third largest country in the world is no mean feat.

ASIA: FAST & FURIOUS

Real changes within to excel in a highly competitive Korean market.

AT THE CORE OF COCO

A highly sought-after figure in the industry, Coco finally speaks at ATF.

WINNER!

Snap It Post It MasterChef Dining and Bar dinner winner. Congratulations! Prizes sponsored by Endemol Shine Group

content s

from the market

Y LUCK ! DRAW

Win dining tickets for 2 @ the MasterChef Dining & Bar @ the InterContinental on Dec 8 (Worth S$288+)

Snap It Post It! Post a photo with any of ATF’s conference speakers onsite by 5pm each day (Twitter and/or Facebook) and tag #AsiaTVForum and #masterchefxatf

Plus, win MasterChef aprons signed by celebrity chefs!

07 DEC 2016, WEDNESDAY

Day @ a glance

Deals & spills, finds & fortunes

CONFERENCE (JUNIOR@ATF)

Market & Events

Sponsored by

SHOW DAILY TEAM Editorial Director Lunita S V Mendoza Editorial Contributors Ben Keen, Craig Johnson, Ashish Pherwani, Edward Barton, Nick Burfitt, Raine Tan, Jonathan Nickell, Keri Lewis Brown, Adam Schoff, Anil Wanvari Designer Zoey Lim Lead Photographer Eng Chun Pang Photographer Allan Siew Videographer Pol Divina On Site IC Suhaimi Sainy

The Analyst Super Panel led by Prem Kamath, Deputy Managing Director (Asia Pacific), A+E Networks: A session as intriguing as his admirable fashion sense (love the socks!)

On Site Coordinator Evette Goh

Project Management Senior Project Director Yeow Hui Leng

Senior Project Coordinator Chrystia Liew Conference

Senior Project Manager Joyce Chua

Executive Producer Lunita S V Mendoza

Marketing/ Public Relations

Producer Assistant Mira Lee

Marketing Manager Monika Au

Operations

Senior Marketing Executive Evette Goh

Operations Executive Amelia Kho

Buyers

Operations Coordinator Phelicia Ng

Relationship Manager Ivy Chia Project Coordinator Felicia Wong Exhibitors/ Participants Account Manager Phua Meenyi

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

market news

BUYING & SELLING A quickie on what’s hot on the floor

Be at the Creators’ Cube on Level 5 on Dec 8 @ 10am to catch the first glimpse of How Pokémon Go Changed the World

If Pokémon Can Do It, So Can You Taka Hayakawa, Director at Fuji Television Network, Inc personally admits that he recognizes the accomplishment of Pokémon Go as a start line of a new age, which comes with powerful computing. It has become a global agenda of our generation. How Pokémon Go Changed the World will have its global first look at ATF 2016, hot off the director’s personal compilation. Still in production, this significant documentary will present the human drama that lies behind the development of Pokémon Go. Feel today’s current change in innovation that has changed the world. The highlight of this documentary promises to give you a sense of a universal value in human interaction.

Golden Era in Animation

“The biggest change that the Internet has caused is the decrease in the cost of collaboration,” said Taka. “The amount of money, and the amount of permission that you need to create an idea has decreased dramatically, whether it’s Wikipedia, Google, Facebook, or even Pokémon GO. “This pushes innovation to the edge, so you no longer need money, power and control to innovate. Being able to do without money is a tremendously important thing. Whether you are talking about venture startups, non-profits, a civic action, the overthrow of dictators, it all comes from diminishing the cost of collaboration, and diminishing the cost of innovation.”

Indian content goes global

imation, launching three world-class animation shows in 2017, while also producing the 3D CGI show of their hugely popular character, Chhota Bheem, all showcased at ATF 2016.

This photo: Sunita Uchil, Chief Business Officer, International Ad Sales, Global Syndication & Production - Zee Entertainment Enterprise Ltd

Asia’s remarkable and rapid economic rise in last few decades had made it a significant region for Green Gold. Being in the heart of Asia – India – Green Gold feels it has a vivid understanding of the cultural and viewing nuances of the Asian people. “Today, Green Gold’s animation shows take centre stage in children’s show programming and are presented across many TV Channels in Asia,” says Rajiv Chilaka, CEO/ Founder of Green Gold Animation. To date, the company’s shows are very popular in India and South Asian communities. It has been garnering top ratings for the last eight years, drawing a viewership of over 40 million kids. “Our growth is clearly coming from ASEAN regions, e.g., Indonesia, Thailand, Singapore and Malaysia. It’s our endeavour to extend ourselves further to other countries in the association,” Rajiv noted. Moving forward, Green Gold says it is on a threshold of a golden era in an-

“Zee has evolved into a global content provider, taking Indian content to international audiences, and creating original content specifically for global markets, across news and entertainment. This enables it to manage its risks by garnering advertising and subscription revenues.” – Ashish Pherwani, Partner, Advisory Services, Media & Entertainment, Ernst & Young, India

Season One

THE WORLD'S LARGEST RIVER TV'S WILDEST ADVENTURE

EACH SEASON A NEW DESTINATION

VISIT US AT BOOTH J19 @KeshetIntl KeshetInternational @KeshetInternational Catalogue: www.keshetinternational.com Contact us: info@keshetinternational.com

Small Screen Successes TV and OTT networks,” notes Byron Perry, CEO of Coconuts TV. “Going forward, we plan to produce new content for these markets, whether in the form of a Coconuts TV show or smaller segments.” The company is the digital broadcasting arm of Coconuts Media, producing short videos and documentaries, generally ranging from one minute to half an hour in length, on the weird and wondrous untold true stories of Asia.

Not that interested in Twitter and Snapchat at the moment, Coconuts TV is looking to grow their online audience by producing more interesting videos meant for Facebook and YouTube as the main distribution channels. “Our goal at ATF is to license our existing videos onto broadcast

Releasing new videos each week on different verticals such as news, fashion, travel, art and food, all in the signature edgy and humorous ‘Coconuts voice’, the portal reaches more than 20 million viewers per month. With offices in Singapore, Hong Kong and Bangkok, their focus covers Southeast Asia as a whole. To date, they are not planning to launch in any new markets in the near future.

Local Power Unmatched

Spanish Flair at ATF

“We’re pretty much focused on Indonesia as it represents major growth potential and so we want to concentrate all our energy and initiatives to capture the majority of that growth. Our historical track record of running four national FTA stations with top audience performance and highest TV advertising market share in the past 27 years, have proven that we know the local market better than anyone.” –David Fernando Audy, President Director, PT Media Nusantara Citra Tbk

A delegation of 10 Spanish companies under the brand Audiovisual from Spain is present at ATF, an event they consider to be one of the most important markets in Asia. The type of content they are presenting ranges from series and documentaries to films and soap operas, including reality shows and animation. Their aim at ATF is to explore and regain Spanish presence in one of Asia’s most important markets, and provide the opportunity to trigger and increase sales of Spanish film and television contents in Singapore. The delegation includes Atresmedia Television, Filmax International and Onza Distribution who have exclusive tables. Also present are Arait Multimedia, Artico Distribution, PRTV, Indigenius, Zinkia and Goldbee.

Maintaining a Strong Lead

HAPPY HOUR AT THE MASTERCHEF BAR Flash your ATF Badge on Dec 8 and Dec 9 for a complimentary housepour at the MasterChef Bar (Victoria Bar, Level 1, InterContinental Singapore)

An Impressive First Impression Turkey representatives have ascended into ATF this year, having much success in Europe and South America, now seeks to replicate keen adoption in Asia. The Vice President of the Istanbul Chamber of Commerce has taken valuable time out to see the start of what he hopes to be a long term relationship with the world’s fastest growing region. Right now, Turkish content has managed to break into the Indian market. Perhaps the next stage of success will be the Diaspora. For the markets that have appetite for Indian dramas, like Vietnam for example, will Turkish content follow? It’s all very dramatic.

Every now and then, an unassuming appetizer steals the limelight of the entire course. It reminds a foodie how a great beginning can really affect the rest of the dishes. It was elegance unmatched, as MasterChef Asia winner, Wee Wai Leong presented his Asian inspired appetizer at the first ever MasterChef Dining & Bar event, happening during the week of ATF 2016.

– Vice President of the Istanbul Chamber of Commerce, with Ahmet Ziyalar, COO of ITV Inter Medya Ltd

Chinese Commissioners Come a Callin’

For the first time, ATF gathers some prominent, as well as more obscure commissioners from China many almost never get to meet. The session is one focused on co-development / co-production, in light of China’s latest regulations, as well as the benefits of collaboration. ATF’s partner for this session is IPCN Ltd, a leading Anglo-Chinese media and entertainment rights explorer. This exclusive partnership was born from understanding how IPCN Ltd had successfully brokered more than

From the tele to the table, Wai Leong is joined by MasterChef USA winner, Luca Manfe, and an icon from MasterChef Australia, Marco Pierre White. Discuss each dish with these celebrity chefs and take a selfie while you’re at it. Tables are limited, so take a break from your hard work at ATF and enjoy the pleasures of these MasterChefs’ labour of love. This is an unparalleled premium dining experience for any food connoisseur.

35 deals to Chinese market including, Got Talent and The Voice, produced many well-known international format brands such as Supernanny, Next Top Model, Shark Tank, and Secret Millionaires to name but a few. The company also has a strong commercial team to guarantee a win-win outcome for both content and brands. At the Chinese Commissioners Session itself, IPCN will be on the lookout for experienced IP development partners and overseas production hubs.

keynote

Keynote post report by Craig Johnson, Craig Johnson, MD (Media), Nielsen & Lunita S V Mendoza, Editorial Director, ATF

DAVID FERNANDO AUDY President Director PT Media Nusantara Citra Tbk

“Our consistency in producing quality content will sustain us into the next era…” David Fernando Audy’s keynote comes at a time when Indonesia is at the inflection point between the analogue world and digital, all broadcasters are rushing to build digital infrastructure to make sure they are keeping up with consumer needs.

“We started with a vision: where we wanted to go and how to get there. We have focused on quality in whatever we do, and we deliver with speed to do things first before anybody else. And we continuously improve our business process to be better.

With some delay, the era of non-analogue terrestrial viewing has arrived in Indonesia with the launch of a number of major streaming services in the first quarter of this year and a number of broadcasters delivering their streams by mobile application. Telecom companies are competing aggressively by offering unlimited 4G access to homes in large urban areas, which will drive the growth of streaming. MNC is well placed to ride this digital wave.

Our consistency in producing quality content will sustain us into the next era, because whatever the platform may be, quality content will always be key. We also invest in our people, hiring and retaining the best media professionals in the industry.

Having investment across broadcasting platforms and production partners will help MNC provide the content needed for the digital transition. Other digital assets around e-commerce and news portals in combination with more traditional media types such as print and radio will keep MNC as Indonesia’s leading media company.

Finally, we also continuously learn from the media markets in other countries; searching for best practices that may be applicable locally, and analysing global trends to assess how it will impact local movements, preparing ourselves to overcome future challenges.”

strategy

GREAT MINDS SHARE A peek into juicy discussions on stage

From L-R

Ashish Pherwani, Partner, Advisory Services, Media & Entertainment, Ernst & Young; Ben Keen, Chief Analyst & VP, IHS Technology; Edward Barton, Practice Leader (TV), Ovum; Nick Burfitt, MD (Audience Intelligence), Kantar Media; Craig Johnson, MD, Reach Portfolio (SEA North Asia & Pacific), Nielsen; Prem Kamath, Deputy MD (Asia Pacific), A+E Networks

The Analysts Super Panel that took place at ATF 2016 in Singapore was quite a gathering of world renowned analysts, who we think have become rather chummy, evidenced in some friendly banter on stage. The topic of telcos being more than just a telco started up an intriguing discussion. The golden age for content creators continue to clash with the angst of finding a compelling business case across the

board. While deals may be easier to close these days – with one platform offering global rights (and money that comes with it) – the flipside questions the need to make sure broadcasters, for the sake of advertisers, are not double counting their audience having traditional and now OTT offerings. Pressured by the forces of disruption, the conversation also looked at startups in the

measurement space. The point of contention is transparency, that could help or hurt such companies. While the topics covered seemed somewhat commonplace for a veteran, the industry certainly thought it highly relevant, and served as a great opening for ATF’s C-Level Summit.

YONG-JU JEON, Chief Executive Officer, D’Live & iHQ South Korea

DAVID FERNANDO AUDY, President Director, PT Media Nusantara Citra Tbk

D’Live’s Jeon was a huge draw as the audience filled the room to get wind of the next Korean wave. A down-to-earth leader, Mr Jeon is a force that will keep Asia relevant for a long time to come.

Don’t follow the Thailand history in Digital Terrestrial TV where they went from 3 stations to 60 and saw profitability and EBITDA fall by up to 40%. We are not trying to reduce or stifle competition but to produce quality content, it requires economies of scale.

keynote

Keynote post report by Ben Keen, Chief Analyst & VP, IHS Technology & Lunita S V Mendoza, Editorial Director, ATF

YONG-JU JEON Chief Executive Officer D’Live & iHQ South Korea

“The importance of Asia cannot be emphasized enough…” Mr Jeon’s timely keynote comes at a critical moment in the history of his company, as well as the wider Korean media market. Earlier this year, Seoul’s largest cable TV operator – and the country’s third largest by TV subscriber count – was renamed D’Live (from C&M Co) to signify a new expansive vision of what a modern pay TV operator can become. This vision was reinforced by the company’s selection by Netflix as its first Korean partner. While many questioned this choice, Netflix CEO Reed Hastings explained that D’Live was “hungry to grow, innovative and willing to take risks” – exactly the reputation that the company’s rebranding was designed to convey. D’Live’s sister programming company iHQ received another recent boost when Disney subsidiary A&E Television Networks made an equity investment. This should enable iHQ to expand its original production ambitions and open up international distribution opportunities to exploit growing demand for Korean content. This kind of deal could be an important way for D’Live to differentiate its proposition in an increasingly competitive Korean market where over-the-top video services have been putting pressure on traditional pay TV operators. However, these eye-catching partnerships with global players have been forged against a backdrop of intensifying financial pressure for D’Live/iHQ’s parent group KCI. Banking creditors have stepped in after private equity groups failed to reschedule maturing debts. Rival Korean cable operators have also been under growing pressure. Number two player, Tbroad, had been planning an Initial Public Offering this year, but this now looks set to be postponed in the light of weakening investor sentiment for the sector. Investor confidence has been weak since the acquisition of Korean’s leading cable operator CJ HelloVision by telco SK Telecom was blocked in July 2016 by the Fair Trade Commission. And forthcoming new broadcast laws look set to restrict the level of permitted future cross-ownership between telcos and cable operators. All of this means that the Korean pay TV market will likely to continue to be in a state of flux for some time to come.

“The importance of Asia cannot be emphasized enough. We plan to launch our own OTT app tentatively called “D’Live” in the 2nd half of 2017. D’Live will be a gateway to K-wave entertainment through the aggregation of Korean content, not only from iHQ and Cube, but also from other major entertainment companies. The Asia media market is expected to grow at a much faster rate than other regions. Since Asia is much more familiar to K-wave, we see the app becoming a bilateral gateway for the entire region. Asia region will be the first foundation for global distribution of D’Live in the future.” -- On Asia and its importance to D’Live

strategy

GREAT MINDS SHARE A peek into juicy discussions on stage

Prashant Gokarn, CSO, Indosat Oreedoo; Ed Barton, Partner, Ovum

Indosat looking to Video and Data Analytics to Satisfy the Growing Indonesian Audience: Prashant Gorkan, Indosat’s Chief Digital Officer, was instructive on the opportunities and challenges presented by selling connectivity and entertainment to the Indonesian audience. Highlighting recent partnerships with iFlix, Spotify and Indovision, Gorkan set out the different ways in which network operators can work with entertainment providers. The big challenge was in each party having a clear strategic vision for what they wanted from the partnership, such as churn reduction or driving ARPUs for the operator while entertainment providers had to determine whether they were looking for revenue and

subscriber growth or driving usage and reducing churn from existing customers. 80 per cent of data on Indosat’s networks are attributable to video which has placed video distribution at the heart of Indosat’s strategy. Gorkan also identified Indosat’s knowledge of its customers through subscriber and usage data across a variety of devices. While this was already proving useful, Gorkan felt there was much unrealised potential in leveraging data analytics going forward, particularly in sharing it with third parties to help drive their businesses in partnership with Indosat.

strategy

GREAT MINDS SHARE A peek into juicy discussions on stage Anil Wanvari, Founder, CEO & Editor-in-Chief, Indiantelevision.com Group Krishnan Rajagopalan, Chief Content Officer, Hooq Rebecca Glashow, Head (WW Dist), AwesomenessTV Kazufumi Nagasawa, Chief Content Officer, Hulu Japan Hao Fang, Chief Executive Producer, LeTV

Clifton Dawson, CEO, Greenlight VR; Eric W. Shamlin, VP Managing Director, Secret Location

VR was mentioned on more than a few occasions during the first day of the ATF which meant this session going into detail on VR content production was enthusiastically received by an audience hungry for insight into this emerging format. Two early drivers of VR in Eric Shamlin, VP at Secret Location from the content side, and Clifford Dawson from Greenlight VR, who looks at the business of VR, discussed the outlook for VR. VR was touted as an empathy machine, with the ability to transport viewers into different World’s on a fundamentally immersive basis which offered storytellers an unprecedented opportunity. Given some of the wider challenges faced by traditional media, VR offers potential growth opportunities at a time when many traditional media companies are desperately searching for them. VR is still at an early stage of evolution with Eric characterising 2016 as year zero for VR. Oculus Rift sales are not as dra-

A panel comprising Krishnan Rajagopalan, Co-Founder and CCO from Hooq, Kaz Nagasawa, CCO of Hulu Japan, Rebecca Glashow, Head of Worldwide Distribution from Awesomeness TV and Hao Fang, Chief Executive Producer at LeTV was led by Anil Wanvari, CEO of IndianTelevision.com. The wide ranging discussion spanned several topics related to growing global audiences for OTT video through a variety of go to market strategies.

Hooq subscriptions. Awesomeness’s Glashow talked about how their stars are created by social networking rather than Hollywood PR machines. A priority for the company is to connect with local talent in Asian markets, to appeal to Asian teenagers in a similar way to the company’s US Youtube stars. Awesomeness has an output deal with the leading UK commercial broadcaster ITV to broadcast a bloc of Awesomeness programming in 2017.

LeTV bundle subscription entertainment video with TVs, enhancing value for the device while hiding the subscription price (typically RMB480) in the price of the hardware. Feng forecast that LeTV will spend around RMB10b on content acquisition and production in 2017. Hooq’s Rajagopalan discussed their complementary relationships with network operators and the potential of bundling data with

Considering the future of OTT, the panellists considered the merits of paid and advertising supported video distribution models. There were a range of views, however what they had in common was that they all emphasized the importance of understanding Asian audiences’ spending habits and how they varied between countries and even between the devices used to watch the content.

Partnerships and alliances are essential across all elements of the expanding OTT landscape from Content Creation to Distribution. The increasing competition for quality content is seeing the investment in content creation increase which is itself making early partnerships essential both for funding the content and for ensuring exclusive content for your OTT service. Without this exclusive content services struggle to differentiate themselves but can this increasing cost be sustained in the long term? Consumers hold the key to this question as the choose the services that address their need for quality international and local content. There is no doubt it is a good time to be in the content creation business.

matic as many expected in 2016 however Oculus’s marketing effort has been muted as they test the market and determine what VR experiences really work with audiences. PlayStation’s 2016 VR launch is also a key development for VR with strong sales expected for PlayStation VR HMDs to year end. Looking forward into 2017 Vive, Oculus Rift and PlayStation were expected to continue driving penetration of VR HMDs and VR content sales. Shamlin believes the next five years will see gaming as the predominant VR content format. The social potential of VR is underestimated currently said Shamlin, particularly considering that Oculus Rift’s owner is Facebook. The possibility of VR cafes was also mentioned as a possible usage and marketing driver. For VR to go truly mainstream though, Shamlin discussed the importance of iterating the HMDs and improving them considerably from current models as well as the ongoing content availability and variety challenge.

Jonathan Nickell, Chief Operating Officer, 3Vision, UK; Cheah Chee Kong, Chief Content Officer, Mediacorp; Josh Black, CEO, GroupM APAC (Content), Hong Kong; Yuan Li, Chief Content Officer, IPCN, China

Chris Erwin, Chief Operating Officer, Big Frame, USA; Joanne Waage, Senior Vice President of Partnerships & Programming, Viki, Inc., USA; Ben Keen, Chief Analyst & VP, IHS Technology, UK

It would be difficult to select two more perfect companies than Big Frame and Viki to discuss the topic of new business models – and Chris Erwin and Joanne Waage, COO and SVP of Partnerships and Programming respectively, did not disappoint. Both companies are on fascinating journeys to evolve their revenue mix. Chris explained that 50 per cent of Big Frame’s current revenues come from branded content, about 20 per cent from content licensing, 5—10 per cent from

YouTube advertising, and the remainder from emerging content models. However, it became clear that the cornerstone of Big Frame’s business is its focus on the fostering and management of a new generation of ‘digital-first’ content creators – creators that are building huge online followings, initially on YouTube, but now also on a range of new platforms. The company is working with this talent to develop new business opportunities, not just on digital platforms, but also on a range of traditional media outlets. Indeed, Chris

debunked the whole concept of MCNs (multi-channel networks), stating that this model had never really worked in practice and the way forward is much more about creative exploitation of talent and rights across multiple platforms instead. Joanne explained that, like Big Frame, her company Viki has built up very engaged audiences around the world who are passionate about the Asian entertainment content the company streams. Viki’s business model has to date been primarily

advertising-supported video-on-demand, but that is now changing. Although starting small, the company’s subscription video (SvoD) service is now growing fast. From only 10 per cent of the company’s revenues now, Joanne expects subscription to account for two thirds of total revenues some time in 2017. For Viki, the so-called ‘freemium’ business model is working well, whereby new content is trialled on a free basis to gauge interest before it is put behind the pay wall. This practice echoes the digital pilot process that Amazon has pioneered on its video service. Viki also exploits other digital platforms like YouTube, Facebook and Snapchat to distribute its content and generate more fan-based community interest. In the future, Joanne expects e-commerce to become an increasingly important part of the Viki business, which fits well with its ownership by the Japanese e-commerce giant Rakuten.

gallery

SNAP & CHAT

Through the Lens

Rebecca Glashow continues to field questions off-stage after the View From Over The Top panel.

First the cards, then on to business with Krishnan Rajagopalan of Hooq Group

David Fernando Audy of MNC shares his insights into Indonesia after his Keynote on Tuesday.

Soaking up wisdom and insights at ATFâ€™s C-Level Summit. Did you miss it?

Cheah Chee Kong of Mediacorp carries on the conversation 1-on-1 after his Partnerships & Value Add panel.

At the Core of Coco Sohu Video readies itself for the future

By Lunita S V Mendoza, Editorial Director & Executive Producer, ATF

population is 1.36 billion with 700 million of them online. The number of web users has reached half of the Chinese population. To continue the growth in terms of number of users and scope will be difficult. “To further understand what’s needed by the users online, we need to delve further into understanding our users.” Thus, Coco concurs that the current success formula can never be replicated and Sohu Video will need to adhere to constant change to continue to be successful. “To change in the creative industry is a good thing after all.” Asking Coco to look into the crystal ball, she sees today’s challenges as opportunities. “As the audience becomes younger and more creative, new content will have more market potential. As the application and usage of new techniques become more common, it will change the way content is being broadcasted; because of a stronger emphasis on personal One of the most sought-after digital doyennes today certainly has her job cut out for her. Braving the pollution of Beijing, the city still known as the heart of Chinese Internet and the centre of the Chinese entertainment world, Coco Ma’s personal sacrifice to remain at the core has been worth it. After all, she needs every support she can get as Sohu Video faces increasingly fierce competition in the market. Despite being the very first digital platform that acquired genuine licensed American dramas, the first platform in China to cooperate with a Korean company to produce dramas and the first digital platform in China to co-develop a format with an international company, the future still looks daunting. Industrial integration to develop an eco-system on its video platform, along with more capitalist market involvements, the massive hike in cost of production for content alone is at the forefront of Coco’s mind, being the General Manager in the content acquisition and production arm of Soho Video. “In the creative market, there is a need for more excellent writers in the country as we currently do not have a positive system to nurture talents. In terms of broadcast, piracy is still an

issue and it poses a threat to the rights owners, hurting profits as well.” In view of the drastic change in the overall environment, ATF’s iNSiGHTS magazine asked Coco how such policies have affected the limitation of content on the net. “It’s predictable that the monitoring and checking of content on the Internet will be more stringent, to make sure that the platforms are all on a common broadcast standard,” Coco noted. “Currently, there’s no rating system on content broadcast in China.” “However, as the Internet rapidly develops and smartphone usage becomes more common, users who will be viewing on the move will also increase. Thus, effective monitoring and checking are essential. For those working in content industry, we have a responsibility to produce good content for the market and society. We should not produce more rubbish content, resulting in wastage and even negative influence,” Coco highlighted, keeping in mind that younger viewers are on a significant rise. Even so, with ever more eyeballs online, will China enjoy population dividends forever? “The Internet has progressed in China for almost 20 years and now it has reached a turning point. The Chinese

experience, the development of content will change as well.” And what will 2017 bring for Sohu? “In 2017, we hope to produce more original content, especially in drama, bringing about development and serialization. At the very least, we hope to produce influential works in the Chinese drama industry.” Coco’s Top 3 Fave Formats 1 The Amazing Race 2 Saturday Night Live 3 Caraoke Showdown Coco’s Top 4 Favourites 1 2 3 4

The Ellen DeGeneres Show The Amazing Race Dr Qin Medical Examiner Game of Thrones

Coco’s Top 5 Regions of Focus at ATF 1 2 3 4 5

USA UK Japan Korea Israel

PayTV in APAC A Growth Story to 2021

Pay TV in APAC is a key TV industry growth story: revenues and subscribers will maintain the current upwards trajectory to 2021. This is enabled by macroeconomic factors driving the growth of entertainment spending in fast growing populations, the on-going rollout of product and service enhancements, such as VOD, next generation set-top boxes and multiscreen, which enable operators to increase ARPUs. The largest revenue growth was in cable, followed by IPTV. DTH is growing in India but is not a dominant technology in wider APAC.

In APAC TV, cost is critical. Low ARPU customers are the largest segment: many markets continue to be highly price sensitive. Pay-TV operators should offer multiple tiers of subscription to better segment their audiences. Value conscious bundles of (fixed and/or mobile) broadband and TV, or broadband and OTT video services (either linear, VOD, or both), or all three, offer significant rewards to companies who can effectively monetize this segment. Standalone linear OTT pay TV services at low price levels with shorter minimum commitment periods (known in the US as “skinny bundles”) are also likely

“In APAC TV, cost is critical. Low ARPU customers are the largest segment…”

to become critical tools for companies looking to appeal to value conscious audiences. “From a global perspective, Asian TV markets offer the highest potential rewards to the TV value chain with pay TV operators, carriers, broadcasters, advertisers and OTT specialists all set to benefit from a rapidly growing market over the next five years. Entertainment spending continues to grow and Asian investment into Hollywood, particularly from Chinese firms, will change the nature of the entertainment universe as we currently know it,” said Ed Barton, Partner at Ovum.

Pay-TV subs (millions)

Pay-TV ARPU, 2011-21 Pay-TV subs (millions)

TV ARPU ($)

1000

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Annual net additions in pay TV are falling…albeit from high levels: over 20 million annually over the past decade. Annual net additions peaked at 33.9 million in 2011. Growth has slowed down since 2012 as underpenetrated market segments are encouraged to adopt pay TV services. Annual growth will fall from 20 million from 2016 onwards, to around 10 million by 2021. However there are still significant growth opportunities as digitization, OTT and mobile video increase penetration and usage across the region.

By Ovum

2021

Get in touch with Ovum: dodododo@ovum.com

The Path to Purchase & Beating Netflix Knowing Local

Astro is Malaysia’s and Southeast Asia’s leading content and consumer company delivering OTT, Digital, TV, Radio and eCommerce services to 70% of TV homes (20 million individuals) in Malaysia and Brunei. Kantar has been operating a TV measurement system – DTAM – on behalf of Astro since July 2015. By Nick Burfitt, MD APAC, Audience Intelligence, Kantar Media

The service provides Astro’s advertisers and channel operators with a deep insight into audience viewing behaviour which enables them to effectively target audiences by segment, determine the best possible programming for subscribers and much more. With an expanding offering in multiple markets, Nick Burfitt, MD APAC, Audience Intelligence at Kantar Media, spoke to Henry Tan, COO of Astro to find out what’s next on their agenda and discuss the next measurement frontier for the region as measurement moves from TV (Television) to TV (Total Video). Nick Burfitt: Tell us about the TV measurement system we’ve set up together – what was the background to that decision? Henry Tan: There has been a need in the Malaysian industry for an improved audience measurement system for a number of years. So two years ago, I said I’d put my money where my

mouth is and set up a measurement service for Astro. One year later, we launched DTAM using Kantar Media’s expertise in measurement through the return path (RPD). I’m a strong believer that in today’s environment nothing can be perfect or complete though, and I’m aware of the challenges faced by the Malaysian industry such as the extension of viewing beyond linear programming. In my opinion, it’s now time to extend our measurement service to enrich the RPD with other data sources too. Nick Burfitt: As a media researcher, I would endorse your view. We call it from TV to TV – the measurement evolution from Television to Total Video. So then, how important is it that you measure Astro On The Go and that you integrate it in with the RPD service? Henry Tan: Very important. For too long, the whole media business has been operating in silos across TV, Radio and digital. We are experimenting at

Do you consider Netflix to be a threat?

“…there’s only really a very small segment that are fond of such content in Malaysia…”

BUYER BLURBS “We are really excited to be in ATF Singapore. We need content to beef up our current programming, as well as for our digital channels once they are fully operational.” – Mirasol R. Alger, OIC-Programming, People’s Television Network, Inc.

“ATF to me is very much an “Annual Trend Following” event to attend every December. I come here primarily to attend the conferences, listening to what the speakers have to share about the latest developments in their companies, countries, or regions.” – Vu Dang Yen Hang, Head of content department, SCTV

“To be successful in Malaysia, you really need to understand the different demographics that exist, which is a challenge for international OTT platforms.” the moment with ways to measure all of these types of media and even our home-shopping platform. We’re hoping to fuse it all together and come up with a really intelligent data gathering system whereby we can really understand the consumer and their path to purchase. Nick Burfitt: Focussing again on Astro On The Go metrics, and comparing this to other platforms. Do you consider Netflix to be a threat? Henry Tan: The Malaysian marketplace is a very colourful and complex one. So when we look at Hollywood and international English content provided by global OTT providers like Netflix, there’s only really a very small segment that are fond of such content in Malaysia.

“I am very excited to be attending ATF this year to find more programs from Asia for our website.”

To be successful in Malaysia, you really need to understand the different demographics that exist, which is a challenge for international OTT platforms.

– Rita Wang, Vice President, Crunchyroll K.K. / Sr. Director Licensing, Crunchyroll, lnc.

Nick Burfitt: Looking to the future – 5 years or 10 years – where do you see Astro’s offer, diversifying or maintaining? Henry Tan: Things are changing so fast, so we always need to be looking to the future. We produce a 5-year plan which is essentially a 1-year plan. You take a 5-year horizon, but you plan for the coming financial year, so that everything we do is a building block towards the bigger goal.

“ATF is a trusted brand in the market of Asia television. We are here to garner more cooperation content-wise and solutions-wise.” – Le Thi Tuyet Minh, International Business Partner Executive, Market Development Division, VNPT-Media

Getting Satisfaction TV for Nothin’ & Dramas for Free

By Ashish Pherwani, Partner, Media & Entertainment Advisory Services, Ernst &Young

The need for “escapism” is increasing in today’s world, and the TV industry plays a critical role in enabling people to escape from their daily lives and routine. However, different customers have different paying capacities, and are not averse to cord-cutting to free TV, ad supported VOD, or even pirated online content. Pay TV is expected to grow in several Asia Pacific countries. The TV industry is innovating frantically to address each customer segment, but a new definition of segments is emerging in the region.

“The TV industry is innovating frantically to address each customer segment. ”

TV Customer Segmentation (Averages)

OTT

Pay TV

Sachet TV

Free TV

10%

20%

30% Developed

40% Developing

50%

60%

“Free TV” customers don’t like to pay for content. Free TV – analog, digital or satellite – is seeing a growth of 2—3% per annum. Freedish, the state run satellite TV service in India, is the largest TV distribution player in the country with over 20 million subscribers – reportedly much larger than national pay TV companies who average 8 to 16 million each. Free TV provides a cost effective option to advertisers who don’t need expensive well-to-do audiences for the products they sell, and are happy with middle and lower income audiences. The next set of customers is those with a limited entertainment budget. Media distribution companies are experimenting with the “sachet TV” model for this customer segment. Content is now available in monthly packs, and even daily packs (Tata Sky has a daily pack for less than USD0.15 in India). Many distribution companies

have also created low-priced base packs to attract customers for as little as USD 1 per month, which comprise free-toair channels and a few relevant local channels.

““Free TV” customers don’t like to pay for content. Free TV – analog, digital or satellite – is seeing a growth of 2—3% per annum.”

Now we come to the “core pay TV” segment – the customer who takes pay TV with a base + 1 pack or higher. This segment is the mainstay of TV distribution companies, which need to focus on retaining these customers, bundling broadband and other services to them, and upselling HD and niche / sports packages. The key risk lies in losing the top end pay TV customers to OTT service providers and the lower end to Free TV.

broadband penetration in the Asia Pacific region will double to 80% and 55% by 2025. The key aspect here is the total cost of experience, i.e., cost of OTT service plus cost of broadband, which these customers evaluate against pay TV cost. Hence, while it may make sense for customers to subscribe to OTT services where broadband costs are lower than cable TV costs, customers

And then we come to the “OTT” customer base which wants it all when, where and how they want to consume their content. This segment is the smallest, but is expected to grow well, given that both mobile and fixed

in many countries in the Asia Pacific region won’t make the shift entirely to OTT as many countries have cable TV at highly subsidised rates. Given that overall pay TV subscriber growth is expected to slow down in the region from around 9% over the last 5 years to around 5% over the next 5 years, customer segmentation will be key towards defining strategies to grow and retain customers.

VR &the Digital Dragon Behold the Blurring

“I can’t remember the first time I heard a story but I always had a lot of imagination and the need to create stories and characters. I have always been fascinated by the creation and all forms of arts.”

““I no longer see content as limited by geographical or cultural borders neither do I see content as limited by how it is distributed.” Keiko Hagihara, Bang Bang Singapore Pte Ltd

Priscilla Bertin, Silex Films

People want to be immersed. They want to get involved in a story, to carve out a role for themselves, to make it their own. Anthropologists tell us that storytelling is central to human existence. That it’s common to every known culture. That it involves a symbiotic exchange between teller and listener — an exchange we learn to negotiate in infancy. “It’s no longer about going to viewers with a message of “here’s my channel, go see my content; it’s now about the battle for attention.” Antoine Nazaret, Dailymotion

Not long ago we were spectators, passive consumers of mass media. Now, on YouTube and blogs and Facebook and Twitter, we are media, says author and digital anthropologist Frank Rose (of The Art of Immersion). And we approach television shows, movies, even advertising as invitations to participate – as experiences to immerse ourselves in at will. What we’re witnessing is the emergence of a new form of narrative that’s native to the Internet. Told

through many media at once in a nonlinear fashion, these new narratives encourage us not merely to watch but to participate, often engaging us in the same way that games do. This is “deep media”: stories that are not just entertaining but immersive, that take you deeper than an hour-long TV drama or a two-hour movie or a 30-second spot will permit. Storytellers of every persuasion now need to function in a world in which distinctions that were clear in the industrial age are becoming increasingly blurred.

“You need to be on top of every innovation, understand them quickly, and see what they are going to bring.” Olivier de Rotalier, Ubisoft

We use stories to make sense of our world and to share that understanding with others. They are the signal within the noise.

Through the Digital Corridor Immersing into Digital

“When we make a film in VR, we must be in mind that we’re still in a period of ‘teaching’, and we can’t do everything we want for the moment. We try to adapt with the birth of this medium.” Pierre Zandrowicz, Okio Studio

The VR Experiential Zone will showcase avant-garde VR content as extensions of traditional TV/film content, as well as revolutionary approaches that may inspire a new world of content that will proliferate unaided. This zone is reinforced by a parallel track at the ATF Lounge where a Transmedia, Virtual Reality and Webseries seminar will deal with production and creation issues, as well as broadcasting challenges.

VR workshops explode with avant garde content. Witness the gathering of visionaries, as they address significant facets immersed in the world of virtual reality. The evolution piece at ATF includes a relatively new device the industry is attempting to incorporate into individual manoeuvres. In the virtual realm, creativity is abound on the market floor like never before, as transmedia is presented in the only worthwhile way it should; via an experiential method.

@the Creators’ Cube Dec 7–8 1pm–3pm Level 5

“To me, it’s how you will engage the audience to share, to comment, to play, to provide gamification with your content, or look for details, etc. Summing up, a new way to engage with the audience.” (On the concept of “Interactivity”) Claire Leproust, FabLab Channel

Pillars of Digital @the digital corridor Dec 7–9 Level 5

Backed by an undeniable progression of the content industry’s symbiotic relationship with the technology sphere, ATF’s Digital Corridor is a fundamental extension on the market floor. The blending of creativity and technology has never been more pertinent. Here, technology (hardware & software) are featured to begin an industry education on the behind-the-scenes component crucial to front end successes.

A Quickie with Ian McKee, Chief Operating Officer, Allrites Pte Ltd Biggest challenge in today’s digital world? “Keeping our industry up to date with the accelerating rate of change in consumer behavior.” What will 2017 be like? “2017 will be a massively exciting year for us; we will be focused on delivering an unrivalled customer experience driven by cutting edge technology.”

Lingering with CDNvideo with Irina Tretyakova , International Marketing Manager, CDNvideo: Its biggest challenge in digital? “The ongoing digital transformation as the digital world is changing constantly and impacts on the businesses. More and more companies are focusing on digitization. The customers have no tolerance for slow sites, outdated content and overall poor media services experience.”

AAAAAAAAA

@F.CLUB SINGAPORE Dec 7 8.30pm Clarke Quay

Celebrating Digital

Get into the groove at the ATF Opening Party, where Fashion TV takes centre stage and throws VR into the couturier mix.

Evaluating Campaign Success Digital Ad Ratings Benchmarks and Findings (Q216, APAC)

By Craig Johnson, Nielsen Australia

“Desktop campaigns achieved an on-target rate of 79% amongst the same audience.”

In the age of digital advertising measurement, the key indicators of a successful campaign include reach and on-target percentage, or the percentage of impressions delivered within the target audience out of the total served during the entire campaign. While marketers can achieve high ontarget rates, it’s still incredibly hard to achieve a 100% on-target rate – effectively serving all ads to the defined audience. With this understanding, media buyers and sellers require reliable benchmarks to evaluate campaign success. Available in 24 countries globally, Nielsen Digital Ad Ratings has become an industry standard for buying and selling digital media. Leveraging our sample of historic campaigns, the Nielsen Digital Ad Ratings Benchmarks and Findings Report serves as guidance for individual campaign efficiency compared to marketplace averages.

REGIONAL INSIGHTS – ASIA PACIFIC TRANSPARENT METRICS LEADS TO IMPROVED REACH. • On-target percent for 18—34 year olds increased from last year (Q4 2015), jumping up 10 percentage points for people aged 18—34 (53% to 63%) and 15 percentage points for females-only aged 18—34 (36% to 51%). • The volume of campaigns measured for these groups doubled from last year, showing that an increase in independent measurement can lead to more transparency that ultimately improves overall reach and ad spend efficiency.

• Mobile measurement was only introduced last year, yet 45% of all campaigns measured in Asia Pacific had a mobile component. • These metrics have allowed marketers to build mobile best practices, resulting in an on-target percentage of 76% for mobile campaigns with broad audiences, or campaigns geared towards mixed male and female audiences that span more than 30 years in age. • Desktop campaigns achieved an on-target rate of 79% amongst the same audience.

INDEPENDENT MEASUREMENT INCREASES CONFIDENCE. • Marketers are more willing to invest in a platform if there is independent, third party measurement to provide transparent performance metrics, especially in the case of mobile.

PRECISION IS TRICKY WITH NARROW AUDIENCES. • Marketers in Asia Pacific reached broad audiences, defined as audiences spanning more than 30 years in age, 79% of the time. • On-target rates for campaigns geared towards medium audiences spanning 16—30 years in age dropped to 59%. • Campaigns with this more narrow audience made up 32% of all campaigns measured in Asia Pacific, the most of any audience type. MISSING THE HOUSEHOLD SHOPPERS. • Computer & Electronics (68%) and Travel (67%) marketers had an easier time reaching their desired audience. • Automotive (47%) and CPG (43%) marketers, on the other hand, hit the mark less than half of the time. • CPG campaigns in particular made up 40% of all measured campaigns in the region, highlighting significant optimization opportunities to increase reach and maximize return on ad spend.

product s

Super Bheem (Green Gold Animation Pvt Ltd)

WE LOVE A bite-sized look at what to see, buy and profit today

Fanshaw & Crudnut (Beyond Distribution)

Fanshaw & Crudnut

Hilarious new animation series charts the lives of two badly behaved, childish, bickering slugs from outer space. They are on a mission to boldly go where no slug with half an ounce of common sense has ever been before. Exhibitor: Beyond Distribution

Drone Knight Mechadians (Dalgona Entertainment Co., Ltd.)

Drone Knight Mechadians

A winning project of ACA Ani-Star by Asia CGI Animation Center, this SF Robot Action genre targets kids 7—9. Drone Knight Mechadians is a 20-minute, 26-episodes co-production with China. Currently, the team is producing a character. The set launched at is February 2018. Exhibition: Dalgona Entertainment

Runaways - Prisoners of Love (Comarex Sa De CV)

Runaways – Prisoners of Love

The story of four women that happen to meet while serving time, the adventures they live through after they successfully escape from jail, and the deep friendships formed from it all. Exhibitor: Comarex SA de CV

Super Bheem

Super Bheem is the valiant superhero of all the galaxies combined. His friends, who include Chutki, Jaggu, Raju, Kalia, Dholu and Bholu, have unique powers that aid Bheem in his missions. With Sky Dragon on their side, the kids travel to fantastical lands to help solve every problem in the deepest corners of the galaxy. Exhibitor: Green Gold Animation Pvt Ltd

Albi – The Snowman (Yle, the Finnish Broadcasting Company)

Young Once (Breakthrough Entertainment)

Young Once

An eight-part series that follows the unconventional lives of students attending one of America’s most conservative universities. The school is an entertaining world for these eclectic students who explore love, life, adventure and what it means to be only young once. Exhibitor: Breakthrough Entertainment

Albi – The Snowman Edventures in Asia (CREO Contents Co., Ltd.)

The Rolling Stones: Havana Moon (Eagle Vision)

Edventures in Asia

Bake and Sell (Capital TV)

The Rolling Stones: Havana Moon

Edward Kwon is Korea’s top celebrity chef. He goes on a long road trip around Asia intent on developing new fusion dishes where his culinary world and the authentic tastes of Asian countries merge. Let’s follow him, and feel the new tastes of Asia he creates! Exhibitor: CREO Contents Co., Ltd.

The Rolling Stones: Havana Moon Havana Moon captures the historic, once in a lifetime concert by The Rolling Stones live in Havana, Cuba. Directed by Paul Dugdale (Adele, Coldplay), this epic, record-breaking concert was filmed at the end of the América Latina Olé Tour 2016. Exhibitor: Eagle Vision

Bake and Sell

An original reality show with two seasons to boot, this is where contestants have to compete against other teams to see who can be the best bakery entrepreneur. Exhibitor: Capital TV

Albi is a jovial snowman, who lives in the land of eternal snow, together with a little birdie and a worm. These two have made a nest in an empty can of tomato soup, which Albi wears as a hat. To Albi, home is where the snow is, but the lack of furniture gives the place a not-so-homely feel. Albi has a stroke of genius, and he starts to build an armchair out of snow. The idea flourishes and soon he has a cozy home. Exhibitor: Yle, the Finnish Broadcasting Company

AkoAko Rollingcoaster (Flying Pig)

The Next Great Magician (Passion Distribution)

Ako Ako Rolling Coaster

When in need of some funny and uncommon imagination, Ako Ako Rolling Coaster, invites you to travel to a new and hilarious block world with “The Ako Balls” to a place known as Rolling Town. Exhibitor: Flying Pig

The Next Great Magician

Prime-time entertainment series for the whole family, which pits the world’s best magicians against each other. Exhibitor: Passion Distribution Ltd

The Magnificent Seven (MGM Television)

Kiko (MNC Contents)

The Magnificent Seven

My Little Pony Equestria Girls (Hasbro Studios)

My Little Pony Equestria Girls

When Canterlot High School goes on a trip to Camp Everfree, they discover a magical force is causing strange things to happen. With the help of the Mane 6 and Sunset Shimmer, Twilight Sparkle must confront the dark Midnight Sparkle within herself and embrace her newfound magical abilities to save the camp. Exhibitor: Hasbro Studios

With the town of Rose Creek under the deadly control of industrialist Bartholomew Bogue, the desperate townspeople employ protection from seven outlaws. As they prepare the town for a violent showdown, these seven mercenaries find themselves fighting for more than money. Exhibitor: MGM Television

Kiko

The daily adventures of Kiko and friends, Patino, Poli, Lola and Tingting in this beautiful underwater valley involves Karkus, the arrogant catfish and his assistant, Pupus. Karkus wants to rule this fish city and often gets in the way of Kiko’s adventures. Exhibitor: MNC Contents Modoo Modoo Show (Pnisystem Co., Ltd.)

Modoo Modoo Show

A fun series based on favourite tales from around the world, where hand puppets come to life and go to Modoo Modoo Land to perform a show. Momo and friends face a problem during the show’s planning and think of ideas to solve it. It fills the mind with creativity, as they teach us life skills. Exhibitor: Pnisystem Co., Ltd.

Kazoops! (Jetpack Distribution)

Duckport (Mondo TV)

Kazoops!

UMMI....Tell More Stories Please (Hud Hud Media Sdn Bhd)

UMMI.... Tell More Stories Please

Award-winning “UMMI...Tell More Stories Please” consists of a mixture of 3D and 2D animated series that infuses entertainment and educational values for children and family viewing. Each series features fun, sing along and easy listening songs by the unique and cute characters. Exhibitor: Hud Hud Media Sdn Bhd

Duckport

Who says the world works the way grownups think it should? Things can always be different if you just imagine. Monty is a spirited boy of six, with a vivid imagination. His best friend is Jimmy Jones, the family pet pig. In each episode, Monty confronts a preconception about life, embarking on an imaginary musical adventure to find fresh perspectives. Exhibitor: Jetpack Distribution

The Adventures in Duckport will feature the original Suzy’s Zoo character set, which includes Suzy Ducken and her friends Jack Quacker, Penelope O’Quinn, Corky Turtle and others. Kids aged 4—8 will follow their exciting and whimsical adventures, as they interact with and show respect and love for the elder members of their community. Exhibitor: Mondo TV S.p.A.

Posse (Rabbit Films)

Posse

A live entertainment show mixed with elements of a talk show, live comedy, candid cameras and big stunts – all infused with positive anarchy. The show pushes celebrities, comedians and actors out of their comfort zone and into bathtubs with live audiences, coming face-to-face with explosive construction equipment. Exhibitor: Rabbit Films

Jinxed 2 (Sky Perfect Broadcasting Corporation)

Jinxed 2

Kazuki Kitamura and Gaku Hamada co-star in a TV dramatization of the hard-edged “Jinxed” series. Exhibitor: SKY Perfect Broadcasting Corporation

The Loud House (Viacom International Media Networks)

The Loud House

A new animated comedy centred on the adventures of Lincoln, the only brother in a household with 10 sisters. Exhibitor: Viacom International Media Networks

Swing VR Battle (Studio Lux)

San Jian Hao - Swordsman film (Shan Dong Zhong Dong Culture Media Company Ltd)

Swing VR Battle

Hades, the key AI program of a virtual reality called Gaia World enjoyed by most human beings, has managed to obtain self-identity for himself. Hades starts to gradually contaminate the Gaia World with dirty data, intent on conquering the world. Five key players are appointed as the representatives of humans to fight against Hades and save the world. Exhibitor: Studio LUX

Swordsman

Co-produced with Chinese game company Windplay, this film is based on the extremely popular game, San Jian Hao that boasts up to 100 million players today. Displaying Chinese Kung Fu in 3D techniques, it is set for release in 2018. Exhibitor: Shan Dong Zhong Dong Culture Media Company Ltd The Wild Adventures of Blinky Bill (Studio 100 Media GmbH)

The Wild Adventures of Blinky Bill Without Blinky, Green Patch would be a quiet refuge from the dangerous outback. With this kid koala, everyday life is spiralling into a chain of escapades. Exhibitor: Studio 100 Media GmbH

Lethal Weapon (Warner Bros. International Television)

Lethal Weapon

Kasam (Viacom 18 / Indiacast)

Kasam

Deeply in love, Randeep and Tanu marry. Tanu ends up dying in a car accident soon after marriage. Heartbroken Randeep has no desire to live anymore. However, an astrologer predicts Tanu will be reborn and come back to him. And she does, 20 years later. With a different face, but the same soul, will Randeep recognise her? Will love re-unite their souls? Exhibitor: Viacom 18 / Indiacast

Timeless (Sony Pictures Television)

Timeless

A group of unlikely heroes are thrust into the adventure of their lives, chasing a mysterious group of criminals through time and encountering some of the most seminal moments in history. They attempt to thwart a dark conspiracy that is a threat to all of humanity. Exhibitor: Sony Pictures Television

Yakuza and Constitution (TI ComNet Japan)

Yakuza and Constitution

Since the enactment of the AntiBoryokudan Act and the Yakuza exclusion ordinances, the number of Yakuza members has fallen to less than 60,000. However, the numbers do not explain their reality. What are they thinking? How are they living now? Cameras follow Azuma-gumi and Seiyu-kai, a designated Boryokudan in Osaka, bringing us into the lives of the Yakuza today. Exhibitor: TI ComNet Japan

Grief-stricken after the loss of his young wife and unborn child, ex-Navy SEALturned-detective Martin Riggs moves to California to start over at the LAPD. He’s paired up with Roger Murtaugh who’s just coming back to the job after a near-fatal heart attack. Riggs’ penchant for diving headfirst into the line of fire immediately clashes with Murtaugh’s prudent, by-the-book technique. Exhibitor: Warner Bros. International Television

Show daily day 1

Published on Dec 7, 2016

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