Television Asia Plus | March-April 2024

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Editor’s Note

Dear Reader,

Thank you for picking up the latest issue of Television Asia Plus!

We have now entered the part of the year when exhibitors are selling and pitching their upcoming content for the rest of 2024 and beyond. It’s exciting to know that the shows and content we hear now will slowly make their way to potential buyers.

Are there any projects you’re excited to hear about? With so many platforms globally, it’s only a matter of time when a show you’ve heard about will become available to view.

On this issue’s cover & cover story we have an exclusive piece by Helen Weedon, Managing Director of Radical Moves Ltd, as she talks about the rising trend of ad-funded services.

For our first feature story, it’s a story from Agile Content and how they have launched a new solution to fight piracy on content platforms

And our final feature story is an exclusive interview with Isabel González Rodríguez of The Voiceover Gallery, she talks about localizing content for voiceovers.

Mathew Chan Editor

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Keen Whye Lee Publisher

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Eccho Rights announces International Distribution Rights to new Turkish drama Kara;

It tells the compelling story of Kara, a young thief from the slums of Istanbul. In a quest for truth and revenge, Kara infiltrates the life of Zeynep, whose family he once robbed, leading to a tumultuous journey where love and vengeance collide, leaving his future uncertain. ‘Kara’ features İlker Kaleli, renowned for his roles in ‘The End’, ‘Lost City‘, and ‘Secrets’, and his award-winning performance in ‘For My Son’. He stars alongside the talented Öykü Karayel, famous for her roles in ‘Kuzey Güney’, ‘Black Money Love’, ‘Magnificent Century Kösem’ and ‘Ethos’. Handan Özkubat, Director of Turkish Drama at Eccho Rights said: “We’re delighted to reveal the latest fascinating addition to our catalog, ‘Kara’, and to be partnering with Most Production once again.

Murat Can Oğuz, co-owner of Most Production and the producer of ‘Kara’, shared his comments, “We’re so pleased to continue our partnership with Eccho Rights with our new drama ‘Kara’, a story about two individuals from starkly different worlds, connected by a single, transformative night. As the creative team behind the project, we have worked tirelessly to bring this story to life. With an exceptionally talented cast led by İlker Kaleli and Öykü Karayel, and guided by a visionary director, Ender Mıhlar, we have strived to create a narrative that is not only enthralling but also profoundly resonant. I am confident that this gripping series will enjoy high ratings in its original hometown, Turkey, and its evergreen themes and performances will appeal to international audiences too.”

Abacus Media Rights sells more than 70 hours of diverse content to Asia ahead of ATF

Abacus Media Rights (AMR), an Amcomri Entertainment company, has sold more than 70 hours of scripted and unscripted programming to a raft of broadcasters in Asia.

Now TV in Hong Kong has acquired factual series Stephen Fry: Willem and Frieda – Defying the Nazis; ‘Tis the Season: The Holidays On Screen; The Trouble with Kanye; Bankrupt Billionaire; The Man Who Stole the Scream; Backyard Beats and multi-award winning The Ghost of Richard Harris; as well as series 1-5 of the high profile, Jed Mercurio scripted thriller Line of Duty

South Korea’s KBS Media have picked up Ningaloo Nyinggulu from Artemis Productions. Bilibili, via Haining Jianguo TV and Film Media Co Ltd in China has licensed The Fire Within: A Requiem for Katia and Maurice Krafft directed by legendary filmmaker Werner Herzog.

Also in China, Lean In Media has acquired factual titles Yellowstone Supervolcano; Icemen: 200 Years in Antarctica; Quoll Farm; The Kingdom: How Fungi Made Our World and Billionaire Wonderland While TrueVisions in Thailand has picked up The Bizarre Pet Vets, Million Dollar Buffet and The Fire Within: A Requiem for Katie and Maurice Krafft

Other available titles within the Abacus Media Rights catalogue include Spacetime Capsule where viewers get to peek under the hood and uncover unprecedented and fascinating insights into the world of Chinese science for the very first time, and Mumbai: City of Dreams (w/t) –an observational documentary series shot across the busiest season of the year in India’s most fashionable city.

SLL signs a deal with Turkish production company MF Yapim for a remake of Doctor Cha

The SLL-produced series Doctor Cha is set to be remade in Turkish, which has been a huge hit, recording meaningful figures in both Korean and global viewership indicators.

SLL announced that it has signed a deal with Turkish production company MF Yapim to remake Doctor Cha. MF Yapim was founded in 2012 as a partnership between Faruk Bayhan, who has over 40 years of experience in the Turkish media industry, and MEDYAPIM, a leading production company in Turkey. Since then MF Yapim has successfully produced many drama series including many format adaptations from South Korea, Japan, United Kingdom and other countries.

The combination of the story and SLL’s production capabilities led the show to rank in Netflix’s Global Top 10 lists of Non-English TV categories for seven weeks, with the best ranking of Number 2. In Korea, the series became a phenomenon, with a peak viewership rating of 18.5% (Nielsen Korea, based on paid subscriptions).

As the original series conveyed empathy and comfort to the viewers and shared stories about true happiness, the Turkish version of Doctor Cha is expected to make a deep impression on the Turkish audience, as well.

Charles Park, SVP of Content Business at SLL, said, “We are excited to see a Turkish version of one of our most successful series this year and hope to extend this opportunity to see more international adaptations of our formats.”

Story of Kunning Palace starring Bai Lu and Zhang Linghe finally premieres on iQIYI

Double Vision, the leading Malaysian production arm of the Vision New Media group, is delighted to announce that both seasons (20 x 60’) of its localised version of Hans Rosenfeldt’s hit Scandi series The Bridge have sold to Stan, Australia’s leading local streaming service.

The agreement, brokered by Lyle Bettson-Barker, SVP Australia and New Zealand from Banijay Rights, represents the first time that Stan has acquired a Malaysian drama series.

The Asian version of The Bridge was initially commissioned by Viu and HBO Asia in 2018, after Double Vision introduced Viu to the format. It broadcast to great acclaim across 23 territories in the combined Viu/HBO Asia regional footprint and was also shown on Viu in South Africa. The title has garnered more than 20 regional awards and nominations across its two seasons, making it the most awarded drama in Malaysian history.

In series one, faithfully following the original, a dead body is found on the border between Malaysia and Singapore, necessitating an investigator from each country to work together to solve the crime. Season two, meanwhile, is an entirely original storyline and, uniquely amongst all the iterations of the format, involves a third country – in this case Indonesia.

Min Lim, CEO of Vision New Media, head of production at Double Vision and the series’ showrunner said, “I loved the original of The Bridge when I first saw it and knew that the story would work brilliantly on the Malaysia/Singapore border. It was one of the most ambitious Malaysian television projects at the time and I was both thrilled and incredibly appreciative when Viu decided to take a chance on it and subsequently committed to securing the rights so that we could adapt it for them.”

iQIYI Announces

New International Adaptation of Popular Reality Show “Youth With You”

iQIYI hosted “International iJOY conference: 2024 Grand Reveal” at Asia TV Forum last December 6. The event was kicked off with the 2023 milestone celebration to have brought 500 shows in a total of 6,000 Hours of premium entertainment experience for the global aficionado of TV shows and films this year, followed by the exciting announcement of more than 280 new Chinese language dramas, films, variety shows, along with 35+ original productions and licensed series from Southeast Asia region for the next two years.

At the same time, the international adaptation of Youth With You will be rolled out worldwide. The blockbuster-maker of Danger Zone, Lesson in Love, and Oh No Here Comes Troubles will continue embracing a ‘quality over quantity’ approach and invest in nearly 30 original productions and licensed shows from the Taiwan market to further strengthen their Chinese-language content leadership. Among those, the highly anticipated Not a Murder Story is set to release in January, 2024.

In efforts of further cementing its presence in Southeast Asia, iQIYI will slate out more than 12 Malay-language Local Originals slated for release in 2024, including the second season of the highly acclaimed Rampas Cintaku, iQIYI’s first Malay language original. Rampas Cintaku Concluded its season with an overwhelming success, garnering over 100 million digital views globally. The streaming platform will continue to work with top creators in Malaysia such as MIG Productions and Infinitus amongst others to bring more Malaysian content to the global audience.

Asia’s media & entertainment industry returned in full force at ATF 2023

The 24th edition of Asia TV Forum & Market (ATF), Asia’s global and leading entertainment content market and conference, closed its doors for 2023 on an exceptional note last December 8, with a congregation of 4,511 trade professionals, including 911 buyers from 55 countries and regions, reflecting the industry’s continued confidence in the annual Asian event.

Yeow Hui Leng, Group Project Director of ATF said, “Despite industry uncertainties, Asia remains an important region. The diversity of content and networking events presented this year, the myriad of MOUs and projects announced, in addition to a strong presence of global executives, demonstrated ATF’s veracity as the voice of Asia”.

A total of 15 pavilions led by various content agencies from around the world were presented at the market, in addition to the strong presence of studios such as iQIYI, Linmon International, Mono Streaming, NBCUniversal, Paramount Global Content Distribution, Sony Pictures Entertainment, and Warner Bros. Discovery.

Celebrities from around the region also made appearances to promote their latest content. These included ABS-CBN’s launch of its new series, The Bagman, graced by multiawarded Filipino actor Arjo Atayde, Thai actor Esther Supreeleela, who made an appearance at the 1001 Frames content showcase session to promote the scripted series, The Fairest Lady, and China’s superstar talk show host Jin Xing, who was in town to promote her new joint venture.

Based on the survey with buyers, ATF 2023 facilitated an estimated USD243.7 million in projected deals, an increase of 3% over 2022

ZEE5 Global’s latest docu-series Koose Munisamy Veerappan strikes a chord globally

ZEE5 Global has captured the hearts of viewers across the globe with its latest docu-series Koose Munisamy Veerappan. Within 2 weeks of its release, the sixepisode-long series has recorded

an impressive 9.1 rating on IMDb Viewers are engrossed by the title’s deep dive into the life and escapades of the infamous forest bandit, Koose Munisamy Veerappan. Through an interesting blend of real-life footage

MasterChef Hits 70 Markets

Media and entertainment powerhouse Banijay announced global cookery hit MasterChef has reached 70 international adaptations, with two new versions set for Serbia and Malta. Serbian broadcaster TV Prva will produce a first season of the worldfamous factual entertainment format to air this month, bringing together local amateur cooks all keen to show the country they have what it takes in the kitchen.

Claire Jago, EVP Sales and Acquisitions – EMEA, Banijay Rights said, “To reach 70 territory commissions is a significant milestone for us at Banijay and we’re incredibly proud this worldbeating format continues to grow its influence worldwide. We can’t wait for our Serbian and Maltese production partners to deliver tantalising new versions of this global family favourite.”

MasterChef is the world’s most successful cookery television format (Guinness World Records) and earlier this year, K7 crowned it the SpinOff Superstar, with its eighth spinoff, MasterChef: Dessert Masters, launching in Australia last month. Now commissioned across 70 markets, the life-changing show has broadcast more than 10,000 episodes to-date

and firsthand accounts from individuals who were close to him, the series vividly portrays Veerappan’s enigmatic persona and his criminal legacy. What sets this series apart is the fact that it is primarily narrated by Veerappan himself, revealing his entire life story and uncovering unknown truths about the events that happened around him. The original Tamil series ‘Koose Munisamy Veerappan’ is streaming exclusively on ZEE5 Global in four different languages – Tamil, Kannada, Hindi and Telugu.

The ZEE5 Global Tamil original series tracks his life’s doings for three decades when he haunted the dense forests of Tamil Nadu, Karnataka, and parts of Kerala. It follows up to his dramatic end in an encounter with the Special Task Force (STF). The series captures his criminal heritage that is now a part of history and police archives.

and in 2021 aired its milestone 500th season globally since its reboot in 2005. Created by Franc Roddam and first launched in 1990, the show is a super brand known and enjoyed around the world

The MasterChef format and finished programmes are represented internationally by Banijay

Talpa Studios’ The Floor hits 10 markets in its first year

Talpa Studios has announced the ninth and tenth international sales of its hit quiz show The Floor, to Argentina and Hungary. This development is significant for Talpa Studios, as it introduces the popular format to the Latin American market.

With these rapid extensions, The Floor has become one of the fastest growing formats of 2023. In less than a year since its premiere, it’s achieved a remarkable milestone by expanding into 10 markets, a testament to its widespread appeal and fulfilling industry expectations.

Aside from Argentina and Hungary, The Floor has been sold in the Netherlands (heading into its second season), the USA, France, Spain, Germany, Ukraine, Italy, and Romania. Both in The Netherlands and in Spain, the show achieved excellent results

Marking its ninth market, Argentina is the first Latin American country to embrace The Floor, signifying

Talpa Studios’ first venture into the region. Production by Kuarzo Entertainment Argentina has already begun, with the broadcast slated for 2024 on eltrece (Canal13). In the 10th market, Hungary, the show will be produced by Scripts Production, which plans to broadcast in 2024 on RTL Hungary.

Peter Kolosi, Chief Content Officer of RTL Hungary, “We are delighted

to become the 10th to introduce this internationally proven gameshow to our audiences. Embracing innovation and entertainment, we eagerly anticipate bringing a new dimension of excitement to viewers of RTL Hungary. With a strong belief in the success of The Floor and a commitment to delivering high-quality content, we are confident that our audience will thoroughly enjoy the engaging experience we are bringing to their screens.”

JioCinema and Jeevansathi join hands to unleash the power of love with Saath By Chance

Viacom18 and India’s ultimate entertainment destination, JioCinema, partners with Jeevansathi.com, a trailblazer in the matchmaking industry, to delight its viewers with ‘Saath By Chance’. Streaming now on JioCinema, the 3 episodic anthology series weaves the magic of love with inspiration drawn from real-life success stories of Jeevansathi couples

Celebrating Jeevansathi’s 25 years of matchmaking excellence, ‘Saath By Chance’ promises to be a heartwarming journey of real-life love stories that found their origin on Jeevansathi.com platform. From chance encounters to enduring connections, the show spotlights the authenticity and beauty of love, commitment, and the remarkable

journey of finding one’s soulmate. In addition to the captivating narratives, ‘Saath By Chance’ underscores the significance of quality conversations, understanding, and open dialogue, a core aspect of Jeevansathi.com’s ethos.

Speaking on the association, a JioCinema spokesperson said, “At JioCinema, our commitment is to curate content that is not just entertaining but also innovative and compelling. ‘Saath By Chance’ is a testament to this dedication, as it unfolds a narrative that celebrates the magic of love in a truly unique way. In partnering with Jeevansathi.com, we aim to create a seamless blend of entertainment and connection, resonating with our audiences on a

deeper level. Our collaboration further represents our ongoing pursuit to bring stories that directly touch the hearts of our viewers. We look forward to fostering more such partnerships and continuing to provide our audience with captivating content that transcends boundaries and brings people together in the spirit of love and storytelling.”

Parasite star Song Kangho to lead upcoming Disney+ period drama

Uncle Samsik

During a period of upheaval and unrest in Korea, one man will operate in the shadows, manipulating the system and its key players for the advancement of the country in Uncle Samsik – an upcoming fictional drama set to debut in 2024, exclusively on Disney+. Set in 1960s Korea, Uncle Samsik

follows Kim San, an ambitious idealist who is driven to turn his country’s fortunes around. A recipient of an Albright Scholarship, San wants nothing more than to transform his country into an industrial nation and deliver an American-level of affluence to the people of Korea. Determined to become a success,

San attracts the attentions of Pak Doochill (Uncle Samsik) a shady fixer who adapts to any situation and takes whatever steps necessary to help him accomplish his boss’s goals. Together, the pair will form an uneasy alliance, navigating the complexities of the established system, united by their shared goal of a prosperous future.

Starring Song Kangho (Parasite, Snowpiercer ) as Pak Doochill/Uncle Samsik, a fixer and social chameleon who adapts to any situation to advance his boss’s cause, and Byun Yohan (Mr. Sunshine, Six Flying Dragons) as Kim San, a driven idealist looking to bring American affluence to the people of Korea, Uncle Samsik is written and directed by Shin Yeonshick (Cobweb, Cassiopeia).

Firecrest Films returns to court with new Murder Trial series, The Killing of Dr. Brenda Page for BBC Scotland and BBC Factual

Firecrest Films has announced it is taking viewers back into the Scottish High Courts in the third instalment of its Murder Trial series with the commission of The Killing of Dr. Brenda Page for BBC Scotland and BBC Factual After the success of Murder Trial: The Disappearance of Renee and Andrew MacRae which aired this year and the BAFTA Scotland award-winning Murder Trial: The

Disappearance of Margaret Fleming from 2020, Firecrest has been permitted access to shoot from inside the High Court Aberdeen during the trial for the murder of Dr. Brenda Page, one of Scotland’s longest running unresolved murder cases.

In July 1978, Dr. Brenda Page, a 32-year-old leading scientist at Aberdeen University, was brutally murdered in her flat. Over four

decades later, her 80-year-old ex-husband Christopher ‘Kit’ Harrisson finally stands trial, accused of her killing. Filmed over several years with access to the prosecution and defence teams, the police investigation and the victim’s family, Murder Trial: The Killing of Brenda Page sees witnesses paint a troubling portrayal of an abusive relationship preceding Dr Page’s death. It delves into how attitudes about domestic violence have changed and how this affects the conclusion to the trial. The series reveals the reality of justice in action and places the viewer alongside the jury at the heart of the justice system.

Murder Trial: The Killing of Dr. Brenda Page was commissioned by David Harron for BBC Scotland and by Emma Loach and David Hodgkinson for BBC Factual The series was produced and directed by Jack Warrender and executive produced by Iain Scollay and Vari Innes at Firecrest Films.

Fuse+ launched on Tata Play Binge in India

Tata Play Binge – one of India’s largest OTT app aggregators, has added a new partner to its vast portfolio of aggregated OTT apps. The latest entrant is Fuse+ – a platform dedicated to empowering and entertaining young, multicultural and millennial audiences with concepts that resonates with their unique perspectives. Fuse+ is one of the top 10 multicultural and youngest US entertainment network, that now wishes to reach out to likeminded Indian viewers through Tata Play Binge.

Fuse+ features original series, documentaries and films that aim at positively shifting the audience perspective by motivating and elevating unheard and unseen stories. The channel also showcases superstars and emerging talent in a collection of music specials and unscripted series. With its vibrant programming like Big Freedia Means Business featuring Grammy-winning artist Big Freedia, T-Pain’s School of Business, We Need

to Talk About America, Like a Girl, Upcycle Nation, and biographies spotlighting artists such as Dua Lipa, Ed Sheeran, Taylor Swift, BTS, and Coldplay, the platform gives its viewers access to 500+ hours of original content and along with 30 hours of new licensed content per year.

“With a programming slate that serves as an entertainment destination for so many viewers, partnering with Tata Play Binge was a natural fit for Fuse Media as we continue our global expansion,” says Miguel Roggero, Chairman and CEO of Fuse Media. “Fuse+’s library is made up of vibrant, culturally diverse stories, and we’re thrilled to introduce our empowering original programming and music-focused specials to Indian viewers.”

Fuse+ is represented by Brandwith, a premier representative and distribution company in the Asia Pacific Region

Prime Video Debuts its First Dedicated Anime Channel – Anime Times

Prime Video, India’s most loved entertainment destination, announced the launch of its first dedicated anime Channel, Anime Times on Prime Video Channels Anime Times will premiere exclusively on Prime Video Channels in India. A premier streaming service focused on Japanese animation, Anime Times has been available on Prime Video Channels in Japan, and is now debuting into India with its wide array of the latest anime movies and TV shows, along with much-loved classics, on Prime Video Channels. Prime members can purchase an add-on subscription to Anime Times at an annual fee of INR 899.

With a subscription to Anime Times on Prime Video Channels, Prime members in India can enjoy highly popular titles such as SPY×FAMILY,

HUNTER x HUNTER, Fairy Tale Movie

Houou No Miko, Tokyo Revengers, Zom 100: Bucket List of the Dead, Mob Psycho 100, That Time I Got Reincarnated as a Slime, Goblin Slayer, Zombieland Saga, and more

Hideo Katsumata, CEO of Anime Times Company, said, “Anime Times and Prime Video have enjoyed a strong collaboration in Japan, and we are now excited to bring

Anime Times for the very first time to audiences in India. Japanese anime culture is now a significant global phenomenon, and has led to an increasing interest in Japanese culture and entertainment. We are certain that with Anime Times, fans and enthusiasts all across the country will be able to delve into the huge pool of anime shows and movies, both recent and classic, that we offer via Prime Video Channels.”

Curiosity launches linear channel & SVOD service on Telkomsel Indonesia

Curiosity Inc., a leader in factual entertainment around the globe, today announced a partnership with Indonesia’s Largest Convergence Service Provider Telkomsel to bring the Curiosity portfolio to its linear television and mobile subscribers

The Curiosity Channel, part of Curiosity’s global brand, will provide Telkomsel’s IndiHome subscribers with immediate access to awardwinning films, series, and shows that explore science, technology, history, nature, travel, and more.

Available on Telkomsel IPTV IndiHomeTV, Curiosity Channel viewers will be treated to the return of the landmark series Connections with James Burke,

a ground-breaking series first on the BBC, now with new episodes available exclusively from Curiosity. It’s Connections with a modern take — with the legendary James Burke still at the helm. Other fan-favorite titles include David Attenborough’s Light on Earth, Planet Insect, The Lucy Mission: Origins of the Solar System, Stephen Hawking’s Favorite Places and Oddly Satisfying Science.

“Curiosity is committed to serving a global audience, and strategic distribution partnerships are critical to our effort,” said Jay Sodha, Vice President of Business Development & Partnerships at Curiosity. “We have long said that nothing travels and translates as well as factual content, and we are

thrilled to partner with Telkomsel to introduce the Curiosity brand and Curiosity Channel to new viewers.”

Families will be able to choose whether to enjoy the exploration, adventure, and entertainment together by tuning in to the Curiosity Channel on the IndihomeTV Network or individually whenever they want, wherever they want as part of IndiHome TV App

Static Waves Korea partners with Arirang TV to launch first K-Popfocused FAST Channel: K-Wave

Static Waves, the Amsterdam headquartered and now Seoulbased media company focused on FAST channel creation and distribution, content production, and ad sales, has partnered with South Korean broadcasting company Arirang TV to launch the first ever FAST channel dedicated to the wildly popular music and cultural phenomenon known as

K-Pop. K-Wave will launch this coming January via ZEASN platforms in the US, Europe, and Asia, which include TCL, Vestel, and HiSense TV+ connected TVs pre-installed with ZEASN’s WHALE OS.

K-Wave will feature exclusive content, including original series, live concerts featuring the biggest K-pop stars in the world, documentaries on K-pop stars ushering in music and fashion

trends, dance instruction videos, behind-the-scenes clips and more.

To connect with the booming Korean media industry and co-create K-Wave and the production of original content and formats, Static Waves has established a Korean business entity – Static Waves Korea – based in Seoul. Veteran TV producer, director, and manager Andrew Jaehuyk Lee is Managing Director

“This is an incredibly exciting time to be launching the world’s first FAST channel dedicated to K-pop,” said Lee. “K-pop has never been bigger. It’s the number one music genre on Spotify and Korean content in general resonating with audiences around the world. Making K-Wave available on FAST platforms will only serve to make this cultural phenomenon more accessible to audiences on a global scale. I’m thrilled to be joining Static Waves at a pivotal time in the growth of FAST and of K-pop.”

3SS to Showcase Powerful End-to-end In-vehicle Entertainment Platform

At CES 2024, 3 Screen Solutions (3SS), leading provider of software for video entertainment services, showcased its technologies to create an end-to-end in-vehicle entertainment solution. The highly innovative Bosch Cockpit and ADAS integration platform is now pre-integrated with 3SS’ 3Ready Automotive entertainment platform.

3Ready enables the superaggregation of different content sources in vehicles with a bespoke user experience (UX). 3SS created 3Ready Automotive to enable carmakers to provide their customers with a next-level, fully customized and branded entertainment hub featuring a wealth of attractive content, adapted to car- and market-specific requirements, and with personalized content-centric discovery and access. It allows carmakers to create recurring revenues from digital services, one of the main goals of the software defined vehicles approach. Drivers and passengers can now enjoy advanced entertainment powered by the trusted 3Ready

platform, currently delivering award-winning content experiences in millions of households worldwide.

A unique aspect of the preintegration is that user data captured by the Bosch Cockpit and ADAS integration platform can inform entertainment recommendations which emanate from 3Ready. Driver habits and preferences can combine with 3Ready’s own analytics to help create a highly personalized and engaging experience. This provides OEMs with a powerful opportunity to differentiate by providing customers with nextlevel entertainment, in contrast to traditional in-car entertainment alternatives in the marketplace.

Thema and Globo close exclusive distribution mandate agreement in the Asian Market

TechStorm has inked a brand new distribution partner in Taiwan on Kbro, Taiwan Mobile Broadband platforms. They will carry TechStorm’s regional feed to the subscribers on its service

Joyce Lin, VP of Portico Media comments, “TechStorm offers Kbro subscribers a vibrant content lineup that truly captures their lifestyle, aspirations and passion. TechStorm’s Korean Kpop, Esports and video games plus its tech and innovation entertainment, millennial finance bring new perspectives and refreshing

outlook to the future. We are confident that Kbro audience will greatly enjoy TechStorm’s international and made-for-Asia original productions on our platform starting in 2024’’.

“These additional partnerships and announcements are a strong testimony to the demand of the channel’s exciting, new content verticals popular in the market of Taiwan. We look forward to further expanding TechStorm’s unique youth oriented, family friendly content to a wide audience segment here in Taiwan,’’ Lin concluded.

Debbie Lee, Founder of TechStorm says, “We are incredibly excited to bring TechStorm’s top notch, multi award winning TV series such as Shark Tank US, an Emmy award winning title, exciting entrepreneurship pitch series: Meet the Drapers season 6 featuring top American billionaire Timothy Draper. Plus more than 100 titles of made for streaming original production: TechStorm Download, featuring Southeast Asia’s top esports, video game influencers, shoutcasters and cosplay celebrities, latest game reviews, TechStorm’s Storm Bytes with the latest gadget reviews, rising stars in the startup scene and TechStorm’s Insight series featuring the billion dollar capital makers in the venture world and deep tech space of artificial intelligence (AI) and the digital assets. All onto Kbro and Taiwan Mobile Broadband’s subscribers to kick start the new year’’.

CJ ENM Hong Kong closes deal with Paramount Global Content Distribution for first window and exclusive Pay TV rights to 7 premium Korean series in South East Asia

CJ ENM Hong Kong (CJ ENM HK) closes deal with Paramount Global Content Distribution (Paramount GCD) for exclusive Pay TV rights to 7 premium Korean series which are co-financed by TVING and Paramount+. tvN and tvN Movies have the first window slate in S.E.A territories particularly in Malaysia, Indonesia, Philippines and Singapore where Regional Network continues to dominate the Pay TV ratings.

These productions are part of a global strategic partnership between CJ ENM and Paramount Global that was announced in December 2021. Apart from cofinancing, series will debut on TVING (South Korea) and Paramount+ (U.S., Canada, UK, Australia, Latin America, Brazil, Italy, France,

Germany, Switzerland and Austria) and are distributed by Paramount Global Content Distribution.

Managing Director of CJ ENM HK, Michael Jung says, “tvN Movies celebrates 7 years anniversary this year and tvN will turn 15 years in 2024. Korean contents continues to outperform itself and remain top choice for our audiences with unmatched creativity and global appeal. Apart from top-notch production and A-list talents, these dramas showcase diverse genres, from thriller to action and romance and are mostly produced by Studio Dragon and CJ ENM Studio. We will continue to engage our platform partners and viewers with highest quality premium contents.”

THE SEVEN, Production House in Tokyo, opens its soundstage M6 Studio

THE SEVEN, Inc., aiming to produce high-quality content for a global audience, has opened a dedicated sound stage, M6 Studio, within the TBS Midoriyama Studio last December 1, 2023. This studio is equipped to handle the production of content tailored for streaming platforms that demand high-quality content

Within the approximately 80,000 square meters of Midoriyama Studio owned by TBS Holdings, THE SEVEN has completed the dedicated ‘M6 Studio,’ in addition to the existing television production studios. This new studio, with a total construction cost

of 20 billion yen, is now ready for use. The ‘M6 Studio’ boasts one of Japan’s largest studio areas, covering approximately 1,000 square meters with a height of 10 meters, allowing indoor shooting with large-scale sets. Additionally, it is equipped with a *Digital Imaging Technician (DIT) room, enabling the immediate confirmation of recorded video data. We have also established a high-speed communication infrastructure suitable for the swift transmission of large data. This setup provides an optimal environment for both shooting content intended for global streaming platforms that demand high-end video quality and the

subsequent post-production processes. Furthermore, there is an expansive open space adjacent to the studio, covering approximately 66,000 square meters, which can be utilized for various purposes. This space allows for the construction of largescale sets, similar to those used in “SASUKE / Ninja Warrior”, enabling nighttime shooting in conjunction with the M6 Studio. This flexibility adds to the appeal of the facilities.

As Japan faces a chronic shortage of studios, THE SEVEN has secured creative flexibility and production certainty with this state-of-the-art studio

ROCK Action Turning One Reaching Over 70 Platforms Across the Region

Rock Entertainment Holdings, a global content and channel distributor, celebrated a remarkable one-year milestone of its action movie channel, ROCK Action last 12 December 2023. Since its launch, ROCK Action has made significant progress, expanding its reach across more than 12 countries and over 70 platforms.

To sum up its inaugural year, ROCK Action successfully launched on Canal+ in Myanmar recently. Looking

ahead, ROCK Action is set for further expansion, with upcoming launches on multiple platforms in 2024, strengthening its presence in the Southeast Asian region.

“ROCK Action’s rapid expansion into numerous countries and platforms in this one year highlighted the tremendous support and enthusiasm from our viewers and partners. As we celebrate this milestone, we remain committed to delivering high-quality action-pack

movies.” said Beatrice Lee, CEO of Rock Entertainment Holdings As ROCK Action continues to gain popularity, viewers can look forward to an impressive lineup of upcoming movies including “The Mummy Franchise” starring Brenden Fraser, “Fast & Furious Franchise” starring Vin Diesel, “Snow White & The Huntsman” starring Chris Hemsworth, the latest “Charlie’s Angels” starring Kristen Stewart and many more.

Red Arrow signs representation agreement with Bomanbridge Media for key Asian territories

Red Arrow Studios International and Bomanbridge Media have signed an exclusive agreement that will see the Singapore-headquartered company represent Red Arrow’s formats and finished programs catalogs across Southeast Asia, Hong Kong and Taiwan

In mainland China, Bomanbridge will represent Red Arrow’s formats. The agreement took effect at last year’s Asia Television Forum (ATF), which took place

in Singapore last December 5-8. Joyce Droese, Red Arrow Studios International’s Sales Manager for Asia, Nordics, Africa & Inflight will manage the relationship, which excludes India, Japan and Korea

Bomanbridge has already had experience working with Red Arrow Studios International’s content, having successfully negotiated a production deal for Red Arrow’s multi awardwinning social experiment format Old People’s Home for 4 Year Olds

in Mongolia. The show will launch on December 9 on the country’s flagship entertainment channel, Edu TV. This deal was negotiated by Baigalmaa Batbeleg, who recently joined Bomanbridge to run its Ulaanbaatar-based office.

Red Arrow Studios International’s catalog spans formats, scripted and factual entertainment content and includes hit titles such as smash-hit relationship format Married at First Sight; premium English-language dramas like Vienna Blood and Departure; award-winning factual content, such as the prestigious The Weekly: Special Edition collection, plus an extensive collection of TV movies

Key titles for ATF from Red Arrow Studios International include The Gone, a taut, mystery drama series starring Richard Flood (Grey’s Anatomy) and Michelle Fairley (Game of Thrones), and Plan B, a high-concept psychological drama about a man on a desperate and relentless quest to save his relationship using time travel, starring Patrick J. Adams (Suits).

ITV Studios signs with new agent in Korea Jaye Entertainment

ITV Studios has appointed Jaye Entertainment as its new distribution agent in South Korea.

The exclusive two year deal which commenced this 2024, will see Jaye Entertainment representing ITV Studios’ wide and varied catalogue of finished content throughout South Korea, including the global reality sensation Love Island, Superstar chef Gordon Ramsey’s “trial-by-fire” reality show, Hell’s Kitchen, the most-watched UK TV drama of the 21st century, Line of Duty, the international Emmy® award-winning thriller, Vigil, the Golden Globe® and BAFTA® award-winning Bodyguard, the star-studded, smash hit futuristic thriller, Snowpiercer based on the iconic graphic novel by Jean-March Rochette and subsequent film adaptation by Acadamy® award-

winning director Bong Joon Ho, the toprated, long-running and internationally acclaimed drama, Murdoch Mysteries, plus landmark natural history series A Year On Planet Earth and the vivid, funny, and eye-opening Queer Planet – all drawn from ITV Studio’s multi award-winning 60+ production labels including Lifted Entertainment, World Productions, Tomorrow Studios and Plimsoll Productions, as well as selected independent producers.

Jaye Entertainment was established in 2009. Through its strong relationships with local online platforms and linear broadcasters, it brings 15 years of local insight and distribution experience to the newly formed partnership. Augustus Dulgaro, EVP Asia Pacific, Global Partnerships, ITV Studios said: “ITV Studios has been considering an agency arrangement in South

Korea for some time, and we are delighted to work with a company as commercial and widely respected as Jaye Entertainment. The relationship will continue to supply our many South Korean partners with our extensive scripted and non-scripted portfolio of content which has been finding appreciative audiences.”

Mr. Se Hoon Kim, Team Leader of Jaye Entertainment said, “We are excited to forge this partnership, bringing on ground presence and local expertise to represent ITV’s content in the Korean market. Our team specialises in distributing foreign content to a broad range of local, regional and global partners and we are very excited to work with ITV.”

The deal was brokered by SVP Sales Carla Ferry and South Korea Sales Executive Ji Hye Park

Rewind Networks’ HITS NOW to launch on Astro

As of 10th January 2024, the captivating HITS NOW channel is available to Astro viewers on Channel 702. HITS NOW is the latest addition to Astro’s line up of Rewind Network’s offerings alongside the existing HITS and HITS MOVIES channels available on their service

After the free preview, HITS NOW will be available in the Variety and Entertainment packs at no extra cost to customers subscribing to these packs.

The collaboration between Astro and Rewind Networks is the latest endeavour in their longstanding partnership. Both parties are committed to providing high-value entertainment to Malaysian viewers and to enrich the Malaysian TV landscape. HITS NOW, celebrated for its awardwinning and branded programmes, has garnered a strong following since its launch across multiple territories in Asia in February 2023.

Agnes Rozario, Director, Content, Astro, said, “We are delighted to enhance our customers’ entertainment options with highquality shows, coming express from the US to HITS NOW. From reality talent competitions, dramas and comedies, entertaining talk shows and game shows, compelling crime and investigation series, HITS NOW offers the most talked–about shows from the US that customers will be

able to watch anytime and anywhere. We are confident that the addition of HITS NOW on Astro will be a hit with our customers who now have the best of local shows, sports and movies.”

“We are beyond excited with the launch of HITS NOW on Astro,” said Avi Himatsinghani, CEO of Rewind Networks “We truly value our partnership with Astro, who have carried our channels from the earliest days. From iconic award shows like The Emmys to award-winning drama series, beloved talent shows, popular reality shows and innovative game shows – we are confident that HITS NOW will resonate strongly with Astro’s viewers and become a go-to entertainment destination and channel of choice for their daily viewing.”

HITS NOW, the newest channel service from Rewind Networks, is the one-stop curated destination for popular and top-rated reality, variety, drama, game and entertainment news shows from the US

PubMatic Announces Appointment of Luke Smith as Senior Director CTV and Online Video in APAC

PubMatic, Inc., an independent technology company delivering digital advertising’s supply chain of the future, today announced the appointment of Luke Smith as Senior Director, CTV and Online Video, APAC. Smith will start his role in the new year, working closely with the APAC and global leadership teams to define and execute the strategy for CTV, OTT, and online video across the region.

Smith joins PubMatic from Seven West Media where he was Head of Programmatic Sales & Audiences for six years. During that time he was responsible for leading the programmatic first strategy for Seven during the launch of 7plus into the Australian market. Previous experience includes eight years in the UK, part of which was spent as Senior Business Director at The Exchange Lab, which was acquired by WPP. Smith is also co-chair of the Video Council for IAB Australia.

At PubMatic, Smith will work closely with the APAC commercial teams to further the company’s partnerships with leading broadcasters and publishers, and maintain strong relationships with agency buyers. He will be instrumental in helping define PubMatic’s roadmap, responsible for collating and sharing product feedback and requirements from each region with the product and engineering teams.

Luke Smith, Senior Director, CTV and Online Video, APAC commented, “Having partnered with PubMatic for a number of years, I am thrilled to be joining the team in 2024. I’ve had an amazing tenure at Seven West Media with some incredible people, and this role will allow me to build on that success with new opportunities for brands and publishers right across the APAC region.”

Jason Barnes, Chief Revenue Officer, APAC at PubMatic, added, “We’re delighted to have Luke joining our APAC team. I have been fortunate enough to have worked with him for a number of years as a partner, and know he brings a wealth of experience to the role. I’m excited to see the impact he will have on this critical part of our business in 2024, as we further build our CTV and online video expertise and scale in the region.”

Based in Melbourne, Smith will report directly to Jason Barnes, Chief Revenue Officer, APAC.

Luke Smith – Senior Director, CTV and Online Video, APAC

ABS-CBN names Jun Del Rosario as new Global COO

ABS-CBN, a content producer and distributor in the Philippines, has announced the appointment of Rolando “Jun” Del Rosario, Jr. as the new COO of ABSCBN’s global group effective. He steps into the new role starting next year following the early retirement of current ABS-CBN Global COO Aldrin M. Cerrado which takes effect on December 31, 2023. Del Rosario’s new post will be concurrent to his role as the Managing Director of ABS-CBN International (North and Latin America).

As the new global group COO, Del Rosario will oversee all of ABS-CBN’s international subsidiaries and manage its global flagship brand, The Filipino Channel (TFC). He will lead ABS-CBN’s global group in achieving its objective to deliver meaningful and inspiring stories and to showcase world-class Filipino talent across multiple platforms and through events for both Filipino and international audiences.

Del Rosario is bringing to his new post over 30 years of experience in the media industry. Starting as an entrepreneur who built his own cable company in the Philippines, Del Rosario moved to holding senior management positions in the ABS-CBN group of companies. He joined ABS-CBN International in 2004 as Product Manager and became the Director for the Cable and Satellite business in 2005. From 2010-2018, he became North America Regional Head of Marketing, then concurrent Global Head of Carriage and Country Manager for Canada. Later in 2018, he became the Managing Director of North and Latin America, leading strategy executions, business operations and profitability for the region.

Del Rosario earned his Bachelor of Science degree in Business Management from the distinguished Ateneo de Manila University in the Philippines and took up his Executive MBA Course at the Asian Institute of Management.

Rolando “Jun” Del Rosario, Jr. – COO of ABS-CBN’s global group

Mitre Studios announce the appointment of Jack Shillaker as Creative Director, Television

Mitre Studios has announced the appointment of BAFTA award winning, Executive Producer Jack Shillaker as their new Creative Director, Television.

The appointment of Shillaker cements the ambition Ant and Dec have to build Mitre Studios into a fully-fledged production powerhouse.

Jack will take up his role and will be leading on the creation of the slate of exciting new formats and act as executive producer across Mitre Studios’ broadcast output.

Jack Shillaker said, “ I am hugely excited about joining the team at Mitre Studios. For as long as I have watched Television Ant and Dec have represented a gold standard in entertainment, and I am honoured to be able help them bring their vision of producing creatively ambitious and distinctive ideas to life. I can’t wait to get started.”

Mitre Managing Director, Ed Sleeman said, “ I am delighted to welcome BAFTA award winning executive producer, Jack Shillaker to Mitre Studios as our Creative Director, Television. This hire underscores our commitment to developing and wholly producing ambitious high quality global formats for both broadcasters and streamers alike. We eagerly anticipate the impactful contributions he will make to the growth of Mitre Studios.”

Jack Shillaker – Creative Director Television, Mitre Studios

The Many Factors Contributing to the Total Cost of Ownership of Streaming at Scale

There is no doubt that ad-funded services have taken the OTT industry by storm over the past 18 months. The question is, are they here to stay or will consumers get tired of endless ads interrupting the content? There is no getting around the fact that ads can be intrusive and annoying, and this results in ad avoidance. According to a recent report by Nielsen, 64% of US consumers intentionally take actions to avoid ads on ad-supported video services. This is hardly surprising because if viewers are not engaged enough with ads, they will either block or skip the ad break, or walk away from the screen while the ads are showing. Video providers are faced with the complex challenge of how to better engage viewers with ads.

How can the industry address these issues to make the ad experience more engaging for viewers? Is it time to rethink the traditional advertising model, where an ad break interrupts the content and viewers are served passive ads that are not always relevant? I recently discussed these issues in a Radical Moves Broadcast Unscripted Podcast about the current trend of ad-funded services, with industry experts Michael Lantz, Accedo; Geoff Gordon, MainConcept; Gatis Gailis, Veset and Lelde Ardava, also from Veset.

Current trends

Many providers are choosing to move towards a hybrid model, so they can retain subscription revenue and benefit from advertising revenue at the same time. However, as Michael Lantz says, “if consumers are paying, they only have a certain acceptance level of advertising, so providers are thinking a lot about where to put the ads.” Michael goes on to say that if video services are to be successful with this, it’s critical that they “treat consumers in the right way” by carefully considering how ads impact user experience.

Alongside lower cost SVOD tiers supplemented with ads, Gatis Gailis feels that the market also shows that

“there is demand for free, high-quality content”. But despite this demand, the value of ads is falling because viewers are not engaging with them enough. To address this, Gatis believes we need to “find new ways to raise the value of ads.” This means experimenting with new ad formats, improving targeting and personalisation, and exploring innovative ways to make advertising less disruptive, and more enjoyable for viewers. Lelde Ardava echoes this, saying that we need to “make ads more attractive, targeted and relevant”.

Improving engagement

Recent advancements in ad-tech look set to shake things up by challenging the traditional model where ad breaks interrupt the main content. Ad-tech now enables broadcasters and video providers to show relevant ads at the same time as the main content either by squeezing the main content and showing contextual ads alongside, or by embedding personalised overlay ads server-side, into the stream. With these innovative ad formats, the

Helen Weedon, Managing Director, Radical Moves Ltd

content keeps running, so the ads are less intrusive, and more engaging than traditional ad breaks. These immersive ad formats are likely to work particularly well for some types of content such as sports and live broadcasting, where ad breaks cannot be easily inserted.

The point at which ads are placed within the content also has a big impact on viewer engagement. “If ads are at the beginning and at the end, that’s probably a lot more accessible to consumers” says Geoff Gordon. This makes a lot of sense because mid-roll ads are naturally going to be more intrusive and disruptive than pre-roll or post-roll ads. Along with carefully considering the timing of ads, another tactic that broadcasters and video providers could employ to better engage viewers is to make ads interactive. This could involve encouraging viewers to actively engage and participate in the ad by giving options to buy an item, get more information, or perhaps interact with the brand in some other way.

Leveraging product placement

Product placement may also have a role going forward, particularly with certain types of content, and when paired with interactivity. Although product placement is not a new concept, it can now be done at the point of distribution rather than at the point of production,

and this makes it much more valuable. When done well, it has the potential to be an effective advertising strategy that doesn’t disrupt the viewer’s experience.

With AI-powered tools and deepfake technology, product placement will become an incredibly powerful advertising strategy: “changing the content itself, so that it’s relevant in terms of advertising - this is the future that’s coming” says Gatis.

Enhancing personalisation

Personalisation is undoubtedly a huge challenge for the industry. As Geoff points out, while personalisation on

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Agile Content launches a solution to fight piracy on content platforms

Agile Content has deployed its Agile CDN Director solution at Telenor Sweden, one of the largest mobile phone, television, and broadband service operators in the country. This new product adoption continues a decade-long partnership to drive efficiencies and better manage utilization of Agile Content subsidiary Edgeware’s content delivery network.

Taking into account the increase in piracy in the OTT sector, the importance of this type of technological solutions is becoming increasingly relevant. In fact, television piracy represents almost half (48%) of all access to infringing sites in the EU in 2022 according to a report from the European Union Intellectual Property Office (EUIPO).

Edgeware’s CDN architecture has long been divided into a session control layer and a delivery layer. Agile Content’s new CDN Director product is an evolution of the previous one and introduces new advanced features, such as realtime cache or network switching and an integrated realtime server quality of experience monitoring function.

By implementing Agile CDN Director, Telenor Sweden can improve the efficiency of the delivery of its next-generation television services. It allows the organization to combine its CDN with the CDN of its sister company Telenor Norway. Telenor Sweden can easily use the resources of both networks and in case of loss of a site, there will be a system of redistribution between different countries.

Telenor Sweden can now optimize the peak performance capacity of its own CDN and seamlessly offload streaming capacity, as well as automatically scale its services using available capacity on Telenor Norway’s networks, or on a public network when necessary. This means that whatever the demands of either CDN, customers will never experience any interruption to their services.

Marielle Lind, Telenor Sweden’s technical architect for TV back-end systems, said of the Agile CDN Director: “As responsible for Telenor Sweden’s CDN and ensuring our customers get the quality of experience they expect on their devices “I have a long list of requirements I want from my

network, some of which we couldn’t meet. But with Agile CDN Director now up and running, suddenly a lot more is possible. So far, I haven’t found anything that’s impossible.”

Another key advantage of Agile CDN Director that Telenor Sweden has found surprisingly effective is its ability to keep hackers out and transmit only to authorized users. Agile CDN Director provides greater visibility into everything happening in the CDN at any given time, including the use of common access tokens that prove that customer requests are coming from Telenor’s own back-end and not from external agents, including hackers trying to access a network.

This additional layer of security protects a CDN like Telenor’s Edgeware Network and ensures that only valid customers have access, which in turn frees up capacity and ultimately provides better network speeds for the TV viewing public.

Agile CDN Director provides a whole new level of security. “Our records show that we have blocked between 50,000

and 60,000 invalid requests each day that were trying to access the CDN and reach a streaming server,” said Marielle. With Agile CDN Director, it’s easy to identify those invalid requests and deny them access. “If we didn’t, the network would be much busier with traffic that shouldn’t be there.”

Telenor Sweden has long been a customer of ours on Agile Content, growing significantly with their Edgeware CDN in place and it’s great to see the partnership continue with this latest deployment of Agile CDN Director to manage an increasingly complicated CDN landscape with multiIntegrated CDNs,” commented Johan Bolin, Chief Emerging Business Officer at Agile Content. The Telenor team has quickly seen a long list of benefits at their disposal, some of which not even we were aware of before their deployment. So we are looking forward to giving them back to the Agile Content team and provide many more customers with the same cost efficiencies, operational advantages and security measures.

The Do’s & Don’t of Localization in Voiceovers

By Mathew Chan

Content is constantly being sold and bought worldwide be it broadcasters or streaming. And along with that means localizing the content when doing voiceovers in the local language. There a lot of rules and things to consider so we sat down with Isabel González Rodríguez of The Voiceover Gallery, an audio production company specialising in voiceover and dubbing as well as other language and sound services across multiple industries including film & TV, to discuss what it means to localize content.

What are the nuances of cultural adaptation alongside the literal translation – especially for different territories with the same language?

Isabel González Rodríguez: Cultural adaptation involves more than just translating words; it requires understanding cultural nuances, humour, idiomatic expressions – even non-verbal communication! - and societal norms specific to each territory. For instance, while Spanish may be spoken in both Spain and Latin America, there are significant cultural differences between the two regions that need to be considered for effective localization.

How much research needs to be done when doing localizations?

IGR: Extensive research is necessary to ensure accuracy and cultural relevance in localisation projects. This

includes understanding the target audience, local customs, slang, political sensitivities, and historical context. This sort of research is critical to ensure that the content is culturally appropriate and respectful. Never ignore cultural differences or assume that what works in one market will automatically resonate with another. Always tailor the content to align with the cultural norms and preferences of the target audience.

How long would you say the process is? (The entire localization, say of a whole season of a tv show)

IGR: The duration of the localization process varies depending on factors such as the complexity of the content, the number of languages involved, and the level of detail required. Localizing a season of a TV show can take several weeks to months. Don’t rush the process, allow time to make sure the content is carefully crafted and meets the quality standards expected by the target audience.

How do you navigate sensitive content in the show that might not localize well in a particular market? (Say it be a cultural reference or a gender specific trope)

IGR: Being sensitive to cultural differences is crucial when dealing with potentially controversial or offensive content. Strategies to deal with this may involve altering dialogue, removing or adapting culturally specific references, or consulting with cultural experts

to ensure appropriate localization. It is paramount that the clients are aware of these challenges as they may want to be part of the decision-making process.

What is the process of finding localization experts in specific territories and pairing them with the right voice?

IGR: Finding localization experts involves identifying individuals with a deep understanding of both the source and target cultures, as well as linguistic proficiency. Having a team of skillful linguists is a key part of the localization process. Casting the right voice actors requires considering other factors such as accent, dialect, and tone to ensure authenticity and relatability for the target audience. Always work with native-speaking voice actors who are fluent in the target language and can accurately convey the intended message with appropriate tone and pronunciation.

Is it difficult finding local experts and voice actors for these types of projects?

IGR: It can indeed be challenging to find qualified local experts and voice actors, particularly for less common languages or dialects. However, with the globalization of media and improved communication channels, it has become easier to connect with talent worldwide. This has opened doors for in-market talent due to increased exposure and for clients, as they have access to a more varied pool of voices.

Does how the voice sound affect the casting process?

IGR: The voice’s sound can significantly impact the casting process, as it directly affects the audience’s perception and engagement. There are factors such as vocal range, tone, accent, and emotive capability that are essential considerations in selecting voice actors for localization projects.

What is the difference between translation/localisation in voiceover vs. on-screen?

IGR: Translation in voiceover involves adapting the spoken dialogue to match lip movements and timing, while on-screen localization includes translating written text such as subtitles or on-screen graphics. Both methods require linguistic accuracy and cultural sensitivity but may involve different technical considerations.

For those who might not understand the nuances of the differences, what are the main difference in localizing content opposed to translating it?

IGR: As mentioned above, the process of localizing content goes beyond mere translation of words. It entails adjusting cultural references and various other elements to effectively resonate with the intended audience. Translation, on the other hand, focuses solely on converting text from one language to another without necessarily considering cultural context or nuances.

Isabel González Rodríguez