29 Nov 17 DAY 1
THE 2017 OFFICIAL
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SINGAPORE MEDIA FESTIVAL THE FUTURE OF MARVEL
Sana Amanat talks about her future of animation
ATF SIGNS LANDMARK DEAL
New online movie pitch for the Chinese market in 2018
Singapore Media Festival (SMF) returns for its fourth edition from ”. 23 Nov to 3 Dec under the theme “Celebrating Asian Storytelling ed guish distin most ’s region SMF brings together some of the t. talent and exciting film, TV, animation and immersive media conten
DRINKS & DINING OFFERS FOR FESTIVAL GOERS Flash your market & conference badges or film ticket stubs at participating F&B establishments!
THAI PBS: THE LIVING AFTER THE MOURNING
Buying content to inform, entertain, educate and inspire
Visit sgmediafestival.com for details.
MINGLE, NETWORK & UNWIND! Located within the stirring premises of Clarke Quay, SMF Festival Village is the go-to place for trade delegates and festival goers to meet new friends and continue your conversations beyond the official venues.
FIRST VR FILM DISTRIBUTION DEAL SIGNED Addressing the growing appetite for VR films in China
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Whoâ€™s Still Standing
The Amazing Magicians
HD Chinese Variety Entertainment Channel featuring Asian Celebrities and the top-rating shows of China https://www.facebook.com/NowJelliAsia/
29 Nov 17 DAY 1
AT A GLANCE CONTENTS
02 NEWS 08 CONFERENCE 19 KNOWING ASIA 22 FEATURE: THAI PBS: THE LIVING AFTER THE MOURNING
FEATURE: “FIND YOUR UNIQUE POWER”
HIGHLIGHTS NOV 29 NEW ANIME SHOWS FROM TMS ENTERTAINMENT FOR 2018 NETWORKING TEA BREAK 11am—11:45am Peony 4511, 4512, Level 4 BUSINESS NETWORKING SESSION BY CIO ACADEMY ASIA 12pm—2pm Screening Room @ Singapore Pavilion (H08/E08) Level 5 By Invitation Only
CHINA SHOWCASE & NETWORKING LUNCH 12pm—2pm Lotus 4D, 4E, Level 4 K-FORMAT NETWORKING RECEPTION 12:30pm—1:30pm Next to Roselle Ballroom, Level 4 TAIWAN HOUR 2pm—3pm Taiwan Pavilion (C10), Level 5 TAIWAN TV & CINEMA SHOW CASE 2:30pm—4:30pm Taiwan Pavilion (D10), Level 5
Ben from IPG Mediabrands and Jan of Socialbakers show us how to dress right in swanky ensemble
COCKTAIL PARTY & RAINBOW ART EVENT 3pm—5pm KCA Booth (L10), Level 5 SINGAPORE HOUR 4:30pm—5:30pm Singapore Pavilion (H08/E08), Level 5
Wild women do: VSStory’s Jacqui (left) and PCCW Media Group’s Janice (right)
NOV 29 VR x SMF IGNITE 10:30am onwards (Peony Room, Level 4) EDITORIAL & PRODUCTION TEAM Editorial Director Lunita S V Mendoza On Site Editor Suhaimi Saini Conference Writers Marcus Goh Gwyneth Goh
PROJECT MANAGEMENT Senior Project Director Yeow Hui Leng
CONFERENCE Executive Producer Lunita S V Mendoza
Project Manager Joyce Chua
Producer Assistant Mira Lee
Senior Project Coordinator Chrystia Liew
MARKETING Marketing Manager Monika Au
Market Writers Bernice Koh Nur Atiqah
BUYERS Relationship Manager Lim Li Min
Designers Zoey Lim Shellen Teh
Exhibitors & Participants Account Manager Phua Meenyi
Photographers Milton Tan Dalton Tan
PUBLIC RELATIONS Ninemer Public Relations PL
Assistant Marketing Manager Valerie Lim OPERATIONS Operations Executive Amelia Kho Operations Coordinator Phelicia Ng
SINGAPORE MEDIA FESTIVAL PUB CRAWL 6pm—10pm Read Bridge @ Clarke Quay
CONFERENCE NOV 29 HERE COMES THE SMASHING K-FORMATS! 11:30am—12:30pm BOLLYWOOD & BEYOND: FRESH CONTENT FROM INDIA 2pm—2.30pm WHAT DO INDIAN OTT BUYERS WANT? 2.35pm—2.55pm CHINA EXCLUSIVE C2C, THE NEW CONTENT MONETIZATION PHENOMENA 3pm—5pm
ATF OPENING PARTY 8:30pm—11:30pm F. Club Singapore Strike a pose at this year’s Opening Party! Network over a cuppa @ the ATF Coffee Point on Level 5 Brought to you by
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Published by REED EXHIBITIONS, a division of RELX (Singapore) Pte Ltd
29 Nov 17 DAY 1
NEWS SECOND YEAR OF ATF FORMATS PITCH EXPERIENCES AN UPSURGE Stephen Lambert, CEO at Studio Lambert and one of Britain’s best known creative television executives, responsible for reality hits such as Undercover Boss, Wife Swap and Faking It, joins this year’s ATF Formats Pitch on-stage jury. The creators of five shortlisted formats will be invited to pitch their ideas live to a panel of industry experts that also includes Alan Hodges, Managing Director Asia Pacific at A+E Networks, who oversees business development in the Asia Pacific region, including channel partnerships, program sales, digital media opportunities and local productions, and Spruce Leong, Head of Commissioning, Channel 5 at Mediacorp. ATF Formats Pitch 2017, backed for the second year running by all3media international, announced that the competition received entries from 13 countries. The number of entries from Asian countries doubled in comparison to the inaugural event in 2016. Over 50 entries have been assessed during the first round of judging.
Catch the ATF Formats Pitch 2017 in the ATF Theatre on Nov 30 @ 11.30am—12.30pm (L4)
Yeow Hui Leng of ATF finds new wind with Perfect World Pictures (Singapore) CEO, John Ho
The ATF Formats Pitch was a great experience and I recall how a number of broadcasters who attended the live pitch in 2016 approached me at the end of the session, expressing interest in our format “Hit it”. We have since secured a commission by MediaCorp Suria Channel and we have been busy testing the format and our games. We have enjoyed working with all3media in the process of refining the format and are looking forward to working with them to bring “Hit it” to international markets through their various network” – William Lim, Executive Producer at XTREME Media & Winner of the inaugural ATF Formats Pitch 2016
ATF SIGNS LANDMARK DEAL WITH PERFECT WORLD PICTURES New online movie pitch for the Chinese market in 2018 ATF and ScreenSingapore will launch a new online movie pitch for the Chinese market come 2018. In an unassuming signing session last week with Perfect World Pictures (Singapore), CEO John Ho commented, “This unprecedented partnership reflects the shared cultural experiences that frame this new creative support, facilitating strategic business exchanges between China and the rest of Asia. I think bringing the best ideas from Asia into China is a natural surge, as the Chinese online streaming video market continues to grow and consumers are increasingly receptive to content diversity”. Established in May 2017, Perfect World Pictures (Singapore) Pte Ltd is an entertainment company that caters to the production, distribution and marketing of film, television and online content, content related advertising, merchandising as well as events and talent management. In 2018, Perfect World Pictures (Singapore) will be investing S$30 million to remake the 1984 Singapore
Classic TV drama, “The Awakening New Edition”, into a new 60-episode blockbuster series, along with over 300 hours of online movies and series in the next 5 years. Perfect World Pictures (Singapore) is a strategic move by Perfect World Pictures (China), to expand its operations into key Asian and international markets with Singapore as its base. It aims to bring the best film practices and technologies into Singapore from its award-winning China counterpart. The company also has strong ties with the likes of Tencent and iQiyi, on top of the OTT offerings of Hunan Television, Jiangsu TV, Zhejiang Television, Shanghai Tongfang and CCTV. This new ATF pitch in 2018 for the Chinese market will bring a different dimension to Asia’s premier content event, as it looks to buy the best of scripts in the Asian spiritual, myths and legends aspect of the online movie genre.
VISIT US AT ATF, STAND #J08 Catalogue: www.keshetinternational.com Contact us: email@example.com @KeshetIntl KeshetInternational @KeshetInternational
29 Nov 17 DAY 1
NEWS ATF’S INAUGURAL ANIMATION PITCH TAKES OFF
FIRST VR FILM DISTRIBUTION DEAL SIGNED AT ATF Yue Cheng Technology will be enriching its cinema library by adding a narrative VR film, Dirrogate, produced by RealVision, founded by Clyde DeSouza a filmmaker in the emerging VR storytelling space. Dirrogate, a RealVision-Master Media co-production based on the book, “Memories with Maya” (Penguin/ Randomhouse, 2015), will be translated to Chinese by Yue Cheng Technology and playback at Gome’s VR cinema chain to address the growing appetite for VR films in China. Through a collaboration with Gome Group and HTC Vive, Yue Cheng launched the world’s first professional
VR Cinema in Beijing this June. It offers a novel pay-per-time entrance system, to ensure patrons a pleasant experience driven by their curiosity rather than by their wallet. YCT, founded by Han Yitian, has currently established business relationship with more than 100 cutting edge VR content producers and has more than 300 licensed VR content-both online and offline. The signing of the deal will take place on Nov 29. Catch Han Yitian and Clyde DeSouza at the VR x SMF Ignite on Nov 29 @ 4.05pm—4.35pm for the session, Players of the Ecosystem (Peony Room)
GAME TO FAME E-SPORTS REALITY SERIES TO BE SHOT IN BALI
Aurora Media Holdings, one of Southeast Asia’s leading media and entertainment producing and investment entities and Spout Entertainment Group, the region’s largest digital entertainment firm, will begin shoot on the world’s first E-Sports reality competition series, GAME TO FAME. The shoot will commence in Feb 2018 in Jimbaran, Bali, and will revolve around the Fifa 18 console game. 04
“Animated properties are one of the most durable foundations of the global content business, said Justin Deimen, Managing Partner of Aurora Global Media Capital, a leading media and entertainment asset incubation, investment and management vehicle. “Strong characters and interesting IPs cut through cultures, demographics, and territories more efficiently and effectively as animation. We’re all looking to discover and nurture new IPs from talented content creators around Asia for the international market,” expressed Justin, who is one of the on-stage judges at ATF’s inaugural Animation Pitch. “The shock is, some companies still don’t get that social is becoming (or is) a #1 influence channel. We see this in elections, we see this in the media, we see this with brands and companies selling out products that are correctly promoted. The #1 post of a celebrity this Halloween was a sponsored post, with millions of people engaging and reacting, likely reaching 40—60 million people in the process. That goes beyond TV levels of audiences.”
Backed by Green Gold Animation Pvt Ltd, the competition is a premier Asian pitching competition for creators and producers of innovative concepts for new and original animation targeting kids, and is aimed at facilitating the exchange of ideas and talent between leading international television, distribution and Asian-based producers. The inaugural pitch has pulled a record number of entries from Malaysia to China to India, Thailand and even Greece (who is not eligible). Judges for the inaugural pitch includes a true star-studded line-up of Netflix, Disney, Nickelodeon (Viacom), Green Gold Animation and the money man from Aurora Capital Global Media.
– Jan Rezab, Founder & Chairman, Socialbakers
Catch the ATF Animation Pitch 2017 on Nov 30 @ 2.30pm—3.30pm (L4)
BITE SIZE FOR BUSINESS
JOIN US AT
BOOTH J23 MEET US AT B27
AUSTRALIA BRINGS PREMIUM CONTENT TO ATF 2017
Meet us at the Australia Pavillion L08
©light ／ Dies irae ANIME PROJECT
©2017 『あゝ、 荒野』 フィルムパートナーズ
© Kaori Hanzawa ・ HOUBUNSHA ／ COMIC GIRLS Production Committee
MEET US AT H30
29 Nov 17 DAY 1
CONFERENCE The Future of Content The future of content is steeped in uncertainty. Stephane Alpern, Managing Director (APAC), Kantar Futures, Knowledge Partner for the Leaders’ Summit, quantifies and postulates six possible evolutions of content. However, he explains that the future would not be just one single evolution, but a blend of these six. Three of them are extrapolations of today’s world -- one where consumers dictate the entire ecosystem of content, from financing to distribution; another where a few powerful individuals like critics, governments, or large corporations deem what content is good; and a third future where consumers value the actual experience over the social sharing. The other three possibilities are a reverse of the first three – one where people create content communes to make a difference in the world; a fifth scenario where raw content is constantly being livestreamed rather than being curated (like Korea’s
Stephane Alpern makes some fascinating points at the Leaders’ Summit breakfast
Mukbang trend); and a final one where content goes beyond reality and creates experiences that would be impossible in the real world. From the exclusive C Suites at the breakfast, issues like the future impact of blockchain infrastructure, as well as the lack of penetration that Asian content has in America, were discussed.
Advertising: Alive & Kicking
Alistair McEwan (L) and Ben Crawford in a discourse on the rumoured death of advertising
Ranji David gives some unique insights on how consumers are reacting to advertising today
The Leaders’ Summit breakfast by Kantar offered some high level networking opportunities; here with Alibaba and FOX in conversation
The big question on everyone’s minds was unanimously answered in this session by an illustrious panel of advertising giants. A lot of data still shows that television advertising numbers are strong. Despite changing media and necessary strategy shifts towards digital platforms, key truisms still apply: content is everywhere, and consumers will still stay where there’s good content. The problem isn’t with advertising, but with a brand’s ability to capture the audience’s attention. As a result, most brands are returning to the fundamentals of clearly articulating who they are. Technology, also, is more friend than foe. It should be wielded with data to gain market insight, and fused with great ideas to execute great content. It’s important to consider multi-screening behaviour when coming up with fresh ways of reaching and connecting with the audience. Innovation and technology, coupled with quality content, is the clear way forward.
Is advertising dying? Absolutely not! This is in fact a tremendous time for advertising, and there’s a real opportunity for us to reinvent what great advertising looks like. There may be a lot more noise than ever before, more challenges, and more competition for the consumer’s finite time and attention, but the upside is that great content will really stand out now.” – Ranji David, Marketing Director (Asia), World Federation of Advertisers
Creativity = Consumer Success In the now of prolific data and content, attention is key. As consumers become less receptive to advertising, with the majority perceiving it as increasingly intrusive and annoying, the new challenge lies in getting and holding the consumer’s attention. This means that we need to change the way we communicate and reach out to consumers. Demanding data isn’t the solution especially since consumers are increasingly concerned about the amount of personal data collected about them. Creativity is thus more important than ever. Brands require creative advertising to thrive, and research even shows that “bad creativity” has a measurably negative impact on sales. Consumers want to be entertained and engaged with stories, and interesting content now needs to be matched with the right data and platform to capture them.
Pablo Gomez of Kantar Millward Brown delivers fresh stats on data and content
29 Nov 17 DAY 1
CONFERENCE FB, IG, TW Is there difference between social media and mass media today? No. Social media is mass media, says Jan Rezab, Founder and Chairman, Socialbakers. 60% of advertising dollars now go to Facebook and Google, and Facebook should be considered a news platform in and of itself. What’s important to note about Facebook is that it completely optimises each user’s News Feed with an artificial intelligence algorithm. With two billion people on Facebook, that means there are two billion unique news feeds and 500 million weekly interactions. Even experts find this tricky to understand. With a new iteration of the Facebook algorithm approximately every three to six months, keeping up with updates is difficult.
A mesmerizing session by social media guru, Jan Rezab, enlightening the audience with some inconvenient truths
The Power of Social (If you know what you’re doing) Publishers need to stop thinking of social media as the enemy, advises Jan Rezab, Founder and Chairman, Socialbakers. At worst, they’re a necessary evil. But with over 500 million weekly interactions for Facebook alone, companies can ill afford to ignore them. The 30-year-old wunderkind started Socialbakers in 2009, a global social media analytics company, and shares his observations and recommendations from eight years of research. His advice for media companies is to stop obsessing over followers and fan counts, and focus on shares instead – the metric that correlates directly with ROI and traffic in most cases. Unfortunately, he’s noticed that some local media companies like Straits Times don’t focus on shares a lot, even though they publish good content. He suggests looking at BuzzFeed, Business Insider, and recipe companies like Tasty as examples of companies with successful social strategies. Jan also encourages everyone to use Instant Articles on Facebook instead. 10
Though it may be controversial for most publishers, it loads faster and is prioritised on Facebook’s News Feed. Other strategies he champions include the use of Facebook Live Video (with subtitles), and working with both big and small social influencers. He also advocates building proper bots to engage consumers who message Facebook Pages. Most importantly, get a Facebook News Feed expert who truly understands data, social, and channels – then build a team and their capabilities. Finding the right talent is the critical question, he acknowledges, and companies should look for candidates who are very openminded and have very little ego. When asked about gender representation at Socialbakers, Jan stated that most of Socialbakers’ analysts are women. He promises to update his slides to better to reflect this, prompting laughter from an audience who enjoyed his entertaining and insightful presentation.
Being a social media expert doesn’t mean they have a very good Instagram [account]. If they post many selfies on Instagram, they’re not necessarily going to be great. They have to understand data, understand social, understand channels, and hopefully they’ve done it before.” – Jan Rezab, Founder & Chairman, Socialbakers
He cites the example of Facebook’s new Explore Feed, an experiment rolled out across a market of tens of millions of people. It resulted in drastic changes in terms of reach. Twitter’s heyday seems to be a thing of the past, accounting for only 1% to 2% of traffic in the best markets. While Jan really loves it, a quick audience poll revealed that only a handful of attendees were still active on the platform. Traffic is instead going to platforms like Instagram, with media companies slowly starting to understand the platform, he says. However, Instagram is rolling out new formats like Stories, and there’s no telling how media companies will eventually use Stories.
Attendees were fascinated and there were no lack of questions from the crowd
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Hary Tanoesoedibjo has faith in Indonesia, noting that it will surpass the US in a short span of 20 years, population-wise
Hary’s Thumbs Up to Online
Indonesian Powerhouse: Country to Overtake the US in 20 Years
I didn’t believe in the Internet business in the past, said Hary Tanoesoedibjo, Founder and Chairman, MNC Group.
The challenges and potential of Indonesia are enormous, thanks to its emerging markets, growing population, and projected GDP of US$3 trillion in 2020. Hary Tanoesoedibjo, Founder and Chairman, MNC Group, shared his insights in a frank fireside chat moderated by Rob Gilby, Board Member, IMDA.
He attributed this belief to having witnessed the burst of the Internet bubble in 2000. Stock indexes went down by 50%, and many of his friends lost a lot of money as a result. Hary subsequently started his media business in 2001, when he acquired RCTI, the largest free-to-air (FTA) television network in Indonesia. He later went on to acquire another two FTA networks, MNCTV and GlobalTV, eventually controlling over 40% of Indonesia’s market share. Six years later, he listed MNC with a market capitalisation of two billion dollars, the largest IPO ever in 2007. He has since changed his stance on the Internet business, having witnessed the fast and massive growth of his friends’ Internet businesses. One example is his good friend, Pony Ma (Ma Huateng), the founder of Tencent. Ten years ago, both companies were the same size, but now, Tencent is one hundred times the size of MNC Group. Although he entered the digital space later than his friends, he has no regrets. It’s never too late to be successful, and he believes that he entered the Indonesian market at the right time. 12
Am I too late entering the digital space? The answer is no, of course not. For the case of Indonesia in particular, it’s actually the right time, because the market has started to grow. I always believe it’s never too late to be successful. Which I think is a good message for all of us, a good message for me. What is important is that we do the right thing at the right time. We have to know the market behaviour too.”
Hary states that in the next 20 to 25 years, Indonesia’s population will overtake that of the United States. The population demographic will also be very young, and combined with the projected three trillion dollar GDP, this offers huge market potential. As a result, he believes that all types of media will see growth, including
traditional media. The growth of traditional media will be fuelled by the middle to lower income demographic, while the big cities will support the expansion of digital media. However, a problem that Indonesia faces is the fixed broadband network. Hary says that the network has not been rolled out well, and mobile broadband use is expensive. Despite that, he is confident of OTT media growth, and says that fixed broadband will be massive in Indonesia. On the content production front, Hary says that family-driven content sees good audience share for free-to-air (FTA) channels, but content that is popular among the young here is declining. Production decisions are driven by revenue generating content such as dramas and reality shows. Infotainment programmes are also a good option, as they are cheap to produce, but generate revenue. 80% of the content is local, while 20% is acquired, and almost all of the local content on FTA channels are produced in-house.
– Hary Tanoesoedibjo, Founder & Chairman, MNC Group
Networking at its best: Hary Tanoesoedibjo gets cosy with HOOQ’s Peter Bithos
With regards to big data, Hary states that MNC Group is building a large data centre in their core business centre, so that they are prepared to be fast and manoeuvrable in the digital space. He likens Indonesia to a mini version of China in the late 90s.
We make good films. Snacks & coffee at Stand L27 All Day.
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29 Nov 17 DAY 1
CONFERENCE Stunning Gathering of APAC’s OTT Greats In a stimulating session uncovering the content strategies of these four big players, the debate between original content and licensed content surfaced as a central issue. As it stands, the consensus appears to be for creating more original content, given that “licensed content” is typically synonymous with “western content”. Janice explains that this is due to an improved demand in the region. “We want to match local content with Hollywood content, invest in local community and local content, tell those original stories that don’t get told until they are,” says Peter before qualifying, “but there is an economic lens you have to run this through–where’s the best return on investment relative to your costs of licensing and production, and to the cost of alternative formats? What drives human engagement and what drives engagement with the highest return?” The problem is not with demand, but supply. James explained that while buyers are plentiful, what’s lacking is premium, original, local content. To that, Janice responded that she’s been discovering and working with a number of creative people in the market. “Great storytelling does travel, despite language barriers. We’re looking to
work more and more with highly creative people, interacting deeply with fresh talent to produce refreshing pan-regional content.” Delving deeper into the subject, Mark shares that while the impact of an exclusive original production is higher, scaling original productions is indeed difficult. “The admirable thing about Netflix is the pace at which they’ve been able to develop original content. Scaling up to hundreds of hours of original production is tough.” The question then is how to approach original content creation. While there doesn’t seem to be a textbook strategy, adapting to market opportunity is key. Even though the goal is to develop great stories and complex characters that grab audiences season after season, rather than try to allocate production, the better strategy might be to stay quick on your feet. “You don’t want to box yourself in by category; we try to be flexible and go with the customer flywheel,” James advises, “the hardest thing about data is using it to predict future behaviour.” Knowing what people are watching right now doesn’t necessarily help you produce what they’ll watch in future.
Tim Westcott’s research hot-off-the-press from the UK gives strategic insights to sports and its move online
Enraptured by what is to come, attendees are privileged to a peek into the future of sports in media
Online Sports: A Pivotal 2018 Tim Westcott, Director for Channels and Programming Research at IHS Markit announced that 2018 is going to be a big year for online sport. He quickly reassured the audience that linear TV will survive though, because people are unwilling to miss a live result. “There is more sport than ever being televised. By keeping these events mainly on free TV, rights holders have managed to increase their license fees because these events aggregate large audiences.” That said, rights values have further exploded with the growth of pay TV. Sports spectators enjoy having 24/7 access to dedicated sport channels, and HDTV and video replays only sweeten that deal.
OTT greats (clockwise): Peter Bithos, CEO of HOOQ; James Farrell, Head of Content (APAC) of Amazon Prime; Mark Britt, Co-Founder & CEO of iflix; Janice Lee, Managing Director of PPCCW Media Group 14
Broadband has however now overtaken pay TV to saturation point. Due to costly pay TV bundling, people have begun seeking online alternatives. Online streaming notably still faces technical challenges, with drops, breaks and lags that are bound to frustrate enraptured fans at the most crucial moments. Nevertheless, 2018 will be a pivotal year for online sports, marked by the launch of new direct-to-customer ESPN in the US, live streamed channels via ESPN Plus subscription, Formula One’s online subscription service and more.
From the producer of “FERİHA”
VISIT US AT ATF F23 www.calinosentertainment.com
29 Nov 17 DAY 1
CONFERENCE Innovations for a New Generation In a riveting session led by resident futurist Alexander Shulgin, Futurist from the Familia Group, the attendees were privy to learn more about MediaCorp’s digital strategies and the Korean social innovator’s latest play on technology. Having recently launched and sold out their AI speaker on launch day, Lydia Chung, Head of International Business reveals that Kakao Kids is more about selling content than devices. Outwardly, the AI speaker plays educational content at a child’s request, but the underlying goal is greater: Kakao wants to understand and personalise healthy
content for kids while improving their content library with data collection. Parminder Singh, Chief Digital & Commercial Officer, then revealed MediaCorp’s plans to evolve its storytelling mainstay for a new generation. Mediacorp will be leveraging talent outside the company by partnering with young millennial creatives to monetise their stories. They will also be creating more synergetic partnerships and taking a stab at web series next year.
An all-round perspective: Christine Fellowes of NBCUniversal questions when Asian formats will make their mark in the West
Innovations for a New Generation Consumers are devouring more content than ever before, and this spells key opportunities for our regional ecosystem. How can we develop local content into regional content into global content? Do we have the talent and budget to take local productions worldwide? A futuristic session that involves digital natives who are way ahead of the media game: (L-R) Parminder of Mediacorp, Lydia of Kakao Kids and Alexander of Familia Group
Will CTOs Play Ball? by Michael Smith Jr, Partner, Seedplus. Whittaker believed the next big thing may be a single aggregated user account that can login to all OTT video providers; similar to how UK’s residents can access all banks through one centralized management account.
People just want to watch what they want, when they want to – they don’t want technology or search getting in the way; they don’t want you to make up something else for them, said Michael Fleshman, CTO, HOOQ. ATF’s first technology-focused session saw HOOQ’s CTO in a panel discussion with Mike Whittaker, CTO, FOX+ that was moderated 16
However, Smith Jr observed that there will always be those who don’t want to play ball. He cited Netflix as an example – the latest update to Apple TV allows the user to search everything in a nascent attempt at aggregation, except Netflix’s catalogue. It seems like users will still remain in the valley without aggregation for a while longer, and being able to watch content they want when they want it may not be a reality any time soon.
For Justin Deimen, Managing Partner of Aurora Global Media Capital, production is all relative to budget, market size, reach and project length. “I think distribution in SEA is the biggest challenge as well as the biggest opportunity. We’ve been building a partnership base of producers, investors and distributors, but distribution is the one unifying force, the key thing.” Dhruv S Sinha, Head for Hollywood & Overseas Business from RELIANCE Entertainment, provides a different anecdotal perspective, stating that Narcos has succeeded in becoming one of India’s biggest hypes despite the show’s contacts speaking only Spanish. Similarly, many in India who don’t understand English are watching Game of Thrones. “If we in India can come up with content that translates into any market, how great would that be for launching worldwide!” Christine Fellowes, Managing Director of NBCUniversal Television agrees, pointing out that Suits and Saturday Night Live are now being aired in Korea and Japan very successfully. All this however only proves that Hollywood formats have no trouble becoming localised, and we are still left wondering if Asian stories will ever make their mark on the western world.
29 Nov 17 DAY 1
CONFERENCE What Thailand’s Biggest Public Broadcaster Observed Credibility and trust are the most challenging issues for broadcasters now, says Dr Sudarat Disayawattana Chantrawatanakul, Deputy General Director, Thai PBS. For the first time in ATF’s history, the biggest public broadcaster takes to the stage in a session moderated by Sinthu Peatrarut (David), Managing Director, Nielsen (Thailand). Dr Sudarat came into the role at the beginning of August this year. Having previously studied the migration of newspapers to online sources, she didn’t expect that she would be observing similar trends in television. There are many parallels to the newspaper industry.
A standpoint from the technology world, who understands that technology, drives content today. Huawei’s Ian Valentine makes some pretty significant statements.
Media Companies Need to Give Way to Technological Progress Like the misrepresented legend of King Canute trying to control the ocean, media companies sometimes think they can stop big trends, states Ian Valentine, Chief Consultant Officer, Huawei Technologies. However, the truth is that media companies cannot stand in the way of technological progress, just like how the true anecdote of King Canute shows that he was actually demonstrating he had no power over the waves. This first session of its kind at ATF outlines the changing relationships between mobile carriers and media companies. Ian presents three key insights about the evolving relationship, replete with many analogies and metaphors to explain his points. Ultimately, entertainment is at the heart of what they do, he notes. For context, Ian traced the history of the relationship between mobile carriers and their customers. It started with an ecosystem of circuits, before progressing on to becoming a sea of data with the arrival of fixed broadband, fiber, and 4G. Now, the relationship is becoming an ecosystem for video. Ian shared the first insight gleaned at Huawei – the evolving user experience. Mobile apps are the television channels 18
of yore. However, “changing channels” now is difficult, because each app is its own silo. Therefore, mobile carriers are increasingly playing the role of a “television operator” to facilitate “changing channels” so as to create a television style user experience on mobile, by offering options like unlimited or video access on OTT. To illustrate this, Ian used the analogy of a marketplace and individual shops. Mobile carriers are moving away from being competitors of providers like Netflix (where both act like individual shops), and moving towards a model where they behave like a marketplace full of individual shops by partnering with content providers. This provides mobile carriers with more revenue streams.
Increasingly, our carrier customers are ditching this idea of becoming a copycat pay TV operator and moving towards the marketplace model. Why? When you’re an OTT video content provider, you’ve only got content revenue to rely on. Our carrier customers have many other revenue streams. They have access revenues, feature revenues, and indirect benefits of bundling this TV product with their telecommunications services.” – Ian Valentine, Chief Consultant, Huawei Technologies
She went on to explain that with increasing consumption of media online, some people have fallen prey to clickbait. However, since consumers don’t differentiate between social, online, and traditional media, this has created a growing sense of mistrust of all forms of media. Hence, there is a need to educate audiences on the difference between professional and non-professional media. Besides the migration online, she also observed that idols are a form of media all by themselves as well. Thai PBS received about THB2 billion of funding each year from earmarked taxes. This public funding reminds citizens that they are also stakeholders in Thai PBS, and they provide frequent feedback about the types of programming they would like to see.
Secondly, Ian noted that the focus is about winning the person, rather than the premises. Emerging markets like Africa and Indonesia are remarkably different from Western markets, and there is huge potential for growth. He predicts that AR will be bigger than VR, since AR will be more mainstream than VR. Finally, he predicted that mobile devices will be the new control point for everyone’s life, even when it comes to television devices. He sees carriers increasingly adopting a mobile first strategy for video.
Thai PBS’ Dr Sudarat and Nielsen’s David Peatrarut discuss Thailand’s media landscape and mind-set
THAILAND’S DIGITAL CONTENT RATINGS • Live stream peaks at a similar time to TV peaks • Younger demographics are watching content via digital screens • Trends for video on demand have 1-7 days for a series, 1 day for news and 1-3 days for sport • Digital marketing continues down the path of constant engagement with the internet of things. With the proliferation of network-enabled devices, there are new spaces for advertisers to salivate over. • The Twitter firehose has been a strong marketing tool for some time, but it is getting obsolete, and Facebook recently opened its firehose to a select group of marketers. During 2016, Snapchat has stepped up and join the other two social media powerhouses. Since the Snapchat platform is all about instantaneous communications, this makes real-time data analytics essential for advertisers and marketers.
VIDEO ON DEMAND TREND FOR THAI SERIES A
STRATEGIZE BY PLATFORM THROUGH UNDERSTANDING AUDIENCE COMPOSITION
Your audience is engaged online for up to 8 days after original content is posted
EACH PROGRAM CATEGORY CAPTURES A DIFFERENT TARGET AUDIENCE
Source: Nielsen Digital Content Ratings Report, Feb – May 2017
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29 Nov 17 DAY 1
APAC TV TRENDS
Connected consumers in APAC watch the least amount of traditional TV globally. 62% watch traditional TV daily, compared to 70% in Europe and 76% in MEA. This is to the most recent Connected Life study from Kantar TNS.
Filipinos watch the most traditional TV globally (86%), followed by Myanmar (81%) and Indonesia (80%). Chinese consumers watch the least (54%), following by Malaysians (56%) and Singaporeans (57%).
Mobile-first markets in emerging Asia are changing the balance of online/offline TV viewing. On the whole, more people in APAC are now watching online content than traditional TV. 67% are watching online content daily in APAC – through online subscription services, or through free TV and video models or online platforms such as YouTube.
In countries that have leapfrogged traditional viewing habits, this number is especially high. The study shows that 93% of Cambodians are watching online TV daily, whilst developed markets like Japan have the lowest figure, at 46%.
37% of connected consumers in APAC watch content from an online subscription service such as Netflix. Chinese consumers are most likely to have an online subscription service, whereas emerging SEA markets are least likely to pay.
It’s clear that people are snacking on online content. 42% of internet users in APAC watch free TV clips online daily, whilst 45% watch clips on social media.
For more information, please contact email@example.com
ABOUT CONNECTED LIFE Connected Life is Kantar TNS’s annual study of digital behaviour, conducting quantitative interviews with 70,000 consumers across 56 countries and over 100 qualitative interviews across 12 countries. Fieldwork was conducted from May – August 2017. The definition of developed nations and emerging countries are based on the World Bank classifications. Developed
nations include: Australia, Hong Kong, Japan, New Zealand, Singapore, South Korea and Taiwan. Emerging countries include: China, India, Indonesia, Malaysia, Mongolia, Philippines, Thailand, Vietnam, Cambodia, Mongolia, Myanmar and Sri Lanka. Study content includes: media consumption, device infrastructure, digital activities, purchase (online and offline), respondent profiles, brand engagement touchpoints, drivers of eCommerce, deep dive into social networks, and attitudes to brands and technology.
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THAI PBS: THE LIVING AFTER THE MOURNING Content to inform, entertain, educate and inspire
What this means is, as the official public broadcaster, Thai PBS is dedicated to create a learning space for all people, promoting a lifelong learning society with its own programs through multi-channels. “Education is the key factor here. Accessible education is cited as a vehicle towards economic and political stability, reduction of inequalities and a better quality of life. The country will not excel unless human resources are properly educated. Both formal and informal education is equally important,” emphasized Dr Sudarat. The path forward will see Thai PBS expected to go more digital, reaching more people anytime, anywhere and serving more content both wanted and needed. The broadcaster has also been taking part in children’s content via co-production and regional exchanges with the European and Asia-Pacific Broadcasting Union (EBU & ABU) every year. “Next year onward, we plan to focus more on documentary and factual content, which will be co-created with our partners, such as local affiliates like our citizen reporters residing all over the country, as well as our fellow broadcasters from different countries,” revealed Dr Sudarat.
Dr Sudarat Disayawattana Chantrawatanakul
Thailand’s year of mourning has ended. In the nation’s reawakening, the motivation to strive forward is found in the King’s Philosophy, which includes people-centered development targets to maintaining a balance of economic, social and environmental priorities to addressing issues of social disparities and corruption. The country’s biggest media company, Thai PBS, has stated that content-wise, they are dedicated to the application of the Late King’s Philosophy, which is also supported by His Majesty King Rama IX. These will be reflected in the news and other programs of Thai PBS. “Besides the application of the Late King’s Philosophy, the national reform is our main emphasis,” said Dr Sudarat Disayawattana 22
Chantrawatanakul, who stepped into the role of Deputy Director General of Thai PBS in August 2017. “Prime Minister General Prayut Chan-o-cha has stated the ‘Thailand 4.0’ policy would become a mechanism for national reform to pull Thailand out of the middle-income trap, economic disparities, and the imbalance between the environment and society. “As a public service media, Thai PBS has its societal functions to inform, entertain, educate and inspire as other commercials do; however, we also have obligation to be accountability instrument for the society,” explained Dr Sudarat. “That means we are expected to score higher on factuality, competence, information and critical attitude towards the government’s policy and actions.”
And its greatest challenge? The digital disruption, the highly competitive digital TV market and the change of audience viewing behavior. “Gaining back trust and reliability is more important to us than gaining popularity, and these are things that we have to work hard for. “We want to be ‘the first choice’ people can rely on when thinking of credible news sources, inspiring content, problem- solving instrument, and learning space for all.” In order to reach these expectations, Thai PBS will go into multiple platforms to reach a more diverse range of audiences, be a more data-driven organization to strategically understand its audiences and their preference of content through Thai PBS’ newly-established MEDIA LAB, adapt its functional structure to fit content-based orientation, as well as to work more efficiently and creatively, and finally, focus more on partnership engagement and collaborate on driving change, while addressing various issues nationally and internationally.
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“FIND YOUR UNIQUE POWER” An interview with Sana Amanat, Director of Content & Character Development, Marvel Entertainment
As one of the leaders in animation to date, who will lead Marvel into the next era, Sana Amanat will take to the stage on November 30, revealing her future of animation during two consecutive sessions. Here, ATF’s Show Daily editorial director speaks to Sana ahead of her appearance. Of course, we did want Muslims, South Asians, and girls to find a positive character they could relate to. We weren’t really thinking about what part of the world our audiences were in, as there are universal issues Kamala deals with that will resonate with folks from all over. ATF: How does the future look through the eyes of Sana Amanat? Sana: I’m hoping it will be one of more understanding and empathy. The population may be getting bigger, but the world is getting smaller. Yet, too often we focus on the elements that divide us, when in reality, we have so much more in common than not.
ATF: Your credit goes beyond your job. What drives Sana? Sana: Great narratives have always inspired and excited me. And I mean this in terms of the experiences I’ve had, the people I’ve met, or the stories I’ve worked on. Great narratives are simply impactful experiences that emotionally resonate with you. That takes you somewhere and forces you to better understand the world around you and yourself. So I constantly try to live my life in a way that looks for the great stories all around us. ATF: Why do you think Ms. Marvel is more widely accepted today? Sana: I believe people have been looking for a character like this for quite some time. For too long, there’s been a vacuum of content that authentically represented the minority experience, particularly in a way that was aspirational and empowering. So I’d say it’s less about acceptance and more about the fact that folks were craving a character like Ms. Marvel. 24
ATF: It seems that Ms. Marvel is both a fictional superhero and a hero of Asian girls in general. Seeing how there are a billion kids across Asia, with more females in the mix, how will Ms. Marvel manoeuvre the treacherous terrain of being an example during their most impressionable years? Sana: I don’t believe it’s a treacherous terrain. Ms. Marvel, like so many of our heroes, is meant to be a reminder of the greatness within each individual, challenging audiences to dig to find it. She’s also a very relatable character with struggles and flaws of her own, which makes her accessible for younger audiences in particular. The trick is showcasing that despite how difficult life can be, you have to push yourself to find your unique power. ATF: When you created her, was your intention more of greater acceptance within American society or greater inspiration to Asian girls outside the US? Sana: Willow (the author) and I intended to tell a really great story first and foremost that would inspire audiences of all backgrounds.
From a content perspective though, I imagine more hybrid kinds of storytelling, in terms of characters, languages and platforms. Entertainment is being consumed in a variety of ways, and more so than ever, which actually allows us to tell different kinds of stories, and challenges us to experiment with format, length and genre. I don’t think we can say there will be one kind of entertainment experience for the future; that in itself is going to be creatively inspiring! ATF: You are one of the leaders who will take Marvel into the next era. What do you hope to achieve and how will you balance success both for company and society? Sana: My ultimate goal has always been to bring in different kinds of audiences to Marvel. This means women, this means minorities, and I think we’ve made many strides in that area. Would love to get to a point where Marvel isn’t automatically considered a “boy” brand. I believe Marvel will only be successful in that way if they take society and audiences desires into consideration. ATF: With all the various platforms available today, will reaching greater success for Marvel be very different within Asia? Sana: We’ve already shown in parts of Asia that reaching audiences there comes down to localizing content through characters and platforms. But we’re also mindful that these aren’t siloed Marvel experiences, that the content we create for Asian audiences is very much a part of the Marvel Universe. In fact, it is what makes the Marvel Universe, all the more, richer.
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MAKING 360 MAGIC The virtual world in our near future, says Regeffe, has to be more social. “We have to build shared experiences, even in Cinematic VR, like when you watch a movie with your entire family. Also, Cinematic VR needs more pixels, more colours, more immersive sound... in a word, more quality. “This will soon be possible though, with the launch of High Resolution HMDs like STARBREEZE, and on the production side, with the use of cameras like KANDAO OBSIDIAN, which provide 8Kx8K stereoscopic material. And of course, we will have to add interactivity in Cinematic VR with multibranching storytelling, for example.”
If you’ve been running around the ATF market on Level 5 and its conference floor on Level 4 (offering undeniably gripping sessions this year), you’d know that VR is still in the game. This extended option of entertainment has certainly had its moments of tumult, as its cool status rises and falls with technology capabilities and infrastructure footing across the region. Why, some have even abandoned the VR dream. But after spending just 5 minutes with VR Consultant and Post Production Specialist, Alexandre Regeffe, the spirit of innovation and dream of deeper immersion is reignited. “The hype wave is behind us now,” says Regeffe, who, while is an evangelist, is not blind to current imperfections. “Even if Cinematic VR evolves fast in terms of workflows, tools, and skills, it’s difficult to
predict the future. We sometimes have to struggle against technical issues like HMD’s lack of definition for example, as this sort of problems can cause disappointment to the audience,” Regeffe explains. “The only way to keep Cinematic VR a success is to produce very high end content, like we try to.” Unlike VR, it seems today, it’s easier to imagine a world with a lot of AR skins that add advantage to a lot of realms, like marketing, health, and education. But, according to Regeffe, the frontier between AR and VR is tiny. “To be a seamless part of our real world, VR has to be more practical, simpler, and more engaging with a lot of high quality content. Wearing a HMD is now not very comfortable; it’s expensive despite falling prices, and the content are not very interesting, especially in Cinematic VR. So, evangelism is hard to do!”
ASKING ALEXANDRE: While basics are still being dealt with, you have gone ahead into 6DoF. Can you give us a peek into this “6 degrees of freedom” and what it means to you? “I think this is the next big step in Cinematic VR. Currently in Cinematic VR, as soon as you move your head to look behind an object for example, you immediately break the R of VR. I call it, ‘breaking immersion’. It’s the main difference between real time VR and cinematic VR. “In a real time environment, you can move and interact with objects. It’s a ‘gaming style’ experience. The ‘6DoF’ will soon allow you to ‘move in the movie’, to view the world more naturally by giving you 6 (and more) degrees of freedom. This means increasing the feeling of immersion, and giving more possibilities to storytellers.
Possibilities, as beautiful as they are, cannot blind businesses from the sobering realities of money matters, where the lack thereof can be a deciding factor in how VR progresses. “While addressing your questions, I learnt today NOKIA is shutting down their OZO cameras. This is a bad news for all of us, producers and creators, because this move highlights a big company deciding to move out from Cinematic VR because the market is growing slower than expected. “So yes, the money is very important. In the meantime, fundraisers and VCs are here to stay, and the investments are moving from hardware and tech companies, to content creation companies, like WITHIN (within.fr/) as an example. “In the end, more money to create high end Cinematic VR experiences is the key.” In a virtual realm where VR fails, Alex says he would return to his original roots, being involved in post-production drama series in France. But he has every confidence that “Cinematic VR will have a bright future, so I’ll keep pushing my company to do amazing stuff!”
“Technically, the workflow is quite complicated – you have to generate a depth map (grayscale in Z axis to simulate the depth information) from your 3D360 shot; post produce in this Z context, and then put the final movie into a player that handles these depth information. (Today, you can build your player in Unity for example). “For now, we are working on this type of project, an interactive documentary named ‘Replay Memories’ that’s about 9/11 in NYC, where the camera manufacturer (KANDAO) and the software editor (METTLE plugins) are working closely with us to achieve it.”
9-12 April 2018 Cannes France
Meet us at Booth J05
Creativity Glamour Business All new content to screen this April. The stars align at MIPTV. 4 days / 10,500 participants / 1,632 exhibiting companies / 100 countries / 3,800 acquisition executives. www.miptv.com
29 Nov 17 DAY 1
FEATURE But you have to be careful with this, because the game should not be stronger than the story itself. “We have done some tests with software that offers this kind of authoring for Cinematic VR experiences. This includes Liquid Cinema and Wonda VR. These two software options are very interesting for creators, because you can add a lot of interactivity to your Cinematic VR, and specifically to create "multi branch" scenarios. Catch Alexandre @ 2.25pm – 3.15pm (Peony Room), L4
SECRETS OF THE PROPHET
Many producers struggle with VR, thinking current expertise can overcome new ways of storytelling. What does Alex think has made his works a success, where so many have failed before? Is it simpler than most think? Or is it a whole new world many cannot as yet fathom or understand? The most important aspect where success begins can be articulated in three words: Storytelling, Storytelling and Storytelling. This is not new. And this is not about VR per se. “When you go to a movie theatre, you can cry, have fear, empathy, you can feel anger... all these are feelings, real feelings,” says Alex. The interesting thing of Cinematic VR is that the viewers seem to have stronger feelings watching experiences with a HMD on than watching a movie in a big or a small window (Cinema or TV). “So we, as producers, have to provide feelings. For example, in Expedition Antarctica, some of the viewers noted that after the experience, he ‘felt cold’.”
Imagine – your feelings can get your body to react accordingly. Interesting, isn't it?
Igniting the Spirit of Innovation through VR X SMF Ignite
As well, Neotopy chose this VR exploration documentary because it allowed a magical encounter, when one is able to virtually visit extraordinary places on our planet, the kind that would be almost impossible to go to in real life because it's too expensive, or too wild. The educational role of these experiences is important, Alex ruminated. Let people discover the world, sitting on their sofas. To do this, you have to provide as real a sensation as possible. This means image quality, immersive sound and all the little details that make you feel you are really there. And then there’s the secret sauce: "multibranch" storytelling. “It's a new way to tell stories, by giving choices to the viewer. So yes, the experience is like a sort of game, and we need level and game designers to handle some specific issues, and to find ways to deliver fantastic user experience results.”
VR’s fascination continues as ATF and ScreenSingapore 2017 throw both market and conference into the realm of complete immersion. The inaugural VR X SMF Ignite on November 29 is a full-day conference that will bring together technologists, creators, developers and users from the region to exchange insights on the Virtual Reality (VR) and immersive media ecosystem, and discuss how this new paradigm can create opportunities for businesses in media. Keynotes for the VR programme include the Director of Content and Platform Strategy at ILMxLAB, Mohen Leo (Opening Keynote) and CSO & Angel Investor from BINAREE, Albert H Kim (Closing Keynote). VR X SMF Ignite participants can also look forward to an exhibition of VR content and technology on Level 5, co-located with the ATF market itself. Catch the magic of VR X SMF Ignite @ Peony Room, L4
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PRODUCTS ARCTIC: UNDERWATER ALIENS In the severe expanse of the Arctic, there is another life form hidden under a thick layer of ice water. Inhabited by fascinating creatures, only in these chilling waters does the sea angel destroy the devilish sea snail. Watch real footage, and immerse yourself into the Arctic kingdom to meet all of the Underwater Aliens. EXHIBITOR: SIGNAL MEDIA
A WOMAN SCORNED Rome and Emma’s marriage is seemingly a perfect one. But as in any relationship, problems arise that place it in jeopardy. Emma discovers Rome’s affair with Georgia. He abandons her and even takes their son Austin with him. After a few years, they cross paths again and Rome realizes his mistake and plans to return to Emma. But Georgia has schemes that will not allow Rome to return to his ex-wife. Will Emma ever get her family back? EXHIBITOR: GMA WORLDWIDE, INC.
MY LITTLE PONY EQUESTRIA GIRLS BEAT BUGS Beat Bugs is the first children’s animated series to feature songs made famous by the Beatles to tell uplifting and life-affirming stories filled with hope and melody. Each episode features the funny and adventurous Beat Bugs, Jay, Kumi, Crick, Buzz and Walter. They are best friends who band together to explore and learn in their overgrown back garden, which to them is their entire universe. EXHIBITOR: BEYOND DISTRIBUTION
THE SCYTHIAN LAMB A government-sponsored program brings 6 strangers to Uobuka, a small town by the sea. Tsukisue is the pleasant and efficient city official who is in charge of the program. As Tsukisue learns the shocking truth, a body is discovered... Director Daihachi Yoshida and his all-star cast find the heart in the characters that face an extreme situation in this story full of hope and mystery. (126 min) EXHIBITOR: ASMIK ACE, INC.
A DUEL TALE The Shoji family was annoyed at Sanosuke Shoji who was a dependent samurai, except his nephew’s daughter, Miya. Miya’s parents are trying to decide her spouse, but she went against their proposal. Angered by Miya, her marriage proposal partner challenged the man chosen by Miya to a duel. When Sanosuke heard this, in order to help Miya end her dilemma, he grabbed his katana... EXHIBITOR: TI COMNET JAPAN
When Canterlot High School goes on a trip to Camp Everfree, they’re surprised to find a magical force is causing strange things to happen around camp. With the help of the Mane 6 and especially 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
PRODUCTS THEIR LOVE IS IN YOUR HANDS “Their Love Is in Your Hands” is a format. It’s a love drama and variety interactive show. The story will be changed by the viewer’s votes from SNS. This will be broadcasted in Taiwan on December 2017. (Available for local remake) EXHIBITOR: HIROSHIMA HOME TELEVISION CO., LTD.
LIVING THE DREAM
Mal Pemberton decides to uproot his family from their lives in Yorkshire and move to sunny Florida to run a trailer park. But, eternal optimist Mal doesn’t make the best businessman, and has bought the park without ever seeing it. Arriving to find that the park is a complete mess and home to an eclectic mix of residents, who refuse to leave, the family soon discover that “living the dream”, may be more of a challenge than they were led to believe!
A family animation series, which discusses the daily lives of the Somat family through the eyes of the main characters, Mr Somat, Mrs Inah, Dudung, Ninung and other citizens. EXHIBITOR: PT INDONESIA ENTERTAINMENT GROUP
MY SPICY GIRL Xia Ru Xing was born in a wealthy family. Unfortunately, her father died in an accident and her boyfriend Cheng Jie disappeared at the same time. To protect the old hotpot restaurant that was established by her father, RuXing puts her heart and soul into it. But adversity rages on as she faces serious internet bullying, placing the restaurant in a dilemma.... EXHIBITOR: REGENTACT COMPANY LIMITED
EXHIBITOR: ITV STUDIOS GLOBAL ENTERTAINMENT
DADDY’S HOME 2 In the sequel to the 2015 global smash, father and stepfather, Dusty (Mark Wahlberg) and Brad (Will Ferrell) have joined forces to provide their kids with the perfect Christmas. Their newfound partnership is put to the test when Dusty’s old-school, macho Dad (Mel Gibson) and Brad’s ultra-affectionate and emotional Dad (John Lithgow) arrive just in time to throw the holiday into complete chaos.
THE PEOPLE’S VET An emotional, heart-warming and often humorous series that follow the daily lives of vets and nurses in two charity pet hospitals. EXHIBITOR: PASSION DISTRIBUTION LTD
EXHIBITOR: PARAMOUNT PICTURES
DOCTOR FOSTER S2 The award-winning ratings hit that got everyone talking returns for the dramatic next chapter in Gemma’s story. Life appears to be going well for the talented doctor and son, Tom, after the turmoil that followed her discovery of husband Simon’s betrayal.
THE HUNGER GAMES Hunger: Once accepted by the Gauntlet, all the contestants are required to go through a 12-hour thorough fast before the start of the game. Game: Today’s comrades are tomorrow’s enemies; you will never know who will cooperate with whom at the next stage. Once contestants pass the fasting stage, the principal rule from here on is to keep eating to stay in the game. EXHIBITOR: CHINA TELEVISION COMPANY
DETECTIVE CONAN Whether big or small, there is no crime that can’t be solved by the son of the renown and world famous mystery writer, Shinichi Kudo. After being forced to drink some poison, he is transformed into a young school boy who assumes the alias of Detective Conan. With the assistance of a specially-designed gadget created by a scientist of his neighbour, Conan is able to demonstrate his uncanny ability to solve crimes while still concealing his true identity. EXHIBITOR: TMS ENTERTAINMENT CO., LTD.
EXHIBITOR: BBC WORLDWIDE
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PRODUCTS KADAMBAN Kadamban is a 2017 Indian epicaction film, made with a budget of US$10 million. It depicts how the rich corporate world is destroying our forests for their personal gains. A large tribal group fight to win back their land from these corporate mafias. Kadamban is the only Indian film which has a climax that is shot with 100 real elephants on a grand scale, in the forest of Thailand. The film was a hit at the Indian box office.
THE SON The Son is a multigenerational saga of the bloody price of power that follows the rise of one ambitious family as resilient and dangerous as the land they claim. Based on the bestselling, and Pulitzer Prize finalist, novel by Philipp Meyer. Written/Executive Produced by Kevin Murphy and Directed by Tom Harper. EXHIBITOR: SONAR ENTERTAINMENT
EXHIBITOR: RK DUGGAL STUDIOS
MAKE OR BREAK? Eight couples that are “at a crossroads” travel to a tropical paradise, but they’re in for a shock as our host reveals how they’re going to test their relationship – by dating each other’s partners! Every 48 hours, the contestants will swap partners to see if their original relationship can stand the strain. To test their relationship even further, the contestants will have to complete challenges, go through sex therapy sessions and have “behavioural workshops”. At the end of the retreat, the couples must make one final decision, once and for all: to stay together, or split up for good.
DIDI & FRIENDS (Preschool Edutainment) Hora Horey! Play and learn with Didi, Nana, Jojo, Tatak, Uncle Atan and Bingo on their adventures! Didi & Friends uses children’s songs as a launching point to teach pre-schoolers about colours, shapes, language & mathematics while at the same time inculcating good values and habits, such as honesty, tidiness and respect for others. (39x7) SPONSOR: MEASAT BROADCAST NETWORK SYSTEMS SDN BHD (ASTRO)
ERUPTION LA Struggling screenwriter Josh Kendricks finds himself the star of his own disaster movie when super volcanoes begin erupting all over Los Angeles. Now Josh, along with wacko-scientistturned-novelist Quinn Irwin and Hollywood diva Kat Rivers, must band together to get Quinn’s research to the mayor and save the city before it blows in one final eruption. EXHIBITOR: MARVISTA ENTERTAINMENT
The Resident is a provocative new medical drama that rips back the curtain to reveal the truth of what happens behind the scenes at hospitals. The series is executive produced by Amy Holden Jones (Black Box), Phillip Noyce (Revenge), Antoine Fuqua (The Magnificent Seven (Remake), David Boorstein, and Oly Obst (The Mick). The Resident is produced by 20th Century Fox Television, 3 Arts Entertainment, Up-Island Films and Fuqua Films. Cast includes Matt Czuchry (The Good Wife) and Emily VanCamp (Revenge). EXHIBITOR: TWENTIETH CENTURY FOX TELEVISION DISTRIBUTION
TIP THE MOUSE Tip the Mouse will return end of 2017 with 26 brand-new episodes. There will be more adventures of the tiny mouse with all of his friends on their way to growing up. The series is based on the original character from the bestselling children’s book series by Andrea Dami, where 11 million copies were sold worldwide, translated into 32 languages. The new episodes of the CGI series will again be produced by m4e, Studio Bozzetto, Giunti, Studio Campedelli and Rai Fiction. EXHIBITOR: STUDIO 100 MEDIA GMBH
THE RICH AND LAZARUS Asher, Johanna and Zach are childhood friends. They were inseparable, until both of the boys felt deeply in love for Joanne. Beyond the intrigues and emotions that this love triangle will endure over the years, they will have to deal with the fulfilment of the prophecy of Jeremiah, where Jerusalem is invaded by the king of Babylon. EXHIBITOR: RECORD TV NETWORK
(Content offerings are subject to territory)
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